Kill la Kill trailer

Debuting in Japan later this month, Kill la Kill is an anime from Studio Trigger. Trigger is comprised of former Gainax employees, which explains why the animation style of Kill la Kill bears such a striking resemblance to that of Gurren Lagann. While the premise of Kill la Kill appears to be one girl's determination to face off against the school and its staff (as shown in the trailer), it also seems to be something of a spiritual successor to both FLCL and Gurren Lagann, blending some of the themes present in both of those shows like a strong lead female protagonist, the goal of taking down a force much larger than oneself, as well as exaggerated weapons and character designs and, of course, a glowing drill or two. Gainax is easily one of my all-time favorite anime studios, and I'll certainly be keeping an eye on the up-and-comers over at Trigger as they prepare to release this very interesting and exciting looking anime.

Anime review: Tengen Toppa Gurren Lagann

Gurren Lagann is effectively one giant satire on the mecha anime genre. Delightfully cheesy catchphrases like “Mine is the drill that shall pierce the heavens!” as well as the combination of two Gunmen to form the series’ titular mech harken back to the mecha boom of the 1980s. Meanwhile, the wastelands that team Dai Gurren traverse, the eventual foray into space, and the focus on character development ring closer to more modern takes on the genre.

The series is split into two story arcs, with the first being slightly longer and of a slower pacing in order to familiarize viewers with the main cast and the desolate world in which they live. This arc, known as the Beastmen War, places the spotlight on Kamina, Simon, and Yoko as they fight the human-animal hybrids known as the Beastmen and rally allies as they forge a path toward the enemy’s capital city. Simon, having spent the majority of his life digging tunnels in his home city, is excited about the opportunity to venture into the wild expanses of the surface world, but is frequently uncertain of his own potential. Kamina prefers to dive headfirst into a battle, and while he might not always have a plan in mind, he constantly provides Simon with words of encouragement. Yoko, lacking a Gunman of her own to pilot, provides support with her powerful sniper rifle and seems to be the most gathered of the three. While Yoko sometimes finds herself frustrated with Kamina’s brash nature, it is quite obvious that she has a romantic interest in him after just a few episodes.

The supporting cast is surprisingly large, especially for a series of this nature. Due to the action-heavy nature of Gurren Lagann it would be easy for the writers to use many of them purely as cannon-fodder and write them off as quickly as they are introduced, but this proves not the case. It’s true that not every character makes it to the finale, but the show does a solid job of rounding out each member of Team Dai Gurren enough to give you reason to care for them as well as tugging at your heartstrings a bit when one of them meets an early end. Granted, few of the supporting cast outside of flamboyant mechanic Leeron, hotshot pilot Kittan, and soft-spoken Rossiu do more than pilot their own Gunmen, but it’s an admirable effort to make viewers sympathize with the cast in a manner that seems neither forced nor distracts the focus of any given episode.

The animation is gorgeous throughout – perhaps even more so during the second story arc, due to the fact that the wasteland environments have been discarded in favor of a futuristic city setting filled with production model Gurren Lagann mechs as well as a journey across the Milky Way and beyond. Bright colors like the red and yellow that decorate Gurren Lagann itself pop on screen, while the dark and dusty interior of the old underground human cities create a mysterious, almost sinister atmosphere. The Gunmen perform many dynamic (and often ridiculous) actions as they combine with one another, dash up mountainsides, fly through the air, and exchange blows with their opponents. It’s hard not to find yourself cheering inside as Kamina and Simon perform one of their silly signature attacks, whether it’s a set of giant sunglasses being flung like a boomerang or the Giga Drill Break tearing an enemy to shreds.

Gurren Lagann does not spend much time explain its backstory. Rather, it opts to show the audience just what sort of a world the characters live in and how the Gunmen operate as a faction. There are a few episodes that are dialogue-heavy and spend a decent amount of time exploring how the world came to be in the position it is now, but by and large Gurren Lagann is a series that knows just what its fans want to see – borderline-ludicrous fighting robot action.

In fact, most of the ‘story exploration’ occurs during the latter episodes of the first story arc and the first half of the second story arc. This lends to the second story arc feeling a bit less action-heavy at first, but ultimately the payoff is nothing short of superb. For a show that follows so many of the conventions Gainax has set forth in their anime over the years, the finale – thankfully – avoids the ‘Gainax ending’ syndrome so many in the anime community have come to hate.

Above all else, Gurren Lagann is just plain fun to watch. While perhaps not the most mind-blowing anime to be released by Gainax, the combination of colorful characters and way over-the-top action makes for one of the most genuinely entertaining viewing experiences I’ve had with an anime in a long while. Its pacing, atmosphere, and themes are consistent throughout, so don’t expect any transitions to dark territory in the style of Neon Genesis Evangelion. Instead, strap in for some intense mecha action, good laughs, and positive vibes (and don’t feel bad if you find yourself marathoning episodes because you are unable to put it down).

My rating: 8.5 (out of 10)

Anime review: Evangelion 3.0: You Can (Not) Redo

Warning: This review includes some spoiler content for anyone who has not viewed Evangelion 2.22: You Can (Not) Advance, and includes some minor spoilers regarding the plot of the beginning of Evangelion 3.0: You Can (Not) Redo. While I generally try my best to avoid including any spoiler content in my reviews, the nature of the Evangelion films makes this difficult. Evangelion 3.0 is especially tricky to review in a manner that does the film justice, due to how different a direction it travels in comparison to the previous films or the original Neon Genesis Evangelion series.

Fourteen years have passed since Shinji Ikari initiated Third Impact and Kaworu Nagisa subsequently intervened with his own Evangelion Mk 06, halting the process. Evangelion 3.0 opens with Asuka and Mari piloting their own Evas in pursuit of Shinji and Unit 01, who are in orbit above Earth and headed planetside in a cross-shaped container. After one very exciting open scene, the group descends through the atmosphere as Kaworu watches on. Shortly thereafter, Shinji awakens onboard the Wunder, the flagship of an anti-NERV organization known as Wille. After Wille engages and defeats some enemy forces, Shinji comes face-to-face with Asuka. Glad that she is alive, Shinji asks her what has happened to Rei. Asuka, who is less-than-ecstatic to see Shinji, informs him that she does not know where Ayanami is, which Misato follows up by implying that Rei is dead. Convinced that he was successful in rescuing her during the Third Impact, Shinji begs for someone to explain what exactly is going on, but his time with these familiar faces is cut short, as Evangelion Unit 00 attacks the Wunder with the goal of retrieving Shinji. Though Misato orders Shinji to remain on board the Wunder, going so far as to threaten his life, Shinji leaves with Ayanami and the forces of Wille are ordered not to pursue.

Shinji's story in Evangelion 3.0: You Can (Not) Redo is very much one of a stranger in a strange land. At times, it carries a similar tone as Evangelion 1.0: You Are (Not) Alone or even the early episodes of the original anime series, wherein Shinji was scared and confused about what all these foreign pressures being thrust upon him meant and why he was chosen to be a protector of all mankind. But in Evangelion 3.0, Shinji's confusion arises from his fourteen-year absence. The moment he returns to the world, he is caught up in a power struggle, and there is little time for anyone to explain to him just what is going on. Asuka and Misato blame him for the current state of the world, while Rei seems to have completely forgotten the dynamic of her relationship with Shinji. Gendo appears before Shinji only briefly to inform him of NERV's plan to build a new Evangelion, and thus Shinji finds Kaworu the only person he can confide in.

Evangelion 3.0 spends less time showing off spectacular battle sequences than the previous installment, in favor of character and plot development. Asuka, Shinji, and Kaworu are easily the three most prominent cast members this time around, though Rei's unfamiliarity with people and habits is of relative significance to Shinji's wrestling with his inner self. The film does well to answer some major questions left lingering from You Can (Not) Advance. A couple of subplots from the original series are revisited and reworked to fit the Rebuild of Evangelion storyline. Religious tones are more specific, with themes of penance for sins and coping with loss taking center stage. Evangelion 3.0 is a much darker film than the two that preceded it, and its second half treads a path that echoes End of Evangelion in certain respects.

When the Evas do enter combat, they look even better than during their last outing, and it is really impressive how the animation team manages to work in so much detail to every scene while keeping everything so clean and visually captivating. The design of Mari's Evangelion Unit 08, the Wunder, and even some of the updated character designs are quite adventurous. Meanwhile, the soundtrack is intense and carries a different feel from those used in the previous films. It is largely comprised of brand new songs, all of which fit the mood of the film very well, from scenes where Shinji and Kaworu are playing the piano to segments where events prior to the film are explained. And of course, the classic Eva battle themes see a few new renditions, with the occasional inclusion of a heavy electric guitar part.

Evangelion 3.0: You Can (Not) Redo zooms in on a very specific place and time in the storyline of this new film series. Whereas Evangelion 1.0 and 2.0 consolidated events most Evangelion fans were familiar with, 3.0 has to slow down and bridge gaps. While it may not answer every burning question fans have about this new film series' story, it does well to set in motion an endgame. By the film's conclusion, viewers should get a sense that there a clear goal in mind for the fourth film's plot, even if we don't know exactly how Hideaki Anno and his team intend to let it play out.

My rating: 9 (out of 10)

25 Days of Anime - #1: Neon Genesis Evangelion

From the outset of my compiling this list, I knew that the top two ranked anime would be neck-in-neck. Both of them are phenomenal and rank among the best series (anime or otherwise) that I have ever indulged in. When it gets right down to it, my decision for which series would be ranked number two and number one was by the smallest of margins, but ultimately Neon Genesis Evangelion won the day.

Neon Genesis Evangelion is one of the most complex and intelligently written series I've ever watched. To this day, it is one of the most highly-contested anime of all time, with fans discussing the different endings and underlying religious themes. It's a series that spends as much time exploring the inner workings of the characters' minds as it does toying with those of the viewers. In keeping with many of the anime on this list, it maintains a balance between the action and the thought-provoking moments. Except that in the case of Evangelion, it makes you think actively more and more as the show progresses. Rewatching the series a second and a third time, I picked up on discrepancies that I did not during my initial viewing, and it's pretty crazy to think just how much attention to detail Hideaki Anno and his creative staff paid when crafting this story.

There are many viewers who would say that Shinji Ikari is a boring, whiny and annoying lead character. Personally, I think his presentation is perfect. He, Rei, and Asuka are all fourteen years old and learning to cope with a number of changes within themselves, let alone the ever-present threat of the Angels. Asuka wants nothing more than to display her skills as an Eva pilot to everyone, while Rei was created for the specific purpose of being an Eva pilot. Meanwhile, Shinji originally doesn't want to go into battle, largely because of his rocky relationship with his father. At the end of the series, he still doesn't want to pilot Eva Unit 01, because people he cares about continue to get hurt. But if he doesn't pilot it, even more people will end up hurt, and so there is a constant inner struggle piled on top of his lack of understanding of girls, his unresolved daddy issues, and his fear of closeness that both results from and perpetuates all of these problems.

What Mobile Suit Gundam did in defining the standards of mecha anime, Neon Genesis Evangelion does in breaking all of those conventions and then redefining them. It's a wildly experimental anime for its day - one that dared to push the boundaries of the familiar and turn many staples of science fiction on their heads. It's an incredible mixture of mecha action, religious symbolism, teenage angst, and Freudian psychology - one that I feel is unparalleled to this day. What begins as a somewhat unorthodox series of teens thrust into saving the planet from monstrous angels breaks down the ideas of just what it means to be human, with the best plot points emerging from the darkest of scenarios.

25 Days of Anime - #9: FLCL

A short but incredibly wacky series, FLCL chronicles Naota's encounters with Haruko and the crazy results of his head being used as a portal to try and find the powers of the pirate king Atomsk. FLCL throws viewers right into the thick of its off-the-wall comedy minutes into its first episode, with Naota's forehead on the receiving end of Haruko's bass guitar. And if scenes including giant robot fights on top of bridges and an overly-intense airsoft gunfight weren't enough, the writing ensures you'll be in stitches every step of the way, with Naota's dad dressing the part of Lupin as well as having written an entire book on the mysteries of Evangelion, his grandpa getting upset over the fact that robot servant Kanti didn't buy him the "Hustler with the Anna Nicole centerfold", and a temporary shift to manga presentation in the debut episode.

Beneath this comedy exterior is a story of growing up. With his brother living in the U.S. and his father less-than-responsible, Naota lives out a dualism of being a teen and practicing self-parenting. His feelings toward hyper-active and bizarre Haruko are initially negative, as he views her as simply another hassle to his daily schedule. And in an interesting twist on the familiar and expected formula, Naota becomes less concerned with keeping things on a strict and regimented schedule and learns to open up, live life a little more loosely, and in the process discovers just what being a teenager is all about.

For its original 2000 release, FLCL looks downright beautiful. For such an experimental release, the anime looks good even by today's standards. The world is bright and colorful, and the soundtrack kickin' thanks to the talents of J-Rock band the Pillows. FLCL is a rare gem - a series that flawlessly combines hilarious characters with a genuine coming-of-age story.

25 Days of Anime - #16: Panty and Stocking with Garterbelt

Let's get something straight - Panty and Stocking is, without question, one of the dirtiest, low-brow comedic works I have ever viewed. It is downright stupid at times, there's a near overload of vulgarities and sexual content, and it's all wrapped up in a strangely cartoonish presentation. Even so, I have found few shows (anime or otherwise) that have made me laugh as hard as Panty and Stocking does. It's so raunchy and inappropriate, yet the dialogue is so perfectly scripted and the jokes perfect in timing and execution.

Panty and Stocking presents a curious scenario where I actually enjoy the subtitled and dubbed versions equally. Much like Sgt. Frog and Axis Powers: Hetalia, both takes are funny, but have different approaches to how they deliver the comedy. In the case of Panty and Stocking, the jokes are rewritten slightly, so that they more or less carry the same implications, but use slang terms and swear words familiar to western audiences. Thus, I found it was very easy to transition into the dub of the anime after having already viewed the original Japanese version.

Each of the characters borders on caricature, with enough time and development allowing them to flesh out a bit more than other similar comedies. The bickering that Panty and Stocking do with Garterbelt is only half as fun as their death battles with resident demons Scanty and Kneesocks. Throw in innocent and genuine modern gentleman Brief and spastic pet Chuck, and you have yourself a recipe for success.

Aside from the highly original art style, the soundtrack is absolutely killer. There are few soundtracks so deeply rooted in a single genre that I find I can immediately learn to love as I did with songs like "Fly Away", "Corset's Theme", and even "D Rock City". Presentation is a huge part of why Panty and Stocking works in the first place, and despite my frustrations with the final episode, I really wouldn't change anything about the series. It's balls-to-the-wall action combined with a take-no-prisoners sense of comedy, and I wouldn't change it for anything.

Anime review: Panty & Stocking with Garterbelt

Panty & Stocking is a comedy that is no-holds barred. It doesn't shy away from vulgar and offensive humor; rather it embraces it, relying on it as a heavy fuel for each episode. It's downright rotten in a lot of cases, but can - at the same time - be absolutely hilarious to those not so easily offended. With only thirteen episodes, the series has only so much time to nail down its formula, and though it does its fair share of experimenting, the final product is a nice balance of comedy and action.

The story begins by explaining that Panty and Stocking are two angels who have fallen out of Heaven's graces and must defeat ghosts on Earth to earn enough coins to return. And that's honestly all that needs to be said for any given episode. It certainly helps to watch the introductory episode first, but there's not a whole lot of consistency between episodes, so watching them out of order won't make a huge difference (save for the very last few). Panty is obsessed with sex, while Stocking loves sweets, and their being angels is more of a title than a reflection of their actual behavior. They frequently swear, kill ghosts, and take out their anger on their pet Chuck.

Most episodes follow a two-part format, with each containing a separate and unrelated narrative. There are only a couple of exceptions, once when the demon sisters Scanty and Kneesocks are introduced, and a second time when three smaller stories are thrown into the mix. The first half of the series follows a pattern of the angels fighting one ghost after another, while the second half opts for a greater emphasis on the characters, pitting the angel sisters against the demon sisters time and time again, and even exploring the sibling rivalry Panty and Stocking have.

With regards to the angels, their differing personalities play off each other quite nicely. As mentioned above, this can sometimes lead to them butting heads, but often it leads to cooperation like Stocking helping Panty in combat by offering up a strategy she hadn't previously thought of (or vice-versa). Personally I found Panty to be the more enjoyable of the two lead characters throughout the series. However, I think a lot of that has to do with the fact that more is revealed about her early on due to how outspoken of an individual she is, whereas Stocking tends to remained more reserved, save for when in the company of Panty and Garterbelt. As for the rest of the major characters, they are all rather one-dimensional, but because there are so few of them, it works to the story's advantage. Scanty and Kneesocks will always put their full faith in whatever latest scheme they've cooked up, while Garterbelt will yell at the angels to get their act together, and Brief will provide many a chuckle through his awkward and unfortunate timing (despite his purest intentions and role as the voice of reason).


Some of the early episodes suffer from the fact that the series can't seem to decide if it wants to be more ironic and full of pop culture references in the style of FLCL (another Gainax work), or if it wants to aim for something more akin to the early seasons of South Park, aiming for crass and offensive. Thankfully, most of this identity crisis is dealt with by the time episode five rolls around, and from there the series does its best to find a balance between those two comedic stylings. Some of the jokes, such as the Transformers parody, are meant for a specific crowd, and those who are not as familiar with the material being parodied probably won't find it to be even half as funny as those who do.

The last two episodes are much more action-heavy than most, and while they are also very story-driven, they don't sacrifice the comedic value. It's a fitting string of events to end on as the series reaches its climax; that is, until the very end of the final episode. I won't spoil what specifically happens, but I will say that Gainax attempts to throw a curveball in the last minute of the show that is neither logical nor amusing. If Panty & Stocking were a more serious anime that aimed to mess with viewers' heads in the vein of Evangelion, such a twist would have been acceptable. But what's really the most frustrating about it is the fact that there is little consistency throughout the entirety of the series that would point to such events happening, especially considering how well the characters involved know each other by the time the story comes to a close. It doesn't completely ruin the final episodes, but it does leave an ugly mark on an otherwise perfect stream of events. If Gainax has no plans to make a second season, it was a really low blow to the viewers. If they do have plans to continue the story, however, their first move should be fixing this error.

The animation style is unique for an anime, and though Gainax has been known to produce some very visually appealing visuals, as was the case with Gurren Lagann, Panty & Stocking's artistic direction is more along the lines of American animated series like Dexter's Laboratory or The Powerpuff Girls. There are, however, a handful of scenes drawn in a more current anime style, most notably when the angels or demons power up their weapons for battle. The defeat of each ghost is shown with an intentionally cheesy live-action prop explosion. The soundtrack is comprised of a number of original compositions by various artists, and maintains a club techno feel throughout which is not only very catchy but also incredibly befitting of the series.


Funimation has announced plans to release the series stateside in 2012, and they will have work cut out for them in dubbing Panty & Stocking. On many occasions, what makes Panty and Stocking's lines or even banter with Scanty and Kneesocks so humorous in the way in which the voice actors pronounce them. Key words are exaggerated (and in some cases become catchphrases for characters), while many English words stick out because of their lack of a Japanese equivalent. There is some Engrish here and there, but for the most part the pronunciations seem deliberate, as a way to set the series' characters apart from the crowd.

Though it has a bumpy start, Panty & Stocking with Garterbelt does well to identify itself as a blend of pop culture references and dirty humor in the end. It's not as brilliantly scripted as some of Gainax's other works, though this is one of the few straightforward comedy series they've done. So with that in mind, the fact that this series realizes and embraces its offensive humor puts it above others in the same subgenre. At thirteen episodes, the series feels neither too long nor too short. It has its shortcomings, but the cast is really what makes Panty & Stocking so enjoyable. And if Gainax plans to make a second season, it will probably flow much more smoothly and consistently, as they can hopefully gather from the first season which elements work and which ones don't.

My rating: 7.25 (out of 10)

FLCL: Complete Collection release date

It's been a while since my last post, and I apologize for the temporary hiatus. I hope to post more frequently after the first of the year. But, speaking of the new year, good news for fans of Gainax and Production IG's FLCL - the series has been picked up by Funimation, who will be releasing it as a complete collection on February 22, 2011 for the reasonable sum of $22.99 for DVD and $33.99 Blu-ray. The DVDs were previously available from Geneon, but have been out of print for over four years now. Ride on shooting star!

Trailer for the DVD/Blu-ray release:

Anime review: FLCL

Naota is bored with his life and his hometown. As he puts it: “nothing amazing ever happens here.” That is until a strange girl with pink hair rides into town on a Vespa scooter and whacks Naota in the skull with her guitar. As unexpected as the intro is, it is both incredibly impactful and important in setting up the events that play out the entirety of FLCL (pronounced ‘Fooly Cooly’).

Naota is a fairly mellow middle school student who doesn’t understand why people get worked up over small things, and doesn’t exactly enjoy the company of his father. He thinks his classmates are too much to take and that his brother’s girlfriend Mamimi is too clingy. But Haruko, as annoying as he claims her to be, piques Naota’s interest more and more as FLCL progresses, and he learns from her how to be free-spirited and enjoy life.


Haruko is an alien who has been tracking down the power of the pirate king Atomsk. She attempts to use Naota’s head as a portal to reach Atomsk and his seemingly limitless power, but Naota’s head yields plenty of other troubles along the way. Each of the objects that erupt from Naota’s head plays a greater role in the end of the series, but for the first three episodes, they are passed off as being relatively unrelated. In order to keep tabs on Naota’s progress and the objects his head spits forth, Haruko convinces the boy’s father to hire her as a maid. Haruko constantly shows up to help Naota deal with the otherworldly creations of his otherwise empty mind, mixing stylized action with a plentiful helping of humor.

Mamimi plays a relatively minor role compared to Naota and Haruko, but is arguably still a main character. She was previously dating Naota’s elder brother, until he left to play baseball in the United States. Now she spends most of her time hanging out with Naota, teasing him about his supposed disinterest in girls. Underneath, however, Mamimi is lonely and doesn’t get along with her classmates well, so she confides in Naota as her only friend.

The other characters are not nearly as developed, but that's to be expected from a series this short. As such, most of them will likely become forgettable in the long run. Some viewers may find the main cast to fit certain anime stereotypes, such as Naota being borderline emo and Haruko being spontaneous in her attempts to accquire the power of Atomsk. This is largely true, and is one of the few weak points of the series as a whole.


Most of FLCL’s best jokes come from poking fun at other anime series, most notably Lupin the Third and Neon Genesis Evangelion. These are used in both more obvious and in-your-face instances, such as Naota’s father’s choice of suits, as well as more subtle references, such as the first major fight sequence atop the bridge drawing inspiration from Gundam and Evangelion. However, the parodies are not limited to anime, as the animators decided to try their hand at recreating South Park with “Mr. Eyebrows” ranting about his romantic problems. Even if viewers have not seen these constantly referenced series, they can still be assured plenty of laughs, from Haruko’s rock star outfit to the outrageous attitudes of Naota’s classmates, and my personal favorite, “Little Prince Curry Goes to New York”, a supposedly mild curry for children that burns Naota’s mouth, causes his grandpa to pass out in his bowl, and gives Ninamori diarrhea. The characters also break the fourth wall from time to time. Naota asks the audience if they are as confused as he is when Haruko begins ranting about famous rock stars, while his father has to cut a scene short because of its apparent high cost for the animators.

The soundtrack is absolutely brilliant, comprised exclusively of tracks from the band The Pillows. Some of their songs may feel a bit similar from time to time, but overall the soundtrack mixes things up enough to convey the moods of each scene quite well. If nothing else, the soundtrack is infectiously catchy. The art style, on the other hand, will probably make viewers pull a double-take to make sure this series was actually produced in 2000. In complete honesty, this series looks so much better than most present-day series. Granted it was only six episodes in length, so the animators had plenty of time to fine-tune things, but even so this is one of the best looking anime ever released, with bright and vibrant colors in the foreground playing off a watercolor-style background. This is one of a select few anime series where I actually prefer the English voice actors over the original Japanese cast, because of how fitting each voice is and how well the character’s emotions are conveyed.


Between the threat of a giant steam iron flattening out the wrinkles of all the brains on the planet, Naota’s grandpa complaining to robot Kanti that he “wanted the Hustler with the Anna Nicole centerfold”, Ninamori growing a giant spider-like alien out of her skull, and Haruko engaging Amarao in a John Woo-style shootout with the neck of her guitar, FLCL does an magnificent job of setting itself apart from the rest of the crowd. Far too often an anime will attempt to parody other series and end up throwing the story off course. FLCL manages to keep things on track, while still maintaining a heaping helping of action and humor. Though it is a short six episodes long, FLCL is one of the best anime of the decade and a major accomplishment for something that was more or less an experiment on Gainax’s part.

My Rating: 9.5 (out of 10)

Anime review: Neon Genesis Evangelion

It has been a little over a year now since my big reintroduction to anime began. While a large part of that was my re-watching various Gundam series, I give the most credit of keeping me interested in the medium to Neon Genesis Evangelion. It’s true that my watching Evangelion for the first time last March was light-years behind the general anime public. But I can honestly say that, despite some confusion I felt while watching it, it is by far my favorite anime series ever conceived.


[WARNING: potential minor spoilers ahead.]


For those not familiar with Neon Genesis Evangelion (as I’m sure there are others like myself who are a bit behind with the times), it takes place in the year 2015, a time when mankind is utilizing NERV’s EVA units to fight off other-worldly creatures known as Angels. Shinji Ikari, the son of NERV head Gendo Ikari, is asked to come to Tokyo-III in order to pilot EVA Unit 01 and fight the Angels. Shinji has not seen his father since he was three years old, and as such, Shinji initially refuses to aid his father, until he sees the severe wounds fellow pilot Rei Ayanami has received from battling the third Angel. Understanding that Gendo plans to send Rei out to fight in this condition, Shinji changes his mind and pilots EVA Unit 01. Shortly after he begins fighting with the Angel, Shinji blacks out after EVA Unit 01 sustains too much damage. We are then given a peek into Shinji’s future relationships with his roommate Misato Katsuragi and fellow pilot Rei Ayanami, as well as the frustration Shinji harbors towards his father. Humurous sequences are sprinkled throughout, a distinct contrast to the otherwise serious and somewhat dark nature of the first two episodes. After the prospects of Shinji’s new life in Tokyo-III are covered, the focus shifts back to the events of the Angel battle, and we see that EVA Unit 01 reactivated without manual override, and entered a “berserker” mode, in which it tore the Angel apart before surviving the Angels’ self-destruction.


The aforementioned is an overview of the first two episodes. As the series progresses things become not only far more complex, but also increasingly dark in subject matter. The religious symbolism becomes more and more frequent, and the true nature of the Angels and NERV are not revealed until near the end of the series. Around the middle of the series, Kaji’s secret investigation teases at what might be, but in the end the truths behind NERV, SELEE, the Angels, and the EVAs are executed as some of the most carefully orchestrated plot twists in any television series.

The characters in Evangelion are all brilliantly portrayed. Around the middle of the series, it becomes obvious that creator Hideaki Anno put plenty of time into developing each and every one of them. A large part of that stems from the fact that there are three main characters, about a dozen secondary characters, and a handful of tertiary characters (depending on how you look at the characters, your interpretation may differ).

Shinji recieves the largest focus, and every so often viewers will get a look into his thought processes from directly inside his head. These sequences often come on without any sort of warning and can be rather trippy, but they are incredibly important to the eventual outcome of the series. As the show progresses, Shinji sort of travels two paths at the same time. One is making him stronger by proving himself in battle through EVA Unit 01, while the other has him questioning what he is fighting for and his increasing distrust and dislike of those around him.

Some fans have expressed a dislike towards the character of Shinji, arguing that he comes off as too cowardly and depressed. While there is a large amount of truth to this, he is fourteen years old and dealing with raging hormones. That combined with the fact that he has never had a good relationship with his father, never had much of a chance to get to know his mother, is thrust into the care of a woman whom he barely knows and who isn't entirely sure of her own parenting abilities, and both figuratively and literally carries the weight of the world on his shoulders, it's not much of a surprise that Shinji acts the way he does. While Shinji may not be the most likeable lead character in any given anime, Anno and his team did a near-perfect job on portratying the realistic effects of that sort of pressure on a teenager.


Asuka Langely Soryu is the pilot of EVA Unit 02, and hails from Germany. She is incredibly determined to prove herself, usually appearing hot-headed and egotistical to her peers. She constantly competes with Shinji to be known as the greatest EVA pilot, a challenge to which Shinji doesn’t much understand nor care her reasoning for. All of this is a façade, however, as it is revealed later on in the series that Asuka and her mother have a very dark past.

Rei Ayanami, pilot of EVA Unit 00, is far more limited in her view of the world. A large part of this is due to the fact that she is not a normal human being, and as such does not fully comprehend the ideas of human emotion, attachments, and questioning others. Rei’s story is mostly of self-discovery and of the understanding of human nature, all from the perspective of an outsider looking in.

Every single character in Evangelion has some sort of psychological or social issue to cope with, some of which are not resolved by the finale. Between the psychological breakdown of the characters and the constant Judeo-Christian symbolism, the series hides a lot more under its surface than the first few episodes imply. As the Angels the pilots are combating become more difficult, their psychological statuses degrade and their relationships with one another strain. Although the giant EVAs and Angels are not exactly applicable to everyday life, the issues and confrontations that the characters face are easy to relate to. For better or for worse, Evangelion will likely be a massive mind trip for many viewers.


The soundtrack of Evangelion is incredibly varied, borrowing from jazz and rock influences, while combining this with traditional orchestral pieces, including Handel’s “Hallelujah” and Pachelbel’s “Canon in D”. Constant reprises of original pieces including “The Beast”, “Thanatos”, and “Borderline Case” will serve as the various themes to the major events in Evangelion, and ultimately fit their respective sequences perfectly. The opening theme of “A Cruel Angel’s Thesis” and closing theme of “Fly Me to the Moon” flow with the series fittingly, even if their sounds do differ a fair amount from the rest of the soundtrack.

Every sequence is animated beautifully, and the team at Gainax should be commended for that, considering their constantly dwindling funds as the series progressed. That said, the Angel fight sequences become less spectacular near the finale, and many animated sequences were repeated in order to save money. Even so, the repetition is effective, especially when used in segments where viewers get a look inside Rei, Asuka, and Shinj’s minds.


I could go on for days about the different theories of Evangelion, the mythology therein, the great debate over which conclusion is the true ending, etc. But whether or not you enjoy the anime will largely depend on how you as a viewer perceive the show’s events. To have someone try and tell you the exact science of Evangelion is a fallacy in and of itself – Hideaki Anno explicitly expressed that some aspects of the show are meant to be open-ended and wholly up to the viewers' interpretation. While this review may be rather vague, it is done as such deliberately. Neon Genesis Evangelion is an incredibly complex anime, and even after the first viewing, I wasn’t convinced I had completely understood everything. Part of me doubts I ever will. As for the acting, the Japanese voice actors do a splendid job in conveying the emotions of their characters, while the English dub is decent enough, but still could have used some fine-tuning. The ending has stirred up a huge amount of controversy among the anime subculture, and I personally prefer the End of Evangelion film ending as opposed to the finale at episodes 25 and 26 of the original series, though I won’t discredit what Anno accomplished with the show’s conclusion. All in all, the series is what you perceive it to be – some people will love it and others will hate it. There is no denying the impact is has had on anime and sci-fi entertainment over the past fifteen years, though, and although I feel there is no such thing as a perfect anime, Neon Genesis Evangelion is about as close as it gets.

My Rating: 10 (out of 10)