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Neon Genesis Evangelion

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Neon Genesis Evangelion
Company typeAnime television series
IndustryAnimation, Entertainment
FoundedOctober 1995; 31 years ago (1995-10)
FounderHideaki Anno
Headquarters
Japan
Area served
Worldwide
ProductsAnime series, films, manga, merchandise

, frequently referred to as Evangelion, Eva, or by its full title, is a Japanese anime TV series produced collaboratively by Gainax and Tatsunoko Production, with direction by Hideaki Anno. It originally broadcast on TV Tokyo and affiliated stations from October 1995 through March 1996. The narrative unfolds fifteen years following a worldwide disaster, centering on adolescent pilot Shinji Ikari, who is summoned by his distant father, Gendo Ikari, to join the paramilitary organization Nerv. Shinji is tasked with piloting a colossal biomechanical unit known as an Evangelion to combat enigmatic entities called Angels.

The storyline deeply explores the mental and emotional conditions of the Evangelion pilots and Nerv staff as they face the Angels, probing into human psychology and existential questions. The series is acclaimed as a subversion of the mecha genre, integrating symbolic imagery drawn from Shinto cosmology and Judeo-Christian mysticism, including influences from Midrash and Kabbalah. It prominently references psychoanalytic theories from figures such as Sigmund Freud and Carl Jung.

Acknowledged as one of the most influential animated series ever produced, Neon Genesis Evangelion left a profound mark on the anime industry. Its concluding two episodes in the original run were met with controversy due to their abstract presentation, which led to the 1997 release of The End of Evangelion, an alternative cinematic ending. From 2007 to 2021, the Rebuild of Evangelion film series reimagined the story with additional plot developments and a revised finale. The franchise's films, manga adaptations, home video editions, and merchandise have set sales records both domestically and internationally, with related products surpassing Template:JPY by 2007 and Evangelion-themed pachinko machines generating Template:JPY by 2015.

Plot

Set in 2015, fifteen years after the catastrophic event known as Second Impact, adolescent Shinji Ikari is called to Tokyo-3 by his estranged father, Gendo Ikari, who leads the paramilitary group Nerv. Upon arrival, Shinji observes UN forces engaged in combat against an Angel named Sachiel—one of the mysterious beings prophesied in the Dead Sea Scrolls. Due to the Angels’ formidable Absolute Terror Fields (AT Fields), only Nerv’s bio-mechanical Evangelions—synchronized with their pilots’ nervous systems and equipped with protective force fields—are capable of effective resistance. Nerv officer Misato Katsuragi accompanies Shinji into Nerv’s headquarters, where Gendo insists he pilot Evangelion Unit-01 against Sachiel. Lacking training, Shinji is soon overwhelmed and loses consciousness; subsequently, Unit-01 enters a berserk state and independently destroys the Angel.

Following medical treatment, Shinji takes up residence with Misato in Tokyo-3. During his second confrontation, he defeats Angel Shamshel but retreats immediately afterward. Misato confronts him about his flight response, prompting Shinji to commit to remaining an Evangelion pilot. Together with Nerv, he must now face fourteen remaining Angels to avert Third Impact—a potential global apocalypse. After repairs on Evangelion Unit-00 are completed, Shinji forms a bond with its enigmatic pilot Rei Ayanami. With Rei’s assistance, Shinji overcomes Ramiel. Soon after, Asuka Langley Sōryu—a skilled pilot of German-Japanese-American descent—joins them as Unit-02’s operator. The trio successfully defeat several Angels while Shinji’s confidence grows. Asuka moves in with Shinji, leading to a complex relationship that culminates in a kiss.

When Shinji is absorbed by Angel Leliel, he escapes due to Unit-01’s autonomous actions. Later battles involve Evangelion Unit-03 being possessed by an Angel; its pilot and Shinji’s friend Toji Suzuhara suffers permanent injury. Asuka experiences a loss of confidence following defeat and descends into depression exacerbated by Angel Arael’s mental assault forcing her to relive childhood trauma. Rei sacrifices herself by self-destructing Unit-00 to save Shinji but subsequently reappears claiming identity as "the third Rei." Misato confronts Nerv scientist Ritsuko Akagi who unveils dark secrets: including the Evangelion graveyard and Dummy Plug system controlled via Rei clones derived from Shinji’s mother Yui Ikari’s DNA. These revelations leave Shinji emotionally fractured and isolated.

Kaworu Nagisa replaces Asuka as Unit-02’s pilot and develops a friendship with Shinji before revealing his true nature as the final Angel Tabris. He challenges Shinji to kill him for humanity’s sake; despite hesitation, Shinji ultimately kills Kaworu, triggering profound guilt.

After vanquishing the last Angel, Gendo initiates the "Human Instrumentality Project," aimed at merging all human souls to overcome loneliness through forced evolution. Within this process, Shinji confronts his sense of self and recognizes his need for others along with self-acceptance by envisioning an alternate version of himself. This realization enables him to transcend negative emotions and unite with others who celebrate his breakthrough.

Characters

Main article: List of Neon Genesis Evangelion characters

Conceived by Hideaki Anno as reflections of facets of his own personality, the characters in Evangelion wrestle with interpersonal conflicts, psychological trauma, and intricate relationships—allowing audiences either intimate connections or symbolic interpretations.

Shinji Ikari, protagonist and pilot of Evangelion Unit-01, embodies emotional vulnerability shaped by abandonment issues linked to his father Gendo Ikari. He struggles with fears of rejection and isolation but strives forward motivated by his personal mantra: "I mustn't run away." Anno describes Shinji as someone who recoils from human interaction and perceives himself as unnecessary.

Rei Ayanami, pilot of Unit-00, is a clone engineered from remnants of Shinji’s mother Yui Ikari. Initially distrustful and low in self-esteem, she gradually forms a bond with Shinji through shared combat experience. Multiple Rei clones exist as replacements should one perish.

Asuka Langley Soryu, operator of Unit-02, is a prodigious pilot characterized by her fiery temperament and strong pride that complicate her relationships and battles alike. Traumatized by her mother’s suicide during childhood, she suppresses her emotions intensely. Her complex rapport with Shinji draws inspiration from a relationship depicted in Anno's earlier work Nadia: The Secret of Blue Water. Both Asuka and Rei possess personal flaws that obstruct their social integration.

Misato Katsuragi, guardian figure for Shinji and Asuka as well as commanding officer at Nerv, balances professional responsibility with a carefree yet occasionally reckless personal lifestyle. Designed as an older "girl next door" archetype, Misato represents flawed yet relatable humanity. Anno characterized both her and Shinji as hesitant individuals unsuited for traditional heroic roles.

The teenage pilots serve under Gendo Ikari—Shinji's father and Nerv's leader—who abandoned him but summoned him for piloting duties. Gendo engineered Rei clones from his late wife Yui's remains intending them as instruments against Angels to realize Instrumentality goals. His antisocial demeanor combined with fear of humiliation drives ruthless decisions throughout the series. His character design drew influence from personalities featured in British TV series UFO. Yoshiyuki Sadamoto crafted character visuals explicitly conveying their traits; distinctive female designs contributed significantly to merchandise success—with Rei earning monikers like "Premium Girl" for boosting sales of publications bearing her image.

Production

Following completion of Nadia: The Secret of Blue Water and failure of 1992's aborted sequel project Uru in Blue, director Hideaki Anno experienced depression.[1] Subsequently agreeing to collaborate between King Records and Gainax secured guaranteed broadcast time for "anything."[2] Development commenced in 1993 focusing on themes involving confronting responsibility—the protagonist initially evades it but ultimately strives to rescue a heroine.[3] Anno intended Evangelion both to broaden anime fandom and rejuvenate mecha genre.[4] Various formats were considered—including film or OVA—but television was selected for wider reach.[5] The working title was initially Alcion, dismissed due to lack of strong consonants.[5] The series metaphorically mirrored Anno's four-year depressive period embedding personal sentiments throughout.[6]

Critics note that narrative introspection was influenced by Anno's prior work Gunbuster,[7] while structural elements stemmed from Nadia, allowing multiple interpretations.[8] Production encountered significant challenges involving scenario revisions; an initial female lead concept was abandoned.[5] The premiere episode originally depicted an Angel versus Rei battle before introducing Shinji.[9] Post-1995 Aum Shinrikyo sarin gas attack prompted story alterations; cultural critic Hiroki Azuma remarked on its realistic proximity serving implicit critique.[4]

The final storyline drew inspiration from classic anime such as Space Battleship Yamato,[10] Mobile Suit Gundam,[11] Devilman,[12] and Space Runaway Ideon. [13] Literary references included Childhood's End, novels by Ryū Murakami,[14] alongside TV shows like The Prisoner, Thunderbirds, and Ultraman. [15]

Facing tight production schedules; initial cuts for episodes one and two were screened only three months prior to July 1995 airing.[16] By episode thirteen ("Lilliputian Hitcher"), significant deviations had emerged: Angels reduced from twenty-eight to seventeen; ending revised removing Human Instrumentality Project failure following lunar Angel attack.[17]Cite error: Invalid <ref> tag; refs with no name must have content Though Gainax led production efforts, limited personnel necessitated outsourcing much animation work to Tatsunoko Production.Cite error: Invalid <ref> tag; refs with no name must have content

From episode sixteen ("Splitting of the Breast"), focus shifted away from grand salvation motifs toward deep psychological exploration of characters.[18][19] This transition aligned with Anno's growing fascination with psychology concepts. The final two episodes employed introspective storytelling featuring abstract visuals including flashbacks, minimalist line art, photographs accompanied by voice-over narration.[20] While budget constraints were speculated causes,[21] insiders attribute this style choice primarily to Anno's uncertainty regarding how best to conclude the narrative.Cite error: Invalid <ref> tag; refs with no name must have content These episodes polarized audiences and critics alike.[22] In response to backlash, Hideaki Anno alongside Gainax released two feature films in 1997 presenting an alternate conclusion: Death & Rebirth followed by The End of Evangelion. [23]

Themes

The show incorporates symbolic elements from Judaic-Christian mystical traditions such as Midrashic exegesis and Kabbalah, crafting a distinct mythology within the Evangelion universe by reinterpreting these alongside Western esoteric motifs. Angels like Sachiel, Sandalphon, and Ramiel bear resemblance to their religious namesakes. Assistant director Kazuya Tsurumaki explained Christian iconography was employed primarily for exotic visual appeal among Japanese viewers without intended theological significance; creator Hideaki Anno remarked that blending these symbols produces novel interrelations and meanings.

Scholar Patrick Drazen emphasizes substantial references drawn from Japan’s classical texts—the Kojiki and Nihongi—reflecting Shinto cosmology alongside mythical artifacts such as lances wielded by deities Izanagi and Izanami. Judeo-Christian imagery permeates including allusions to figures like Adam, Lilith, Eve, artifacts such as the Lance of Longinus,[24] scriptural sources like the Dead Sea Scrolls,[25] Kabbalistic concepts including Adam Kadmon and the Tree of Life. The Human Instrumentality Project’s soul unification echoes Kabbalistic notions akin to tikkun olam—the spiritual repair or restoration process—and Evangelions themselves resemble Jewish golems while visually evoking traditional Japanese oni demons.

Reflecting Hideaki Anno’s personal battles with depression imparts psychological depth throughout; characters symbolize psychoanalytic themes: Rei embodies schizophrenia aspects plus represents Shinji’s unconscious; Shinji exhibits traits aligned with Oedipal complex; Ritsuko displays Electra complex dynamics substituting Gendo for paternal figure role. Anno consciously identifies with Shinji while also viewing Rei as representing his innermost self; Kaworu functions as Jungian shadow archetype within this framework. Piloting Unit-01 symbolizes Freudian "returning into womb," marking transition into adulthood.

Philosophical concepts permeate including oral developmental stages, introjection mechanisms, emotional ambivalence, alongside death drive theory—all drawing upon thinkers such as Sigmund Freud, Arthur Schopenhauer, and Søren Kierkegaard.

Related media

Main article: Neon Genesis Evangelion (franchise)

Films

Main article: List of Neon Genesis Evangelion movies

In May 1996 Gainax announced plans for an Evangelion film addressing fan dissatisfaction over the TV series conclusion. Released March 15, 1997 was Neon Genesis Evangelion: Death & Rebirth, containing roughly one hour recap footage from episodes one through twenty-four plus thirty minutes new ending footage delayed due to production constraints.[26] Its sequel film ‘’The End of Evangelion’’, premiered July 19 that year delivering a full alternate finale retelling TV’s final two episodes; replacing abstract psychological climax with more conventional action-oriented resolution earning multiple awards,Cite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have contentCite error: Invalid <ref> tag; refs with no name must have content<refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs><refs></refs>. It grossed approximately ¥1.45 billion within six months domestically,
and was ranked fifth best 'All-Time Show' on Ex.org in 1999 while original series placed second.
In 2009 CUT magazine ranked it third greatest anime film ever made.
In July 1998 these films were reissued collectively titled ‘’Revival of Evangelion’’ combining ‘’Death(true)²’’ director’s cut version plus ‘’The End of Evangelion’’.

Gainax later developed new animated feature series titled ‘’Rebuild of Evangelion’’ consisting four films retelling initial six episodes then expanding story introducing new characters/Evas/Angels:
‘’Evangelion:1.0 You Are (Not) Alone’’ released September 1, 2007;
‘’Evangelion:2.0 You Can (Not) Advance’’ June 27, 2009;
‘’Evangelion:3.0 You Can (Not) Redo’’ November 17, 2012;
and final installment ‘’Evangelion:3.0+1.0 Thrice Upon a Time’’ debuted March 8, 2021 after several delays.

In addition during Japan Animator Expo in February 2015 studio Khara collaborated with Dwango releasing short CGI film titled ‘’Evangelion:Another Impact’’ directed by Shinji Aramaki. This depicts activation/rampage sequence featuring an Eva unit set within alternate world context.

Manga and books

Main articles: Neon Genesis Evangelion (manga), Neon Genesis Evangelion: Angelic Days, Neon Genesis Evangelion: Shinji Ikari Raising Project, Neon Genesis Evangelion: Campus Apocalypse, Neon Genesis Evangelion: Anima, and Petit Eva: Evangelion@School

Character designer Yoshiyuki Sadamoto created manga adaptation prior to anime broadcast initially serving promotional purposes; first chapter appeared February 1995 issue of ‘’Shōnen Ace’’. Releases occurred irregularly over eighteen years concluding June 2013 despite early publisher doubts about Sadamoto’s commercial viability—the initial ten volumes sold over fifteen million copies while volume eleven topped Tohan charts adding two million more sales total; manga won ’96 ’’Comicker’’ fan poll award.
Numerous spin-off manga followed including mystery-themed ‘’Neon Genesis Evangelion: Campus Apocalypse’’ omitting Evas entirely plus parody ‘’Petit Eva: Evangelion@School’’ which also inspired original net animation adaptation.

Soundtracks and music

Main article: Music of Neon Genesis Evangelion

Most soundtrack compositions credited to Shirō Sagisu, whose music achieved high positions on Japan’s Oricon charts including number one placement for ’’Neon Genesis Evangelion III’’ album released in ’97; Sagisu received Kobe Animation award same year for Best Music Score associated with series soundtracks which incorporate classical works by composers such as Ludwig van Beethoven,Johann Sebastian Bach, Giuseppe Verdi,and George Frideric Handel.
Subsequent franchise films continued blending classical symphonic scores alongside original compositions totaling twenty-one studio/live/compilation/soundtrack albums plus six CD singles overall.
Opening theme song "A Cruel Angel's Thesis" performed by Yoko Takahashi ranks #55 overall best anime theme song per TV Asahi polls plus #18 best ’90s anime theme; fifteen years after release it received JASRAC annual royalty award acknowledging ongoing use across pachinko/pachislo/karaoke venues among others.
Ending theme "Fly Me to the Moon" features performances by Claire Littley along various voice cast members.

Video games

Multiple video game adaptations span genres such as RPGs,adventure game, mahjong,and card games based on franchise themes along visual novels inspiring romance/comedy manga spin-offs like ‘’Angelic Days’’ plus ‘’Shinji Ikari Raising Project.’’

Japan

Initial Japanese home video releases appeared on VHS/LaserDisc titled “Genesis 0:(volume number)” each containing two episodes per volume for first twelve volumes; minor episode edits occurred including extended scenes added between episodes twenty-one through twenty-four.“Genesis 0:13”and “Genesis0:14” included both original broadcast versions plus alternate endings matching those featured in ’’Neon Genesis Evangelion: The End of Evangelion.’’ A fifteenth LaserDisc “Genesis0:X” compiled broadcast versions for episodes twenty-one through twenty-four available via mail-in offer exclusive for fans acquiring all fourteen prior discs.

First DVD release comprised seven volumes each containing four episodes—with seventh volume offering both original plus alternate endings matching previous LaserDisc/VHS editions; films also issued separately in special set format.In years spanning ’00–’01 three box sets commemorated fictional Second Impact event timeline within series:
‘’Second Impact Box’’ contained original episodes plus both movies across nine DVDs divided into three boxes featuring broadcast/theatrical cut versions respectively.The third box included video game ‘’Girlfriend of Steel.’’

On June25th ’03 nine-volume Japanese-only “Renewal of Evangelion” DVD set featured improved audio effects/mixed dialogue/remastered surround soundtracks.Volume one through eight covered all twenty-six episodes including dual versions for episodes twenty-one through twenty-four featuring extended cuts previously released alongside reconstructed shorter broadcast versions restored from early LaserDiscs without censorship.Volume nine contained ’’Death(true)²,’’volume ten included ’’EndofEvangelion’’ excluding ’’Rebirth.’’ This Renewal Project formed basis for western “Platinum Edition.”

December1st ’14 Studio Khara announced Blu-ray box set containing new HD remastering covering entire TV series/video versions for episodes twenty-one through twenty-four plus both movies offered under ’’RevivalofEvangelion’’ director’s cut label based on Renewal project alongside original theatrical editions.

August26th ’15 saw release DVD set ’’ArchivesofEvangelion’’ celebrating twentieth anniversary containing original unaltered broadcast version plus broadcast version ’’Death(True)&Rebirth’’ aired January ’98.

Following Gainax bankruptcy/closure May–June ’24 Studio Khara officially acquired full copyright ownership over entire ’’Evangelion’’ franchise.

ADV Films

ADV Films distributed series across North America/Europe releasing thirteen English VHS tapes August20th ’96 through July7th ’98 each containing two episodes mirroring Japanese “Genesis0:(volume number)” titling.Also issued two LaserDisc collections titled ’’Collection1 Deluxe Edition’’and ’’Collection2 Deluxe Edition’’ covering episodes one through eight.First DVD release came in form eight-disc ’’Perfect Collection’’(2002) featuring original installments.Two DVD compilations released in ’04 titled ’’NeonGenesisEvangelion: Resurrection’’and ’’Genesis Reborn,’’containing director’s cut versions episodes twenty-one through twenty-four alongside originals twenty-one through twenty-six.

“Platinum Edition” announced ’04 spanned seven DVDs released between July27th ’04-April19th ’05 containing all twenty-six original episodes plus four director’s cuts from episodes twenty-one through twenty-four.Six-disc “Platinum Complete Edition” launched November22nd ’05 omitted extras like commentary/trailers.Seven-disc “Platinum Perfect Collection” November27th ’07 restored extras packaged within tin case version.

November18th ’08 ADV released seven-disc “Holiday Edition” marking last DVD release for series.By late November ’11 ADV announced series going out-of-print within U.S.market.

Madman Anime

Since ’98 Madman holds rights across New Zealand/Australia where ’’Evangelion’’ aired on Special Broadcasting Service during ’99.Madman also retains home video licenses covering ‘’RebuildofEvangelion’’ films.

Netflix

On November26th ’18 Netflix acquired global streaming rights covering original TV series plus films ’’Death(True)²’’and ’’The EndofEvangelion,’’ scheduling release Q2 ’19.Premiere date announced June21st ’19 featuring new English dub produced under Studio Khara translator Dan Kanemitsu selecting fresh voice cast replacing ADV dubs.New dub praised for performances but updated script criticized for downplaying key relationship between Shinji/Kaworu.Due licensing restrictions Netflix release excludes “[Fly Me To The Moon]” outside Japan.

Anime Limited and GKIDS

May30th ’20 UK distributor Anime Limited acquired home video rights UK/Ireland releasing ‘‘Ultimate Edition Blu-ray’’ planned ‘21 marking first international Blu-ray edition.North American distributor GKIDS licensed original TV/films October3rd ‘20 planning home video/theatrical/digital releases plus Ultimate Edition Blu-ray launch ‘21 marking first North American Blu-ray availability.August30th ‘21 GKIDS announced Collector/Standard/Ultimate Editions:
Collector/Ultimate include classic ADV/Manga Entertainment English dubs/subtitles.Standard edition includes Netflix dub/subtitles.All releases omit “[Fly Me To The Moon]” due licensing issues.Standard edition launched November9th ‘21 followed Collector/Ultimate December8th ‘21.GKIDS digital release November2nd ‘21 preceded Standard Blu-ray six days offering Netflix dub/subtitles exclusively.

Reception

Upon initial airing domestically/internationally ‘‘NeonGenesisEvangelian’’ garnered widespread acclaim.On review aggregator Rotten Tomatoes it holds perfect approval rating based on thirty-one reviews averaging score8.3/10.Critics highlight it both cultural landmark within Japan plus auteur-driven vision combining mecha excellence alongside profound exploration depression.Paste/IGN rank it among greatest anime ever created.Critics praised rich characterization layered narrative complexity.Max Autohead rated perfect10 Hyper magazine ‘98 praising storyline psychological depth.GameFan awarded grade A same year.Mike Hale New York Times described it ‘09 superior anime giant robot tale unusual depth feeling detail.

Reception polarized post-broadcast especially concerning final two experimental abstract episodes provoking debate over perceived narrative ambiguity.Some found ending profound others confusing even English voice actors struggled interpreting.Mainichi Times noted nationwide discourse.Anno defended artistic choices critic Zac Bertschy argued backlash stemmed largely audience reluctance engage deeply.Despite controversy enduring popularity remained intact.Beyond core fandom ‘‘Evangelian’’ evolved social phenomenon generating extensive media coverage academic analysis worldwide studied sociologists critics scholars including Susan J.Napier William Rout Mari Kotani Hiroki Azuma Yuriko Furuhata Marc Steinberg.Series recognized critique/deconstruction mecha genre.Japanese critic Manabu Tsuribe termed it extremely interior reflecting contemporary social pathology.Anime News Network Theron Martin emphasized distinctive sexy character designs innovative mecha aesthetics favoring sleek menacing forms.Mike Crandol called it one all-time great animation works.’‘Cinefantastique‘‘04 listed among top ten essential animations.

Awards

Consistently ranked highly popularity polls winning first place Best Loved Series Anime Grand Prix ‘96/‘97 while ‘‘The EndofEvangelian‘‘ took top prize ‘98 becoming first franchise winning three consecutive awards.INg ranked tenth Top100 Animated TV Series.Animage placed third anime remembered21st century.EX.org readers voted best US anime release ‘98 second-best show all time ‘99.TV Asahi poll ‘07 rated second most appreciated Japan.Japan Media Arts Festival survey ‘06 named most popular anime ever.Series won Animation Kobe awards ‘96/‘97 eighteenth Nihon SF Taisho Award Excellence Award first Japan Media Arts Festival ‘97.Film ranked sixth Wizard‘s Anime Magazine Top50 Anime North America.Rei Ayanami consistently topped female character polls while Shinji led male categories.Newtype magazine recognized both most popular characters ‘90s.Theme song “[A Cruel Angel‘s Thesis]” won Animage Best Song award ‘96 ranked eighteenth best anime song since ‘90 per TV Asahi.Also named suicide scene Ayanami among most moving moments anime history.

Influence and legacy

‘‘Evangelian‘‘ profoundly impacted Japanese popular culture revitalizing anime industry amid slump during late1980s/1990s.CNET reviewer Tim Hornyak credited it transforming giant mecha genre.Post-economic crash it reset standards emphasizing authorial control higher episode quality cinematic directing style reducing merchandising dependence.TV Tokyo‘s Keisuke Iwata credited ‘‘Evangelian‘‘ expanding global reach prompting reevaluation cultural value making medium more accessible internationally.Contributed mainstream acceptance otaku culture.Regular reruns broadened fanbase while themes sparked interest literature surrounding Dead Sea Scrolls Kabbalah Christianity.Critics identify influence across numerous subsequent anime including ‘‘Serial Experiments Lain‘‘ ‘‘RahXephon‘‘ ‘‘Texhnolyze‘‘ ‘‘Guilty Crown‘‘ ‘‘Boogiepop Phantom‘‘ ‘‘Martian Successor Nadesico‘‘ ‘‘Gurren Lagann‘‘ among others.References appear across Japanese Western media including ‘‘Magical Shopping Arcade Abenobashi‘‘ ‘‘Hayate Combat Butler‘‘ ‘‘Regular Show‘‘ ‘‘Rick Morty‘‘ films ‘‘Kong Skull Island‘‘ ‘‘Nope‘‘.Show‘s religious/mecha blend influenced video games such as ‘‘Xenogears‘‘ ‘‘El Shaddai Ascension Metatron‘‘.

Character design Rei Ayanami inspired late‘90s archetypes like Ruri Hoshino(‘Nadesico’) Lain Iwakura(‘Serial Experiments Lain’).Asuka influenced characters Excel(‘Excel Saga’) Mai(‘Gunparade March’).Italian critic Guido Tavassi noted human-like mecha designs abstract Angel concepts shaped future aesthetics.Nobuhiro Watsuki based several ‘‘Rurouni Kenshin‘‘ characters on those from ‘‘Evangelian.’’ Influenced creators include filmmaker Makoto Shinkai manga artist Gege Akutami(‘Jujutsu Kaisen’).Hideaki Anno reused stylistic elements live-action projects like ‘‘Love Pop‘‘ animated show ‘‘Kare Kano.’’

Series also impacted music inspiring British band Fightstar debut album Grand Unification Japanese band Rey named after Rei Ayanami.


Merchandising

The widespread acclaim of Neon Genesis Evangelion propelled merchandise revenue to surpass $400 million within just two years following its debut. The franchise secured a dominant position in the Japanese market by offering a broad range of products appealing to multiple demographics, such as mobile phones, laptops, soundtracks, DVDs, collectible figures, phone cards, and an exclusive series of Japanese currency. Initially, certain toy manufacturers expressed concerns about the intricate mecha designs, deeming them challenging to produce and uncertain about their commercial viability. Nevertheless, Sega acquired the licensing rights for all toy and video game merchandise. By the time the films Death & Rebirth and The End of Evangelion were launched, merchandise sales had exceeded $300 million, with approximately 70% generated from video and laser discs, soundtrack CDs, computer software, and manga publications.

The franchise's triumph in the home video sector set new sales records that remained robust even more than ten years later. Sales of home video formats outperformed those of other anime series from the same era by a factor of two to three. Critic Guido Tavassi noted that the series played a crucial role in popularizing DVD technology in Japan and contributed billions of yen to the national economy. By 2006, Matt Greenfield estimated that the franchise's total earnings had surpassed US$2 billion. In 2007, it was reported that sales of around 6,000 related products had reached over ¥150 billion. By 2015, over two million Evangelion pachinko and pachislot machines had been sold, generating revenue amounting to ¥700 billion.

Official sites

Additional resources and articles

  1. ↑ Takeda (2002), pp. 155–158
  2. ↑ King Records representative Toshimichi Ōtsuki played key roles.
  3. ↑ Takeda (2002), pp. 15, 165–166
  4. ↑ 4.0 4.1 Cite error: Invalid <ref> tag; no text was provided for refs named Woznicki
  5. ↑ 5.0 5.1 5.2 Cite error: Invalid <ref> tag; no text was provided for refs named Mond
  6. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named What-were-we-making
  7. ↑ Fontana & Tarò (2007), p. 66
  8. ↑ Lamarre (2009), p. 165
  9. ↑ "Collection"
  10. ↑ Napier (2002), p. 424
  11. ↑ Murakami
  12. ↑ Saito & Azuma (2009), p. 94; Fujie & Foster (2004), p. 76
  13. ↑ Fujie & Foster (2004), p. 75
  14. ↑ Lamarre (2009), pp. 153–154
  15. ↑ Fujie & Foster (2004), p. 9
  16. ↑ Takeda (2002), pp. 161–162
  17. ↑ "Collection"
  18. ↑ "Thouny"
  19. ↑ "Azuma"
  20. ↑ Napier (2002), p. 428
  21. ↑ "TheTimes"
  22. ↑ Saito & Azuma (2009), p. 25
  23. ↑ Tavassi (2012), pp. 341–342
  24. ↑ Camp & Davis (2007), p. 249
  25. ↑ Fujie & Foster (2004), p. 63
  26. ↑ Tavassi (2012), p. 275
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