Theory and Analysis:Final Scene in End of Evangelion: Difference between revisions
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It appears likely that Shinji might have spent some time alone in the beach before Asuka showed up, as some elements in the scene indicate: | It appears likely that Shinji might have spent some time alone in the beach before Asuka showed up, as some elements in the scene indicate: | ||
* There are several standing pieces of wood that, according to the script<ref>According to translations of the original script by Reichu and Bochan_Bird, | * There are several standing pieces of wood that, according to the script<ref>According to translations of the original script by Reichu and Bochan_Bird, (archival link to be added). The excerpt is: 墓標らしきもののが並んでいる (一本だけケリ倒されたもの有) <i>“What appear to be gravemarkers stand in a row. (Only one is kicked down)”</i>. Old discussions by Olivier Hague at EML also refer to this - [https://web.archive.org/web/20111010232547/http://eva.onegeek.org/pipermail/oldeva/2001-July/040044.html]</ref>, are meant to resemble grave markers, one of which has been broken in half. This could be interpreted as Shinji setting up grave markers for all those whom he knew. The one with Misato's cross would, therefore, represent her grave. It is also possible to see a Yebisu can near of her “grave”, in a certain state of deterioration. | ||
* [[Misato Katsuragi|Misato's]] cross is rusted, or more specifically, the nail that is holding it. It has been suggested that this could merely be blood washed over on the cross, as LCL is said to resemble blood multiple times. However, the fact that rust is specifically falling from the nail is telling, because it means that either there has been enough time for a nail to rust, or, alternatively, if Shinji found the nail already rusted, the water or humidity could have made the rust spill on the cross. Regardless, there needs to at least have been enough time for the rust to drip down in the first place. | * [[Misato Katsuragi|Misato's]] cross is rusted, or more specifically, the nail that is holding it. It has been suggested that this could merely be blood washed over on the cross, as LCL is said to resemble blood multiple times. However, the fact that rust is specifically falling from the nail is telling, because it means that either there has been enough time for a nail to rust, or, alternatively, if Shinji found the nail already rusted, the water or humidity could have made the rust spill on the cross. Regardless, there needs to at least have been enough time for the rust to drip down in the first place. | ||
Revision as of 05:16, 6 September 2021
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"The story presented to the public was just a cover-up." |
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"You mean you couldn't read the questions in Japanese?" "Right, I haven't learned all the Chinese characters yet. We didn't study it in college over there." |
The final scene of End of Evangelion is source of some of the most fruitful discussions among fans over the years, based on in-depth analysis, interviews with the Seiyū, theories based on philosophy and much more. This article aims to assess some of the main points of view that have emerged over the years, building a solid narrative about what we can extract from the scene and its meanings within the show.
It is important to keep in mind that the information described here is sourced from information of different canonical validity and partial translations. Thus, there may be conflicting analysis and points of view, however, this does not invalidate these sources as a whole, as they have the purpose of helping to elucidate plot points. That it is up to the reader, however, to keep in mind that this type of information is susceptible to falsifiability and may be modified later.
ONE MORE FINAL: I need you.
After the eyecatch, we're introduced to the dead figure of Lilith, with Half of her face gone and in a stoic expression. Ahead of her, we can see stakes raised in the ground, with one of them broken. The scene focuses on another one, showing the cross Misato gave to Shinji, in a rusted state.
The scene of a petrified Eva in a deteriorated state is shown, and a beach scenario is then presented, with a red sea, as result of the LCL that was diluted during Third Impact. The Moon is shown with a bloodstain as result of Lilith's death. This scene will still be emphasized a few times during the sequence.
We are then shown to the two surviving protagonists: Shinji and Asuka. They are lying side by side with their eyes open. Their hands are shown next to each other. Asuka has her arm bandaged, it's the same arm that was severely injured during the battle with the Mass Production EVAs.
Shinji then looks to his left side with an expression of confusion. From his point of view we are shown Quantum Rei, apparently floating amidst the sea of LCL, which we can now see clearly that it’s above the city's buildings. Shinji's gaze changes from confusion to a stoic tone as Rei's mysterious figure disappears. Shinji stands up in the same way and then heads to Asuka. We are presented with more exterior scenes: the destroyed and submerged city, the enigmatic vision of the moon, and the bloodstain in the sky, which basically forms a red rainbow.
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The next scene starts one of the most discussed sequences in the franchise: Shinji climbs on Asuka and starts strangling her, increasing the pressure of his fingers on her neck. Asuka visibly suffers, but her reaction is to caress his face, slowly and calmly. Immediately, Shinji releases her and his tears fall onto Asuka's face. He is sobbing, finally sketching a stronger reaction in this sequence, as she is shown with an enigmatic stoic face again. With the scene returning to show the two of them apart, Asuka utters the last sentence of the film: kimochi warui, which can be translated as “I feel sick” or “How disgusting”.[1]
Passage of Time
It appears likely that Shinji might have spent some time alone in the beach before Asuka showed up, as some elements in the scene indicate:
- There are several standing pieces of wood that, according to the script[2], are meant to resemble grave markers, one of which has been broken in half. This could be interpreted as Shinji setting up grave markers for all those whom he knew. The one with Misato's cross would, therefore, represent her grave. It is also possible to see a Yebisu can near of her “grave”, in a certain state of deterioration.
- Misato's cross is rusted, or more specifically, the nail that is holding it. It has been suggested that this could merely be blood washed over on the cross, as LCL is said to resemble blood multiple times. However, the fact that rust is specifically falling from the nail is telling, because it means that either there has been enough time for a nail to rust, or, alternatively, if Shinji found the nail already rusted, the water or humidity could have made the rust spill on the cross. Regardless, there needs to at least have been enough time for the rust to drip down in the first place.
- The moon cycles change between the first post-Impact scene when Lilith is dying to the ending scene. Assuming that the moon hasn't been affected by the events of Third Impact, they seem to indicate at least two weeks have passed between those scenes.
A much longer time than that would become increasingly difficult to sustain, as Shinji physically doesn't look so different from his natural state, with his clothes in a decent state, except for his dirty shoes. He doesn't seem to have aged significantly either.
What we can speculate is that this is the first time Shinji has met another person after the end of the Third Impact, regardless of how long it has been. Why he was lying on Asuka’s side can be discussed later with other evidence. As such, this scene probably takes place shortly after Asuka returns to her physical state, with her body healed but wrapped in bandages. Whether she moved to Shinji by her own decision or whether he found her is unknown.
The passage of time linked to Shinji Ikari's mental state is also the result of a lot of debate, considering that he leaves the instrumentality in a relatively positive state of mind, willing to live in the real world, but has eradic and bizarre actions when encountering another human being, indicating a supposed state of mental suffering. His ability to discern between the real world and instrumentality could be severely affected, leading Shinji to a state of disbelief. The short appearance of Quantum Rei enhaces his doubt, given the unreality of the scene. The aggression, in that case, would be a way to confirm that it was the real world, since the real Asuka would fight for her life or react in order to avoid his approach.
Factors such as survival, nutrition and the general state of the world are left to the public's interpretation. In fact, it's not even possible to imply that Shinji and Asuka are the only humans to have come back to life at that point[3], but rather that it's the first time they've met each other. These points also help to elucidate the symbolic and metalinguistic aspect of this sequence, expressing the reestablishment of humanity's contact the other, on an individual level.
Stranging and Hands Symbolism
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Throughout the anime, scenes involving hands, and more specifically, strangulations, can be described as prominent. Metaphorically speaking, hands are a form of connection between one person and another, through contact, and also an indicator of self-reflection, especially in the case of Shinji. End of Evangelion is very consistent in establishing this pattern, since hands are the result of different types of contact with other people: both for violence and for a peaceful contact. Shinji makes this kind of contact with Asuka and Rei in different parts of the film, and other characters do the same throughout the franchise, such as Gendo (in the case of Rei 3) and Naoko Akagi (in the case of Rei 1).
Speaking specifically about the choking scenes, which also set a pattern in the franchise, and using the metaphor of connecting with others, this kind of aggression can be described as a denial of the other. This denial can mean rejection, distancing, or, more directly, death. In the same way that Naoko strangles Rei 1 by denying her as a human being, and rejecting her as a image of Yui Ikari, Shinji strangles Asuka by denying her as another one (just as he did with her earlier, in the kitchen scene). However, Asuka uses her hand in an opposite way: that of acceptance, willing to accept Shinji's condition as another, and this act itself shocks Shinji deeply. In this way, he manages to accept the reality he witnesses and stops denying it to the other. The expression of affection is a symbol of the new possibilities of humanity, free from Instrumentality.
Discarded endings
These discarded endings are lower-level Tier 1 canon material since they come from the show's production, and can be considered highly reliable supplements to the material already seen in End of Evangelion itself as long as they do not explicitly contradict anything that is seen onscreen.
See also: Resources:End of Evangelion Screenplays
End of Evangelion has two discarded endings, Last A and Last B. While the Last B ending was far bleaker than the ending present in the final movie, Last A is still very similar to the one in EoE, with the most noticeable difference being Asuka's final line being altered.
Last A
You already know the beginning of this one (a beach, petrified headless Evas, etc).
Then, we see the graves Shinji made (it's stated by Anno it was _he_ who made them). The names of all main Eva characters are written on them, except for "Ayanami Rei".
We then see Asuka's grave.
And Asuka's foot kicking it to the ground. ^^;
(you can still see these graves in the actual ending... no names, but there is Misato's pendant nailed on one of them, and another has been kicked down ^^ )
We then see Shinji and Asuka on the beach... and you know that scene, too (but this draft demonstrates that Shinji and Asuka didn't just wake up there after Third Impact... they've been living here for some times... meaning they _could_ be the two only humans willing to return, after all... ^^; )
When Shinji starts crying, Asuka was supposed to say something like "Idiot No way I'll let you kill me" ("idiot" was removed in the storyboards... and the whole line was modified, eventually).[4]
Then, the ending music (so, there was one... ^^ ) was supposed to begin, and the staff credits were to appear (Anno suggests a horizontal scrolling, like in GunBuster, I guess).
We were to see Eva-01 lying on the Moon, and woman's hair showing from its broken mask (but her face remains unseen).
Behind Eva-01, you could see Earth, entirely red.
And the Black Moon, destroyed.
The camera goes to the sun, then to the stars.
Credits end.
"Shûgeki" ("the end").
Unlike Last B, Last A does not clash with the ending as present on EoE at all, except for Asuka's final line - changed when Anno asked for Yuko Miyamura's (Asuka's voice actress) suggestion, as he was still unsatisfied with this line, which lacks the ambiguity and duality of the final line. [5]
[6] The reference to graves is still around, although less explicit than previously[7][8] As such, adding to the evidence present above, it is also possible to extrapolate the meaning for these elements in the scene from Last A that are still present:
- Lilith "dies", Shinji re-materializes in the Sea of LCL, he swims/walks to the beach, and spends some time there, enough time to gather some wood and erect these graves. He also finds a nail and uses it to fix Misato's cross on one of them.
- Last A happens, or at least in part. Asuka herself returns from Instrumentality, she goes to the beach (instead of just materializing by his side), and finds the markers Shinji set in her and the other character's memory. Immediately she assumes Shinji thinks she's dead, so she kicks the marker with her name[9] to signify she's alive, as well as her will to live.
- She finds Shinji asleep on the ground. Instead of waking him up, kicking him or yelling at him, she decides to sit and sleep by his side.
- The actual ending scene happens: Shinji wakes up - the camera seems to be in the first person momentarily, as Shinji is looking upwards to the sky, but then it quickly pans to the side, as if he is turning his head. Shinji then gets a brief glimpse at Quantum Rei, and is surprised to find Asuka by his side. He chokes her, she caresses him, he stops.[10]
Speculation based on Third Tier Canon
One interpretation is that he was trying to determine if she was real or if he was still in Instrumentality, and the Cardass card game (of debatable canonicity), while supporting this interpretation, goes one step further and brings up the interpretation that Shinji desired Asuka[11]
This has some implications as it contradicts other theories that Asuka merely materialized out of nowhere because Shinji willed it or because Rei somehow "gave" her to him as companionship, instead, she returned out of her own free will, which reinforces Yui's earlier statement about how anyone can come back, as long as they have the will to do so and to imagine themselves back in their original forms - although the Cardass card game claims[11], Asuka was the one Shinji had "hoped/wished for". However, the fact that Asuka imagines herself with her arm bandaged seems to indicate she is not completely healed yet, much like Shinji's fraught mental state does.
Conclusion
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"Baka-Shinji and his toothpick are forever MINE, bluehair bitch!!!" |
Nonetheless, the fact that she has chosen to lay by Shinji's side at her own initiative and chosen to react to him with open affection, instead of aggression and hostility like she has done many times before, symbolizes, at least, the beginning of her growth. Because Asuka is now able to accept herself, she is now able to accept him as well, instead of pushing him and other people away out of fear of intimacy and rejection, much like Shinji, unable to accept himself, ran away from people in order to avoid the pain inherent to human connections. Not only does this make Shinji stop as he has realized that it is indeed Asuka and he is indeed in real life, Shinji, who has realized he can find worth is himself and is now willing to reach out to other people,[12] is taken aback by this sign of compassion, which mirrors Yui's own caress a few minutes earlier in the movie as he leaving Instrumentality, it also shows how overwhelmed he is to be accepted himself, and might be ashamed of the way he has treated Asuka.
Asuka's final line, "kimochi warui" can be translated as "I feel sick" or "How disgusting". It is an expression used many times before to express shock, discomfort or disapproval - for instance, when Shinji is first immersed in LCL in Episode 1 and in a sense embraced by Yui, and when Asuka complains about sharing a bathtub, and a house with Misato and Shinji in Episode 22, as she is unwilling to belong.[13][14] Because of its unclear meaning, it is hard to say whether she's referring to Shinji, herself, or soothing else. Asuka might be expressing disapproval at the situation they are in and Shinji acting meekly again. It might also be interpreted as how strange it feels for her to finally accept another person, something which so far has terrified her.[15] This does not change the fact, however, that she has just chosen to show him compassion, to give him a chance and lay by his side. When hostility would have been a far easier choice - and the fact that she has kicked her gravemarker implies she might not actually be in a frail and weak state as some assume, she has instead chosen comprehension and compassion, she took a risk, just like Shinji did by choosing to return to reality, as Asuka has. The ambivalence and duality in this scene represent the fact that they are not yet completely healthy and changed, but are beginning to open themselves to this change. The movie leaves open where they will go from there, if they can grow and learn to love themselves or not, but even after all the grievous death and destruction throughout the movie, and even though they are still only starting to grow, it still gives them this hope, as long as they pursue it. For better or worse, they at least now have each other.[16][17]
The fact that Asuka and Shinji will have to work in other to achieve happiness and even survival is reflected even in other ways: it could take a while before civilization can rebuild, if anyone even comes back in the first place, so they will inevitably have to deal with each other and at least come to terms with one another in other to survive: ultimately, whether Shinji and Asuka can grow and be happy also depends on whether the viewer thinks humanity can go back and learn from its mistakes - it is entirely possible that no one will come back, or that very few will. Much like Shinji and Asuka can grow and change, this also applies to humanity and even the world at large: it is impossible to even know for sure about the physical state of the world and its fauna and flora, availability of food and clean water, the preservation of buildings and infrastructure, etc. It is uncertain where they are, as well - possibly on the outskirts of the ruins of Tokyo-3, which has been flooded after Rei self-destroyed her Eva and later when the Black Moon emerged and created a crater. The physical damage might be limited to Tokyo-3's vicinity, or beyond, similarly to how Second Impact seems to have limited physical damage and LCL in the water to Antarctica.[18]
All possibilities are open: as Shinji has learned (and presumably Asuka as well), even if reality is harsh and uncomfortable, if he does not try to break out of the cycle of misery, despair and escapism which has encompassed him, he will only have the certainty of more failure and more suffering. However, if he decides to face reality and face the risk of rejection and failure, even if he will not have the certainty of success and attaining happiness, that is still the only way he can be happy in the first place.[19][20]
See also
Theory and Analysis:Shinji and Asuka's Relationship - One More Final
Theory and Analysis:List of Common Misconceptions - The Adam & Eve Scenario
Resources:End of Evangelion Screenplays
This article was mostly built out of the following forum threads, please refer to them:
Passage of Time (EoE Final Scene)
What is the significance of characters strangling each other?
Notes and References
- ↑ In both Netflix subtitles and dub, the line was translated as "Disgusting...".
- ↑ According to translations of the original script by Reichu and Bochan_Bird, (archival link to be added). The excerpt is: 墓標らしきもののが並んでいる (一本だけケリ倒されたもの有) “What appear to be gravemarkers stand in a row. (Only one is kicked down)”. Old discussions by Olivier Hague at EML also refer to this - [1]
- ↑ “Yui: Don't worry. All living things have the ability to return to their original form... and the heart to go on living. Anywhere can be heaven as long as you have the will to live.”
- ↑ Miyamura's original recording of this line is available on the Evangelion Blu-ray collection as part of the bonus material.
- ↑ Interview with Yuko Miyamura (BS AnimeYAWA) "I had been thinking directors should convey their ideal how the show should be to us. But Anno pitches us questions such as "What do you think for yourself if things went on such and such ways to you?" After recording all the lines of the movie, I was called to the studio because the final line needed to be revised. Ogata came there too as it was Asuka and Shinji's scene. Asuka's final line was "Anta nankani korosareru nowa mappira yo!" in the film scenario. Anno didn't live with my line no matter how many times I tried. Ogata and I were at a loss of how we should play what Anno wanted to express; she even tried to ride on me and choke me to meet his demand. He must have been pursuing reality. Concerning the final line we adopted, I'm not sure whether I should say about it in fact. At last Anno asked me "Miyamura, just imagine you are sleeping in your bed and a stranger sneaks into your room. He can rape you anytime as you are asleep but he doesn't. Instead, he masturbates looking at you, when you wake up and know what he did to you. What do you think you would say?" I had been thinking he was a strange man, but at that moment I felt disgusting. So I told him that I thought "Disgusting". And then he sighed and said "... thought as much." He said. " I thought as much. "
- ↑ Ogata actually choking Miyamura for the EoE scenes was clearly consensual, despite rumours to the contrary.
MO: I'm delighted that you think I sounded natural as if I was doing ad-libs. I don't remember doing anything experimental. There was a time when I actually pushed Yuko Miyamura to the floor to strangle her during the last scene of the "Evangelion" movie in which Shinji strangles Asuka. I couldn't act very well in playing that scene. I was so agitated that I strangled her too hard, making it impossible for her to say her lines for a while. Of course, I apologized to her for doing that. I almost killed her. - Statements by Evangelion Staff - Megumi Ogata on fandom and choking Yuko Miyamura
CF: Did Megumi Ogata (Shinji) really strangle you while recording the voices for the End Of Evangelion to get a realistic performance?
YM: Yes, she did. I tried many times to make it sound like I was being strangled, but I couldn’t get it right. So, Megumi Ogata helped me make realistic sounds by actually strangling me. She’s nice isn’t she!? - Gold Coast Film Festival 2010 - ↑ Olivier Hague says they are described as resembling gravemarkers in both the storyboards and the after-recording script.
- ↑ Olivier Hague: "the storyboard states that "_only_ one of them has been kicked"... looks the fact that there's just one kicked pole is important"
- ↑ The draft clearly mentions "Asuka's tombstone" being kicked, it seems we would have even seen her actually kicking it.
- ↑ Some speculate that the unused but fully produced song Everything You've Ever Dreamed (written by Anno) was going to be used as a credits song. It seems to allude to this very scene:
Did she promise you the world and did that
Girl just throw your love away
Leave you like a lonely solitare
With just despair for company
Do you think you'd find revenge so sweet
Make it so your hearts will never beat
Squeeze the very last and dying breath from
Everything you've ever dreamed - ↑ 11.0 11.1 Evangelion Cardass Masters "Shinji renounced the world where all hearts had melted into one and accepted each other unconditionally. His desire... to live with 'others' -- other hearts that would sometimes reject him, even deny him. That is why the first thing he did after coming to his senses was to place his hands around Asuka's neck. To feel the existence of an 'other'. To confirm (make sure of) rejection and denial."
"In the sea of LCL, Shinji wished for a world with other people. He desired to meet them again, even if it meant he would be hurt and betrayed. And just as he had hoped/wanted, Asuka was present in the new world. Only Asuka was there beside him. The girl who he had hurt, and by whom he had been hurt. But even so, she was the one he had hoped/wished for...."
"Neither Yui, Rei nor Misato could do as a woman for Shinji. Asuka alone was the only girl on equal footing with him. So, Shinji desired/sought after Asuka. "I'm afraid of Misato and Ayanami." However, Shinji's crude affection only hurt her. In the end, he used her as an object of lust/desire to soothe/ console himself...", D-88, D-84, P-66, P-68, H-11. - ↑ 24. Opening of a Dream (Piano – Leave It To Version)
Shinji’s independence that he bid farewell to his mother and chose to live in the world of others despite the fact that he would hurt others is portrayed in this song with a somewhat sad piano solo. It is as if it suggested the relationship between the project of EVANGELION and the audiences. - Refrain of Evangelion booklet interview - ↑ "Why does Asuka want to kiss Shinji? Even assuming she was spiteful of Kaji, one doesn't understand the real underlying motive. After the kiss, Asuka states: "I did it just to kill time." She yells, as if to make Shinji perceive it and to confirm it to herself, as if she wants to hide some embarrassment" Neon Genesis Evangelion Film Book vol 5], pp. 44–45.
- ↑ "And likewise, after the kiss scene from Episode Fifteen, "Lies and Silence," there is a new scene showing her looking frustrated after rinsing her mouth. And from Asuka's dialogue that overlaps these scenes, it becomes clear that she has been looking for help and love from Shinji. [ Episode 22 Platinum Commentaries]"
- ↑ Keep in mind she is also fully aware of his masturbation in the hospital earlier, in fact, she not only tells him to do it again for her to watch, she even implies she knows it is a habit. That is to say, this was not the first time Shinji satisfied herself to her (presumably imaginary) image, even when he was not in moments of desperation. In fact, in one of the earlier EoE drafts, Shinji would just go home after seeing her exposed breasts and then masturbate in his room, thinking of her.
- ↑ In contrast to the simple "favourable feelings" Shinji has with most other characters, Evangelion Chronicle describes their relationship as "complex feelings" and "love and hate.":
Shinji/Asuka: Colleague-Complicated Feelings;Colleague-Love/Hate
Rei/Shinji: Colleague-Favorable;
Kaworu/Shinji: Colleague-Favorable
"Proud and assertive, Asuka possessed many strong qualities but lacked the ability to truly control her feelings. [...]It was only after Kaji's death and the Fifteenth Angel's psychological attack that Asuka came to realize Shinji and Kaji both occupied a similar place in her heart. This realization was quite shocking to Asuka, as she had thus far gone out of her way to dismiss and mock Shinji whenever possible.
Asuka's default behaviour toward Shinji emphasized mockery and distaste, though she couldn't deny also feeling some semblance of romantic interest toward him. When their synchronicity levels "officially" indicated that Shinji was superior to Asuka in some way, she started suffering a kind of psychological instability and had a hard time dealing with the love/hate she felt for him"
By chance, Asuka observed Rei and Shinji sharing a conversation. Asuka felt a very dark emotion welling up inside of her as she watched Shinji enjoying himself in Rei's company.
During Instrumentality, Asuka encountered Shinji inside his inner world and told him she didn't need anything if she couldn't have all of him. Despite the significance of this statement, Shinji's response was vague at best and he only sought a place at her side because it was a "comfortable" place to be. Hurt by the notion that she was nothing more than an escape for Shinji, Asuka outright rejected him. As a result, the Human Instrumentality Project did not reach its intended result, and any changes to the relationship between Asuka and Shinji were left unclear.
"Though Shinji and Asuka are both EVA pilots and living under the same roof、they are polar opposites. Despite their differences、Shinji did feel an attraction to Asuka at certain moments throughout their time together. When Shinji expressed his feelings to Asuka and sought her help during his instrumentality、she outright rejected him. Shinji and Asuka in the new world where the Human Instrumentality Project was not fulfilled Shinji had chosen a world where others existed、and for him Asuka became the first "Other".
"Asuka Langley Soryu Piloting EVA-02 was Asuka's way of maintaining her self-respect, and it also served to deepen her confusing love/hate for Shinji. Her repeated failures in combat against the Angels during the war had forced Asuka to face her own weaknesses, and though she did make a comeback during SEELE's forced requisition of NERV headquarters, she fell in battle against the mass-production model EVA units. Immediately after Asuka's defeat, the Human Instrumentality Project was activated, Asuka was the first "other" to exist in the new world that was created when Shinji wished for a world where others existed, and she was found lying next to Shinji."
- The Essential Evangelion Chronicle, Side B - ↑ "Shinji meets Rei in the sea of L.C.L. while Human Instrumentality with Unit 01 as a substitute is in progress. Shinji didn't want a world where his boundaries were gone and he was nowhere else. Shinji's eyes tell that he that he will accept the fear of others, the strength of life that moves forward while being frightened can be seen. When their consciousness returned to reality, Shinji and Asuka lie in a world where Human Instrumentality is incomplete.
In the world where Shinji wanted to have others, Asuka became the first stranger, and Shinji reaches out to her [for her neck]. It is difficult to understand Shinji's emotions as he wonders if Asuka is the one who will hurt him or the one who will complement him.
Shinji and Asuka stand alone in a space where no one else is around. In her mental world, Shinji was rejected while expressing her feelings to Asuka and asking her for her salvation, but the relationship between the two can/will* change in the new world." - Evangelion Chronicle Vol. 22, alternate translation from the Japanese
*Translator's notes: "The verb kawaru (変わる) means to change. In this passage, we have kawatte (変わって), which means changed. Add iku (いく) and it means changing. Add nodarou (のだろう) means probably. [The relationship] will probably change. The nature of such indefinite change means it is still likely unclear. So those two sentences basically say the same thing (unclear vs will change). The former wording is used in the English translation of the Essential digest version, while the latter is used in the French translation. - ↑ Second Impact was an Impact of a very different nature, with an actual physical explosion caused by Adam's partial awakening. The 3 billion dead include subsequent natural disasters like tsunamis (provoked by the explosion itself and possibly the change of the Earth's axis), earthquake and rising sea levels, and conflicts including a nuclear exchange between India and Pakistan. The show hints that the post-2I world is politically unstable but perfectly habitable. The "eternal summer" is specifically mentioned as existing in Japan, which means it was probably a result of the change in the axis, and does not necessarily apply to everywhere else. This lack of certainty applies to the post-3I world as well.
- ↑ "That's the hard part. I don't know how it will turn out yet. I want to make a happy ending, but it's difficult to say what is happy. The movie version is happy in its own way. Humans are nothing when they are born and at the moment of death, so if the process of living is not enjoyable, they cannot live. Shinji had a hard time, but he wanted to live. That's why he's happy." - Sadamoto, Newtype Dec 1997
- ↑ "I still don't know where to find happiness...but I'm here, and I will keep wondering why I was born."
