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Screenshots Cut # Description/Dialogue Commentary

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Zankoku na tenshi no you ni…

(Like a cruel angel…)

In the darkness, a single point shines like a drop of fallen water. (The beginning of the universe).

A wave of light spreads out.

MDWigs: Here's some interesting production info about the opening itself: Production work for episode #01 was completed in April 1995; episode #02, May 1995. However, the opening and ending sequences were not finalised until September 1995. In other words, they had already completed most of the first few episodes by the time they did the opening, which could explain why Asuka has so few appearances.

Reichu: I was wondering about that. Considering her importance to the series, I found it unusual that Asuka only appears in the OP twice (004a and 057). This is as opposed to...

  • EVA-01: 13
  • Shinji: 12
  • Misato: 9
  • Rei: 8
  • Gendo: 5
  • Ritsuko: 4

Interestingly, this cut is described in the storyboards as “the beginning of the universe”.

Shin-seiki: I always thought of it as a “pulse of energy.”. In episode #19, it is associated with the idea of EVA-01's soul “awakening,” which makes the Eva move without external power.

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A red universe fades in from a black screen.

The camera advances.
thewayneiac: When you see that [Gainax], you know you're in for something unusual.

Reichu: The first of many, many psychedelic backdrops you'll see in the OP (not to mention the actual series). This “nebulous red” motif will turn up again a couple of times.

Image of an angel.
Reichu: The mysterious figure that appears is definitely worth taking note of. Eva tomo no kai has this to say about it:

The graphical figure that appears in the red universe is like a cherub. In traditional Catholic belief, cherubim are the second-to-highest ranking choir of angel. In Biblical tradition, when the cherubim are spread throughout the Garden of Eden, it becomes their duty to prevent Adam and Eve from approaching the Tree of Life.

As far as I can tell, the actual visual resemblance between cherubim and this figure is tenuous, at best. Multiple accounts describe them as being “many-eyed”, which works with the wings here. In the Book of Ezekiel (10:14), they are also described as having four faces, the fourth being that of eagle. While this figure appears only to have one, it could be construed as being vaguely eagle-like. I'm personally of the opinion that it's more like an owl's, being disc-shaped with forward-facing eyes.

The twelve wings alternatively identify this as the infamous fallen angel Sammael (or Samael) — also known as Satan (and often, incorrectly, as “Lucifer”, due to a misreading of Isaiah 14:12). Sammael is usually considered a seraph, a type of angel that's supposed to have three pairs of wings. But it's the extra six that give Sammael away: According to The Legends of the Jews, he was “the greatest of the angels in heaven, with twelve wings, instead of six like all the others.”

As if things weren't convoluted enough, Sammael is sometimes identified with the cherubim; in Parente's The Angels, he is called “the supreme ruler of the order of cherubim”. Interestingly, St. Thomas Aquinas, in Summa Theologica, argues that Sammael, as “the first angel who sinned”, must be a cherub, because “cherubim is [sic] derived from knowledge, which is compatible with mortal sin; but seraphim is [sic] derived from the heat of charity, which is incompatible with mortal sin”.

What does a cherub, Sammael, or both have to do with NGE? The cherubim's task of guarding the Tree of Life from the first humans fits, in a sense, with NGE's Angels' role as being obstacles to humanity's evolution into a god-like being, which is — both symbolically and literally — achieved in the series via various incarnations of the Tree of Life. The juxtaposition of cherub-Sammael with the “inverted tree” in the next cut seems to support this kind of association. As for why Sammael is referenced here, and elsewhere in NGE, by virtue of his twelve wings… I'm out of ideas at the moment.

Shin-seiki: This image includes elements of the visual iconography of the Angels and Evas that occur throughout the series. See more.

Reichu: This NGE site believes that this image is “without doubt a lithograph, or engraving, from the early days of printing in medieval Europe, mostly likely from a monestary, or religious group.” Mike at the Eva Monkey Forums has found one similar depiction of what is apparently Sammael himself (if the twelve wings are any indication) from the columns of the grand dome in the Hagia Sophia Church in Istanbul/Constantinople. (No flaming hair, core, or many-eyed wings, though.) Angelic (or other celestial) beings covered in eyes do not seem uncommon, either; this image of the Signs of the Four Evangelists is one example. The origins of the image at left is still, however, unconfirmed (to my knowledge).

Personally, I'm skeptical about angels in religious documents being depicted with cores, but, hey, you never know.

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Reichu: This transition is interesting. In NGE, star fields with a glowing light in the center are, the thinking goes, used to represent the journey into an Eva's core, i.e, contact being established between the resident soul (dwelling within the core and represented by the light) and the Eva's pilot. A red star field is used in conjunction with EVA-00; with EVA-01, blue, as is the case here.

HeWhoPostsStuff: The way that the stars move towards the viewer reminds me a bit of the way they look whenever the Enterprise warps on Star Trek. As you'll find later, though, there's actually at least one definite “Trek” reference hidden in Eva…

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Shounen yo shinwa ni nare

(Young boy, become a legend)

A graphical figure appears and vanishes on a blue screen.

Reichu: And … enter the Kabbalistic propaganda! This is a variation upon the Sephirotic Tree of Life, "the inverted tree", from a work by Robert Fludd (1574-1637) called Utriusque Cosmi Maioris scilicet et Minoris Metaphysica Physica Atque Technica Historia — or Utriusque Cosmi Historia, for short. Fludd was an alchemical philosopher whose work was met with great controversy when it was first published. UCH, his second and largest work, was originally published in 1617, but apparently this rendition first appeared in the 1621 edition. Getting into the nature of Fludd's work is far beyond the scope of this commentary, but there is plenty of information available about him for those interested. Source

tv33: The Tree of Life. Something about how it's a tree from The Garden of Eden, whose fruit would give those who eat it immortality. Also that it come from the Kabbalah, an aspect of Jewish mysticism. Its paths represent aspects of God and divinity. All that jive…

Shin-seiki: I read somewhere that the Tree of Life is not just a part of the Judaic mystical tradition, but occurs in other religions as well, such as Hinduism, for example. The TOL is, for some reason, depicted as an inverted tree, with the roots on top, and the crown and branches below. The tree-like character of this image becomes more apparent if one composites it and flips it vertically.

 [Reichu: We could really, really use an elaborated and referenced replacement for tv33's comment. References for Shin-seiki's comment would be welcome, as well. I'll do it sometime  ]

Reichu: Before we are inundated with any more religious symbols… I should point out that one of the greatest misconceptions people have about NGE is that the religious content has any actual meaning, at least as far as a religious agenda on the part of the creators goes.

MDWigs: I really dislike this misconception. When asked at Otakon 2001 to explain the symbolism of the cross in NGE, Tsurumaki (assistant director of NGE and director of the Air part of EoE) replied:

There are a lot of giant robot shows in Japan, and we did want our story to have a religious theme to help distinguish us. Because Christianity is an uncommon religion in Japan we thought it would be mysterious. None of the staff who worked on Eva are Christians. There is no actual Christian meaning to the show; we just thought the visual symbols of Christianity look cool. If we had known the show would get distributed in the US and Europe we might have rethought that choice.

Also, the following was posted by bochan_bird on the Eva ML:

According to a very frank and open 40-minute interview by Anno on the NHK TV program Top Runner (www.nhk.org.jp/tr/) about a week or so ago, all religious and philosophical references, while providing a coherent setting for the story, were used for the specific purpose of looking cool and to make Anno & company appear intelligent.

Anno himself called it “pedantry” (the display/parading of one's intelligence), and this is backed up by comments by Tsurumaki and other staff as well. So get over the religious inferences, because THERE IS NO DEEPER MEANING!!!

Hexon.Arq: I'll be perfectly honest and say that I am one of those people who believe that the lack of substance in the religious symbolism is part truth, part blatant falsehood. Things like cross-explosions and esoteric names may fit the description of frivolous window dressing, but other occurrences simply make too much sense to be dumb luck.

MDWigs: Pedantry aside, I think that the religious symbolism used in NGE should be viewed within the context of the show itself and how it oftentimes reinforces some of the themes and ideas being presented. Some of the references are empty and just there to “look cool”, but others do, like Hexon.Arq says, have more "substance" to them — just not in an actual religious context.

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A watery surface and what appears to be a light flickering.

Halations spread out.

Reichu: Incidentally, cut 002 bears only the vaguest resemblance to its storyboarded incarnation (see here and here). Before Sammael has even faded out, the red universe becomes an underwater scene of the “Primeval Sea” or “Soup of Life”. As the camera advances, “Angelic Script” (seen in the final cut) glowing light blue (not unlike the Tree) fades in and out. The angel fades out, then a glistening water surface and rays of light shining through enter the frame (a visual counterpart to the ED). The camera then begins to go towards the sun, breaking through the water's surface and being overtaken by the light. Finally, halations spread (as in the final version).

Eva tomo no kai has this to say about the left:

The same image of the flickering light appears in episode #16 (“Shi ni itaru, soshite”) and episode #20 (“Kokoro no katachi, hito no katachi”). Both times, it is just before Shinji's return to the real world from the entry plug (= the inner universe). Perhaps it is the image seen by an embryo inside its mother's womb of the light coming in from the outside world?

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Black halations ~ title logo.
Reichu: The title appears (and vanishes) in a frenzy of cross-shaped… sparkly things. (The same motif will be used for the eyecatches.) The Japanese characters here read Shin-seiki EVANGERION, which translates literally to “New Century Evangelion”. There is a misconception floating around that the alternate title was created for ADV's sake, while, in actuality, the dichotomy was planned from the beginning. Indeed, “Neon Genesis Evangelion” is there in every single episode at Eyecatch B!

Strictly speaking, calling the alternate title “English” is a bit misleading. It's more accessible to English-speaking audiences than Shin-seiki Evangelion, surely, but that's probably because of the Greek roots at play. English, although a Germanic language, borrows a lot from Greek (either directly or secondhand from Latin). Consulting word etymologies in my American Heritage Dictionary, here's what we get:

  • neon is the neuter form of neos, meaning “new“
  • genesis means “birth” or “origin”
  • evangelion comes from euangelion (ancient Greek had no "v"), which is listed here as meaning "good news". The term is ultimately derived from euangelos, a combination of eu- ("good") and angelos ("messenger" — and, yes, this is where the term "angel" comes from). In modern usage, "good news" has come to refer to the Christian gospel, which is why you'll often see Evangelion translated as “gospel”.

So in absolute literal terms, “Neon Genesis Evangelion” means “New Birth Gospel”. Errrr… okay.

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Aoi kaze ga ima, mune no DOA o tataite mo
Watashi dake o tada mitsumete, hohoenderu anata
(Even though the untested breeze taps at the door to your heart
You just look solely at me and smile)

A blue sky. Shinji fades in (expressionless) and slowly rotates around.
A silhouette of Shinji (back to us) fades in.
Shinji stops at a side profile (wind blows his hair, etc.).
The silhouettes of Asuka and Rei come IN.

Reichu: Meet our charming anti-hero, Shinji Ikari. And at the same time, two of his “love interests”, Soryu Asuka Langley and Rei Ayanami, are introduced as floating nude silhouettes.

thewayneiac: These credits seem to indicate that Shinji's thoughts are full of naked women.

Dr. Nick: Is there something unnatural about that?

Incisivis: I've always found it odd that the characters are shown that way. Fan service, probably, but I think it stands for the way in which some fans seem to relate to the female characters. Showing them naked and in shadow makes them appear vulnerable and mysterious

HeWhoPostsStuff: The “silhouette” depiction always made the aforementioned characters seem “empty” to me…soulless, if you will, just shapes to be looked at, with no other hints of humanity. Maybe I'm just too pessimistic. I'm definitely no expert, but I don't know how many guys fantasize about empty black shapes.

MDWigs: The first track on the Evangelion ADDITION album is a version of Cruel Angel's Thesis sung by Misato, Asuka and Rei. (I think it's supposed to have been sung in character; of course, the actual singers are their respective voice actors.) A while ago I matched the lyrics to the vocalist. What's interesting is that Asuka sings the line “You merely smile and gaze only at me” (Watashi dake o tada mitsumete, hohoenderu anata) right as Shinji turns to face her and smiles. Cue big Shinji & Asuka Vs. Shinji & Rei debate. In my mind, Shinji and Asuka were always meant to be a couple. I think Gainax (and particularly Anno) had that idea from the onset.

Keisuke-kun: On an Asuka-related note… I think it is significant that, even though she is depicted here as naked, Asuka still has the Eva sync clips on her head (you can see the outline).

Reichu: Something could probably be read into that… Asuka is similarly depicted (naked but wearing the clips) in episode #22′. However, it's probably significant that by the time we get to her “nude bathtub shot” in #24, the clips are gone — as is her ability to synchronize with EVA-02 (which she regains in #25′).

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Sotto fureru mono motomeru koto ni muchuu de

(So intent on seeking out that gentle touch)

Misato's hand fades in.
The Sephirotic Tree fades in and out.

Reichu: Hands. Anno loves hands. I'm not sure if it would be considered a ‘director's trademark’, but it is hard to ignore the number of times they are focused upon in various shots. There are also numerous instances where certain types of hand shots are used to make thematic connections through repetition. We'll point these out as we encounter them.

Dr. Nick: Is there any kind of historical or mythological connection between the Tree of Life and Sephirotic System? If nothing else, they kinda look the same. I remember reading a thread about this issue ages ago somewhere, but I have no recollection whatsoever what was actually said in it…

GandalfsWhisper: The Tree of Life (at least the version used in eva) as well as the Sephirotic system are both Kabbalistic ideas.

Dr. Nick: Speaking of the Sephirotic System, I've read a certain theory, whose author believed that each of the system's ten circles (or whatever they're called) represents one of the series' main characters and his / her psychological characteristics (or something like that). I personally think that's over-interpreting things

Jinpun: I would be very wary about advocating this sort of interpretation; I am sure I have seen a similar theory somewhere else, but the characters were assigned to totally different circles. Also, if Rei belongs to any specific circle on the Sephirotic Tree, it would be Malkuth, as we'll see in episode #25′.

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Unmei sae mada shirenai, itaike na hitomi

(Such innocent eyes, still ignorant of their destiny)

Closeup of Misato's face fades in, its movement synchronous with a silhouette.
Misato looks up.

NakedEYE666: Misato is the character I've always associated with the line “desperate for something to touch”. I think that's shown a few times in the series, no?

Reichu: Well, actually, ADV's translation of the song is a bit… loose. Miyuki Takayama contributed a more accurate translation to www.animelyrics.com and made a few comments on this matter:

When ADV “translated” this song, they decided to change the words so that the English “translation” could be sung to the beat of the original song (this is commonly called dubtitling). But in the process of changing the “translation” to fit the beat of the song, they had to take rather big liberties with it, until their “translation” was no longer correct.

MDWigs: Yeah, I remember singing along with it when I first started watching the series, and thought it strange how well the English matched the music

Reichu: So, what ADV “translated” as “desperate for something to touch” really means “something that/someone who touches gently” (sotto fureru mono). Although, yes, Misato can be pretty desperate: She'll go after anything from unkempt-looking men to 14-year-old boys to genetically-engineered penguins if she thinks she can get some good lovin' out of it. And, hey, speaking of penguins, anyone else notice Pen²'s mysterious absence from the OP?

HeWhoPostsStuff: Pen²'s absence is of course due to the fact that he's busy behind the scenes pulling all the strings that affect how the series progresses. C'mon, everyone knows that.

MDWigs: This is pretty telling actually. Pen² was obviously there from the onset (he's in the second episode), but he was left out of the opening. This is interesting because the “cute mascot animal” is a staple of many anime and usually features (at least somewhere) in the opening. All of the other obvious hints in the opening aside, this could be yet another indication that NGE is more than it appears.

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Misato's silhouette changes.

At the same time, her face is replaced with Shinji from the front.
The silhouette looks up.
Misato's silhouette fades out.

Sharp-kun: Misato's breasts seem larger than in the previous shot. Maybe it's just me.

Shin-seiki: I think Misato's posture in this cut may well be intended to anticipate this scene from #21.

Gundampilotspaz: Considering that she is always carring that pain with her, I think it is safe to assume that it has to do with her fathers death.

Reichu: Could be anticipating Kaji's death, as well.

Jinpun: I personally think that the OP portrays these ladies in the nude to show them as humans in their true form, stripped and almost innocent. Here, Misato looks rather lonely to me — but the one she looks up to see is none other than Shinji, who is a source of comfort for her.

As the show progresses, it is revealed that all the characters have problems getting close to other people. The nakedness of the female characters here could symbolize the breaking down of barriers (A.T. Fields) throughout the series.

thewayneiac: As I said in 004a, I think they are showing us what's in Shinji's mind; he thinks of the women in the show in a sexual context first.

A girl within a window frame.

Shinji fades out.

Reichu: Wow, Rei actually has clothes on. For once.

thewayneiac: She does?! Boooo!

Gundampilotspaz: This is such a perfect image. Shinji standing outside, with Rei visable but unable to be touched. This might symbolize not only their emotional relationship but the fact that Rei knows more about Shinji's father than Shinji himself does.

Shin-seiki: I think this is one of the coolest shots in the OP (Rei looks very mysterious and enigmatic). This first thing I noticed about this image is that Rei's right eye is obscured and her right arm is “broken” by the window frame (not to mention it's yet another instance of cross imagery).

Reichu: Wow — very interesting. But doesn't Rei always look “mysterious and enigmatic”? Looks, sounds, heck, she probably even smells “mysterious and enigmatic”. I don't have any evidence to back that up, though.

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Rei's blinking eye super-UP (realistic), fade in.
Reichu: Here, the line itaike na hitomi, or “innocent eye(s)”, is sung. And speaking of eyes…

Shin-seiki: From the Sadamoto interview in the second volume of the manga:

There were two things that went into the decision to make her eyes red: one is the fact that she didn't have enough outstanding features, and the second is from a business standpoint, the makers of the game wanted her differentiated from the other characters, but personally I think it turned out to have a great effect. She's so quiet you can only tell her character from her gaze and her facial expressions; so she leaves the impression of having a strong stare.

Interesting that he makes no mention of the word ‘albino’.

Reichu: Ah, but he doesn't deny that Rei is an albino, does he? ;;>

MDWigs: I really dislike the use of the term “albino” to describe Rei and Kaworu. They are ANIME characters! They can be drawn however the creators desire. As Sadamoto said, he gave Rei red eyes to set her apart. To say she looks like that because she is an albino is silly in my opinion.

thewayneiac: I have always found red eyes to be creepy and disturbing, and tend to dislike anime characters who have them. (This bias has always caused me to dislike Ayeka from Tenchi Muyo, for instance.) I make an exception for Rei, however.

Reichu: A Rei by any other iris pigmentation would be just as creepy and disturbing, in my book. ;;> On another note, the more naturalistic portrayal of Rei's eye here amuses me: Her iris is round like a real human being's, as opposed to being the stylized oval shape typical of anime.

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Entry plug being inserted.
Reichu: Ugh, entry plugs. Don't even get me started on those awful things.

thewayneiac: But if we don't get you started on entry plugs, we won't find out why you don't like them.

Reichu: Oh, don't worry. I'm already formulating a relevant rant for episode #01.

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Entry plug interior UP.
Reichu: This is called the “interior plate”, which contains all the stuff you need to know about the Eva: Home phone number, e-mail address, Social Security Number, maybe even what substances the Eva's allergic to. ::p The cockpit for the pilot can be found below.

HeWhoPostsStuff: In my opinion, it sort of resembles Yui's grave in its layout, with the name/title on top with the date below it. The shape's sort of similar as well… Probably just coincidence, though.

MDWigs: It's interesting to note the date, 2014 here. We are told in the beginning of the first episode that NGE takes place in 2015, with Shinji just arriving. This is the start of (many) date clues in the show.

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Entry plug internal time counter.
felineki: Does anyone have any idea what the “Stop/Slow/Normal/Racing” bit on the energy display is supposed to mean?

Sharp-kun: Heartbeat, maybe?

Dr. Nick: I believe it has to do with the Eva's battery system. Five minutes of running time with normal consumption and one minute with full power (as seen in episode #08), probably all limiters released.

Reichu: I wonder if there's any particular reason why most of the display here is bilingual — other than that, to the Japanese, English is “cool”.

Gundampilotspaz: English is also the universal language of science, and that is most likely why most of the instruments at Nerv HQ are in both English and Japanese. This also is why the markings on the Evangelions, including those made in Germany, China, and the US, all are in English.

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Shinji's hand pushing against the lever UP.
Reichu: The hand levers inside the entry plug cockpit. More on them later.

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Monitor display turning from red to green.
Reichu: The nerve uplink displays seen when connecting pilot to Eva — from a funky angle.

MDWigs: Anno likes funky angles. His directing style is very prominent throughout NGE (I'll try and point out different examples as we go along) and it features in his live-action work as well, Love & Pop in particular.

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Dakedo itsuki kizuku deshou, sono senaka ni wa…

(But someday, you are sure to realize that upon your back…)

Shinji inside the entry plug.
His eyes aren't visible.
PAN UP (throughout the cut).

Reichu: Shinji: “I have to pilot Eva. moan; pout."

Dr. Nick: This series is the epitome of apocalyptic teen-angst, folks.

MDWigs: And just to show that I'm true to my word: the classic pan-up, fade-in cross seen here is used many times through the series. We pan-up on Shinji sitting in the pilot's seat, and then fade-in to a shot of the top of his head (effectively a zoomed-in shot of his head from the previous shot) and then have Shinji raise his head, then open his eyes. The whole transition is very smooth and I think works extremely well.

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Shinji brings his face up slowly.
Reichu: This shot reminds me of some thoughts Yoshiyuki Sadamoto shared on the design process for Shinji:

…finally I tried for a look where you could see the forehead through the bangs, shorter hair — the look of a boyish young girl. Speaking in concrete terms, his eyes are a girl's eyes. I drew them exactly as I drew Nadia's eyes. He's a male Nadia, just as if I had given Nadia a masculine makeover. Lengthen the eyelashes and change the hair style, and you have Nadia.

I've never seen Nadia, though… Anyone care to elaborate for those completely in the dark?

thewayneiac: Fushigi no Umi no Nadia, also known as Nadia, the Secret of Blue Water, is an earlier anime from Gainax, also directed by Anno.

Reichu: Not to mention Sadamoto was (as you might have guessed) the character designer and Shiro Sagisu composed the music.

thewayneiac: It takes place in Gainax's version of the 20,000 Leagues Under the Sea universe, and is about two teenagers, Jean and Nadia, who are taken aboard the Nautilus, which is battling villains from Neo-Atlantis. (Why is it that whenever someone does a 20,000 Leagues spinoff or sequel, they always turn Nemo into a good guy? In the original work Nemo is a madman, preying upon world shipping; here it's the Atlantians sinking all the ships.) Anyway, the story is that Anno suffered through a severe bout of depression while finishing Nadia, perhaps due to being rejected by one of the voice actresses, and Eva is his way of illustrating what he went through while trying to recover.

Reichu: “Being rejected by one of the voice actresses?” Now why does that sound familiar…?

Dr. Nick: And for the record, Shinji himself is voiced by a female, Megumi Ogata.

Reichu: Yet none of the dubs (that I'm aware of, anyway) follow suite. All male voice actors — but at least the French version used (as far as I could tell) a kid whose voice hadn't cracked yet.

thewayneiac: Megumi Ogata, in fact, specializes in playing teenage guys. She is also Yukito from Card Captor Sakura.

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EVA-01 (silhouette-like) rears, slowly and weightily.

Finally, she raises her face.

Reichu: And now, meet the real hero of the show: EVA-01, otherwise known as… well, I'll restrain myself from using my pet name for her. Until episode #16, at least.

Reichu: Commence with the rapidly-flashing images!!!

HeWhoPostsStuff: This next bunch of character images has always been, to me, the “official” character art, if any could be classified that way. Look at any Eva site on the Internet, and there they are, with the “Copyright Gainax/Project Eva” watermark on them.

Reichu: Evidently, they're among the few images that Gainax has condoned free usage of on fan websites. Our commentary page is so going to get sued.

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Ikari UP.
tv33: Gendo Ikari, the true hero of NGE.

Dr. Nick: Now that, if anything, can be argued with!

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A serious-faced Misato.
Reichu: In the following three cuts, the characters' faces are located in the dead center of the frame. (It has a pretty interesting effect if you cycle through these images really fast.)

Gundampilotspaz: Yet starting in 037A040 and continuing with 042 and 043, all of the characters are on alternating sides of the screen. Then, the Seele symbol, Gendo, and Keel are in the exact center of the frame.

Reichu: But Maya is centered… Can't mean anything good for her.

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Ritsuko (the same).

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An expressionless Rei.
Reichu: Rei in her ghetto apartment.

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Haruka mirai mezasu tame no hane ga aru koto

(You have the wings with which to fly to the distant future)

EVA-01 rearing.
An eerie, violent image.
The camera pulls back.
12 wings spring forth!!

Reichu: Looks like EVA-01 forgot to take her Tegretol this morning. WARNING: Epileptic seizures may result in the formation of twelve big-ass energy wings. Did I just say “twelve wings”? [cough]foreshadowing![/cough]

Dr. Nick: Nah, they did it better in the 70's (Seizure Warning!)

Reichu: And now for another WARNING: Anyone who had seizures during the "Pocket Monsters" episode “Den'nou Senshi Porigon” and survived, do NOT click on that link! And just to tie that comment back to something vaguely NGE-related, did you know that the two Porigon individuals in that episode were called “Zerogouki” and “Shogouki”? But back to the OP.

Commentary Navigation
OP Scene List Continue to OP:B >>

Fan Geek Commentary: Scene Index
FGC Index:
Episode 01: Scene 01 | Scene 02 | Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07 | Scene 08 | Previews
Episode 02: Scene 01 | Scene 02 | Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07:A |Scene 07:B | Scene 08 | Previews
Episode 03: Scene 01 | Scene 02 | Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07:A |Scene 07:B | Scene 08 | Scene 09 | Previews
Episode 04: Scene 01 | Scene 02:A |Scene 02:B | Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07 | Scene 08 | Previews
Episode 05: Scene 01 | Scene 02 |Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07 | Scene 08 | Previews
Episode 06: Scene 01 | Scene 02 |Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07 | Scene 08 |Scene 09 | Previews
Episode 07: Scene 01 | Scene 02 |Scene 03 | Scene 04 | Scene 05 | Scene 06 | Scene 07 | Scene 08 |Scene 09 | Scene 10 | Previews