recurring visual imagery: mother + draping
neon genesis evangelion, dir. hideaki anno (1995)
recurring visual imagery: mother + draping
neon genesis evangelion, dir. hideaki anno (1995)
the second half of end of evangelion is titled “magokoro, wo kimi ni” which is the japanese title of the movie charly (1968), which of course, is the film adaption of the 60s sci-fi book flowers for algernon. (par the course for anno; episode 26′s title “the beast that shouted ai at the heart of the world” is taken from the 60s sci-fi harlan ellison novel of the same name, and the final episode of nadia is named after the 70s sci-fi novel inherit the stars by james p. hogan.)
magokoro, wo kimi ni translates into “my purest heart for you”. for those who’ve read the book, flowers for algernon ends with charlie’s dying wish to alice kinnian - that she water his flowers and place them on algernon’s grave. we can probably trace the inspiration from kaji’s dying wish of misato - that she water his flowers - to flowers for algernon as well. (it’s worth noting the book saw immense popularity with japanese audiences, so much that it was adapted into two stage plays in 1987 and 1990, and a j-drama in 2015.)
in my conversations with people regarding evangelion’s anti-semitism, initially they’ll have no idea what i’m talking about only to be horrified and bewildered by how far its reach extends in this show. it’s good practice to be aware/cognizant of certain recycled narratives that nearly always indicate nazi-ism.
it’s impossible to extricate evangelion from the anti-semitism it trafficks in - we have keel lorenz, whose name is an unclever amalgamation of a categorically jewish first name and the surname of the infamous nazi doctor anno named him after, who heads a shadowy, undercover cabal whose influence precedes governments, military, and even alien beings (sound familiar?) much of NGE borrows from the protocols of the elders of zion: seele exploits and is guided by the dead sea scrolls, an ancient jewish text, while simultaneously carrying out apocalyptic charges against unsuspecting innocents. the imagery linked to them by association - the hebrew tree of life, or the judeo-masonic eyes, are borrowed from kabbalahistic myth and tradition.

the stereotypic hooked noses. i wonder where they found this trope.
there is the strange, curious trend on part of anti-semites to insist many nazis were secretly jewish themselves, or otherwise approximate-to-jewry in some form or fashion (think of the obsession with tracing hitler to remote jewish ancestry). one only has to search “keel the wandering jew” to get a glimpse. there is of course, no shortage in characters who are 1) nazi jews or 2) jews influenced by nazis in anti-semitic media. anno clearly drew MUCH inspiration from this canon of thought, and made no effort to hide its influence on him.
In case you haven’t heard, Khara (the animation studio working on Eva Final/3.0+1.0) is liveblogging their progress as the film nears completion. Based on their tweets, they’re currently in the editing stage of the film (yes, that’s the back of Anno’s head there), and clearly have no qualms about interacting with fans. If you want to keep abreast of Final’s latest developments, I’d keep an eye on this account for when they inevitably set the hype train in motion.
recurring visual imagery: door sign + home alone
neon genesis evangelion, dir. hideaki anno (1995)
this christmas, have a badly rendered video of misato katsuragi belting the chorus to “jingle bells” in her awful, yet strangely endearing singing voice

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