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All of these stories and the questions they raise coalesce to become one of the most powerful, visually stunning, intellectually probing anime in the medium’s history.fans have often characterized it as two shows in one. (Sub out Shinji for one of the other teenage pilots; rinse, repeat.) And then episode 14 rolls around.
Its characters deal with past trauma; experience sexual awakenings; explore death, rebirth, and eternity; and struggle to find personal meaning in a time of apocalypse.
Not only was the series hugely existential, it was also extremely religious, full of references to Judaism and styled as a sci-fi retelling of the biblical Book of Genesis.
(The fourth and final of these films is due in 2020, eight years after the third film’s 2012 premiere.) (pronounced ay-VUH), sounds straightforward on its face.
The year is 2015 — 20 years in the future from the series’ 1995 debut — and Earth has been irrevocably damaged by an event called the Second Impact.
The movie offers a gruesome, violent, relentlessly cruel take on the original ending, a horror film to the TV show’s psychological drama, and one that directly comments on fans’ critical response of the original ending.
anime, in that it was only nominally about fighting robots; at its core, it was a deeply philosophical exploration of humanity and what being “human” even is.
The first half of the series is relatively formulaic: Shinji doesn’t want to pilot the big robot because he doesn’t want to get hurt in a fight against an Angel. Episode 14 recaps the previous 13 episodes’ storyline for about half of its runtime.
The rest of the episode then shifts gears and tweaks the anime’s tone from that point on.
Much of that dissatisfaction was due to rumored budget cuts, tight scheduling issues, and creative differences on how to end the show, resulting in a finale that excises all the fighting robots and turns inward for 40 minutes of an introspective back-and-forth between the characters.
We won’t spoil any of the details, but suffice to say that , a feature film that came out in theaters in 1997 and that shirked the constraints of basic cable TV and 22-minute runtimes.