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==Üretim Geçmişi==
==Üretim Geçmişi==
{{Genişlet(tr)}}


[[Image:Eva1-0 jikai C18.jpg|right|thumb|10. Havarinin yıkıcı kargaşasını izleyen Mari'nin gerçekleşmemiş sahnesi.]]
[[Image:Eva1-0 jikai C18.jpg|right|thumb|10. Havarinin yıkıcı kargaşasını izleyen Mari'nin gerçekleşmemiş sahnesi.]]


Mari'nin karakterinin çalkantılı bir gelişim geçmişi var ve Baş Yönetmen [[tr:Anno|Anno]], Mari için yazdıkları amacın, Mari'nin "Eva'yı yok etmesini" istemesinden daha fazla olduğunu söylemiştir. Yönetmen [[tr:Kazuya Tsurumaki|Kazuya Tsurumaki]], Mari'nin sorumluluğunun çoğunu üstlendi ve [[tr:Yoji Enokido|Yoji Enokido]] da bir yazarın Mari'nin hikayesini yazmayı bırakması sırasında bir yabancının fikrinin sağlanması için işe alındı. Anlaşmazlığın çoğu, Mari'yi önceden var olan ''Eva'' çerçevesine nasıl (ve ''ne kadar'') entegre edeceği ve kişiliğinin doğası etrafında dönüyordu. Bir noktada Mari, ön başlıktaki Üçüncü Havari dizisinde görünmekten biraz daha fazlasını yapacak ve daha sonra [[tr:Zeruel|Onuncu Havarinin]] yıkıcı gücünü gözlemleyecekti (ikinci fikir, Ha için (2.0) ilk filmin "Gelecek Sefere" fragmanında gösteriliyor). Mari'nin başka bir karakterin rolünün bir kısmını NGE'den devraldığı erken senaryo taslaklarında ve hikaye tahtalarında çeşitli fikirler test edildi ve sonunda Mari'ye kendi kimliğini verme arzusu nedeniyle diğer tüm fikirlerden vazgeçildi. Enokido'nun önerisi, Mari'nin sonunda onun yerini gasp edeceği Asuka için bir rakip sağlaması gerektiğiydi. Enokido, Mari'nin Ünite-02'nin ana pilotu olmasını, Shinji'ye ''"anta baka?"'' demesini ve hatta onu öpmesini sağlayacak kadar ileri gitmek istedi, ancak bu sonunda Anno ve diğer yazarlar tarafından reddedildi. Mari için bitmiş filme asla dahil edilmeyen başka bir konseptte, çok sayıda kediye sahip olacaktı ve kollarında ve bacaklarında kedi dövmeleri olacaktı. Mari'nin ara sıra konuşmasını "nya" ("miyav"ın Japonca karşılığı) ile noktalaması, bu terk edilmiş fikre bir gönderme olabilir.
Mari'nin karakterinin çalkantılı bir gelişim geçmişi var ve Baş Yönetmen [[tr:Anno|Anno]], Mari için yazdıkları amacın, Mari'nin "Eva'yı yok etmesini" istemesinden daha fazla olduğunu söylemiştir. Yönetmen [[tr:Kazuya Tsurumaki|Kazuya Tsurumaki]], Mari'nin sorumluluğunun çoğunu üstlendi ve [[tr:Yoji Enokido|Yoji Enokido]] da bir yazarın Mari'nin hikayesini yazmayı bırakması sırasında bir yabancının fikrinin sağlanması için işe alındı. Anlaşmazlığın çoğu, Mari'yi önceden var olan ''Eva'' çerçevesine nasıl (ve ''ne kadar'') entegre edeceği ve kişiliğinin doğası etrafında dönüyordu. Bir noktada Mari, ön başlıktaki Üçüncü Havari dizisinde görünmekten biraz daha fazlasını yapacak ve daha sonra [[tr:Zeruel|Onuncu Havarinin]] yıkıcı gücünü gözlemleyecekti (ikinci fikir, Ha için (2.0) ilk filmin "Gelecek Sefere" fragmanında gösteriliyor). Mari'nin başka bir karakterin rolünün bir kısmını NGE'den devraldığı erken senaryo taslaklarında ve hikaye tahtalarında çeşitli fikirler test edildi ve sonunda Mari'ye kendi kimliğini verme arzusu nedeniyle diğer tüm fikirlerden vazgeçildi. Enokido'nun önerisi, Mari'nin sonunda onun yerini gasp edeceği Asuka için bir rakip sağlaması gerektiğiydi. Enokido, Mari'nin Ünite-02'nin ana pilotu olmasını, Shinji'ye ''"anta baka?"'' demesini ve hatta onu öpmesini sağlayacak kadar ileri gitmek istedi, ancak bu sonunda Anno ve diğer yazarlar tarafından reddedildi. Mari için bitmiş filme asla dahil edilmeyen başka bir konseptte, çok sayıda kediye sahip olacaktı ve kollarında ve bacaklarında kedi dövmeleri olacaktı. Mari'nin ara sıra konuşmasını "nya" ("miyav"ın Japonca karşılığı) ile noktalaması, bu terk edilmiş fikre bir gönderme olabilir.
===Geliştirme Süreci===
Mari's character has a tumultuous development history, with Chief Director [[Hideaki Anno|Anno]] knowing little more of his intent for her than that he wanted her to "destroy Eva". Unlike the others, her character was not Anno's idea, but rather the result of an explicit request by the producer, Otsuki, for a new main female character. Anno accepted it as a way of differentiating the Rebuilds from the anime series, but believes it was for commercial reasons.<ref>''Tsurumaki: Yeah. The appearance of a new character and Eva Unit-05 was requested by executive producer (Toshimichi) Otsuki-san. I think the motive was a commercial one—to strengthen the appeal of the film'' - [https://www.gwern.net/docs/eva/2010-crc Evangelion 2.0 Complete Records Collection]</ref><ref>''Well, in regards to Mari, she is the result of us trying to make a character that isn’t very ‘Evangelion’-like. Perhaps the way she’s one step away from the seriousness of ‘Evangelion’ makes her appear more ‘FLCL’-like. I didn’t make her purposefully into a ‘FLCL’-like character, but rather she was the result after talking to and finding some common ground with Anno-san.'' - [https://japanesetranslationblog.wordpress.com/2017/08/14/translation-of-kazuya-tsurumaki-interview-part-12-16-10-2010-potential-spoilers-for-flcl/ Tsurumaki, "10 years since then" interview]</ref> Anno initially intended to make Mari a rather isolated charcater, devoid of relationships, but could not refrain from making her to much like the series' original characters, so decided to hand her development to others. Assistant director [[Kazuya Tsurumaki]] ended up shouldering much of the responsibility for Mari, and Yoji Enokido was also recruited during a writer's retreat to provide an outsider's opinion - Enokido is considered an outsider, and his characterization ended up being mostly his brainchild.<ref>''Saakamoto: The main story is about Shinji, Rei, Asuka, and the others, and I used to think that Mari was just a cheerful character who would be a spice to the story. In fact, she wasn't really the focus of ":3.0", and I was aware that that was the way it was going to be, but I didn't expect to be given such an important role at the very end. I don't know if he intended it to be this way from the beginning or if he went towards this place while making it. When Mari appeared in ":2.0" for the first time, Anno explained her role to me, but he said, "Tsurumaki is more interested in the portrayal of Mari, so I'll leave it to Tsurumaki," so I assumed that Anno didn't have any feelings for Mari. So I was a little curious as to why she was given such an important role (laughs).''<br>[...] ''Tsurumaki: I think the Mari in "EVANGELION:3.0+1.0 THRICE UPON A TIME" has changed a lot in terms of meaning since ":2.0". In ":2.0", when Anno himself created the character, he inevitably became himself, just like Shinji, so I think he wanted to make Mari a different character, so he entrusted her to an external person"'' - [[Evangelion 3.0+1.0 Assorted Translations#Kazuya Tsurumaki| Tsurumaki, Evangelion 3.0+1.0 booklet interviews]]</ref> This is in contrast to the existent NGE characters, which were all based on Anno himself to varying degrees.<ref>[https://wiki.evageeks.org/Statements_by_Evangelion_Staff#Hideaki_Anno:_Eva_Special_Talk_with_Anno_Hideaki_and_Toshiya_Ueno_.28Newtype_11.2F1996.29 Eva Special Talk with Anno Hideaki and Toshiya Ueno (Newtype 11/1996)]</ref><ref name=":3" />
Much of the disagreement revolved around how (and how ''much'') to integrate Mari into the preexisting ''Eva'' framework, and the nature of her personality.<ref>''There was an interview with Tsurumaki in which he confessed that during the production of “Ha” they still weren’t sure about what to do with Mari, even the name which was tentatively “Mariko”. They HAD to have a new character (a new pilot), but they didn’t have much of an idea as to what to do with it.'' - [https://forum.evageeks.org/viewtopic.php?p=357818#357818 Forum thread], referring to this [https://nblogtokyo.blogspot.com/2009/08/cut-20098.html untranslated interview] from CUT Magazine.</ref> In the very first drafts, Mari was to do little more than appear in the pre-title Third Angel sequence and to later observe the [[Tenth Angel]]'s destructive power (the latter idea shown in the first movie's trailer for ''2.0''), and Anno kept Asuka's role relatively intact relative to her NGE self, and she'd remain the focus of the film much like the corresponding Action Arc of the series. Various ideas were tested in early script drafts and storyboards wherein Mari took over part of another character's role from NGE, which was eventually abandoned due to the desire to give Mari her own identity. At first, Anno kept Asuka's role relatively intact relative to her NGE self Her personality changed from various different themes, like being a mysterious and quiet girl, or the ''[https://en.wikipedia.org/wiki/Dojikko dojikko]'' archetype of a clumsy and careless girl, all in an attempt to differentiate her from Rei and Asuka.<ref name=":3">"Anno-san had previously said, “All the characters that appear in Eva are me”; he said that not just Shinji, but Kaji and Misato as well, and even characters like Kaworu and Rei, are aspects of himself. In this sense, every character is ultimately the same. On the surface, different “seasonings” have been used, but inside [the characters] really are very similar. If Mari were to end up the same as them, she would not be able to destroy that world. As a result, for me, Mari was a girl who made use of that “frivolousness”112 that was the opposite of diligence for her own benefit." - [https://www.gwern.net/docs/eva/2010-crc#part-3 Evangelion 2.0 CRC - Tsurumaki Interview]</ref> Anno decided to inpinge some relationships from other characters into hers in order to give her more spce, for instance, Kaji and Asuka's relationship was entirely removed from the film and replaced with Mari's "subordinate" role to Kaji.<ref>Anno: Yeah. I completely cut it from the film. The main reason was that, in a film, there is simply not enough room to depict something like Kaji and Asuka’s story. Even if we had put just a little [of that] in, then she would not have worked as a character, and it would inevitably have been a nuance that only those who knew the original series would understand. So I completely cut that [relationship], and instead decided to have Kaji be close to Mari. That decision was made because of the fact that, among the main characters who had appeared up to this point, there were none who knew Mari, and this was causing me various difficulties in writing. That being the case, I figured that Kaji was the most suitable. He was, like Mari, a character who appears from “Break” onwards. He’s someone who seems to know various secrets, and to have various connections. - Evangelion 2.0 CRC</ref> Other suggestions slowly began to surface as Anno could only give vague directions to his writers - one of his first was that the character should be an "Onee-san" or be an animal lover. The ideas were so generic and vague that Tsurumaki considered Mari to have had "multiple personalities"; "a different character in each scene she appeared in", making it difficult to give her a consistent characterization and psychology. Tsurumaki in particular felt she'd simply end up simply repeating Shinji's relationships with other characters and consuming their personalities. In the storyboard of the preparatory manuscript drawn by director Masayuki, there is a scenario introducing her to Shinji and others as the "Fourth Girl" at the 8th Apostle War Prewar Strategy Conference. In another storyboard, Mari would have pushed up her glasses in the same manner as Gendo.<ref>"Tsurumaki: Certainly Mari’s appearances had increased. Furthermore, if there were scenes where Mari appeared by herself, that was still fine. Even in the early stages of the plot[’s development], we didn’t really feel that such scenes were a problem. The difficulty lay in her relationships with other characters. Especially, if we intended to portray a relationship between Shinji and Mari, it would entail strange things happening. At one point she would have Rei Ayanami’s role in relation to Shinji, at another point Asuka’s, at another point Misato’s. There was a sense that her character was changing depending upon the circumstances of each scene. In the first place, if it’s Rei’s role, Rei herself can do it, and if it’s Asuka’s role, Asuka herself can do it. To the extent that this newly arrived character, Mari, is just partially substituting for roles that other people have carried out up until now, the story itself is really unchanged. My impression was, if that’s going to be the case, Mari is probably not needed." - Eva 2.0 CRC</ref> Anno decided to postpone discussion at the time. It was during this "script retreat" that Enokido was brought in as an outsider.
In response to mounting pressure from fans after her first teased apparence during the preview at the end of ''[[Evangelion 1.0]]'', Anno progressively increased her role and space in the story. Tsurumaki noted she'd be a character of "minor importance" originally.<ref>I thought that Mr. Anno would not be the type to change the way he makes a film based on the reaction of the audience. "But after the end of the first film, I felt that I had to work harder." I thought he wouldn't be the type to change the way he made things. We talked about how we had to work harder after the end of the first film. "In order to respond to our customers, we have to change." We were talking about how we needed to make 2.0 something more... better. But it's hard to decide. We would say, "We have to make changes to meet our customers' expectations. How can we meet the expectations of our customers and satisfy ourselves? In a state of limbo, the production of "Ka" went through many changes. [...] Mari was originally intended to be a character of minor importance. [http://yui-spirits.kboyu.net/2009/07/cut8.html Tsurumaki, CUT Magazine July 2009]</ref><ref>''"It's like we were rebuilding at random. Once it started turning, it started accelerating and wouldn't stop. I don't think even Mr. Anno imagined it would go this far.<br>This "acceleration" led to the creation of a new character, Makinami Mari Illustrious, a symbol of the changes in the new film version. Initially, Mari was only going to appear briefly, but as it turned out, she became a deeply involved character. But since she was a completely new character, there was no room for her to be included, so it was very difficult. If I put her in, the original story would be destroyed. It's very complicated.<br>[...]"The character's personality changed two or three times depending on the production period, and it was very difficult. Her name was 'Mariko' at first, too. - [http://blog.livedoor.jp/evafan/archives/51227610.html Tsurumaki Interview, July 2009 AERA Magazine]''</ref><ref>''Enokido: There were versions of the unfinished screenplay where Mari appears only at the beginning, and doesn’t participate in the battle at the end. - Evangelion 2.0 CRC''</ref> Most of the new ideas ended up discarded and rejected by the rest of staff, who couldn't come to a consensus. In draft number 7, for instance, Mari would pilot Unit-02 together with Asuka in the same entry plug, in draft #11, Mari was depicted as an European classmate of Asuka's. Other ideas included playing up to stereotypes of her British nationality, like her first meeting Shinji in a train station, or having tea time on the roof of the school in draft #13. Tsurumaki felt particularly unsatisfied, and felt that Mari could never be distinct enough from Asuka, Rei or Misato. Tsurumaki eventually came up with the idea of her falling from the sky by way of parachute, as a way of having her do something bizarre and different.
Enokido was asked for his input, and he suggested Mari to be a "neutral and lighthearted" character inspired by harem and shounen manga.<ref>"Enokido: The sadness and happiness of young men is bound up in the fact that they always possess these two contradictory wishes. The so-called “Harem Anime” genre is for the most part intended to satisfy these desires. In “Urusei Yatsura”, Shinobu is the Japanese girl who was one’s childhood friend and always by one’s side, and Lum is the “alien girl”. We say “alien”, but [such characters] perhaps [have] an “American” image. Rei and Asuka exactly fit the pattern of this “perfect lineup”.<br>Now, coming up with a plan as regards the third girl who must compete with this “ultimate combination” seemed to me a very difficult job. In addition, Director Anno had not, up to this point, developed anything himself, but, expressing the desire for a completely new character, had left Mari’s development to others.<br>"This being the case, my first proposal for an additional type was a Sapphire (from [Tezuka Osamu’s] Princess Knight) type. If Rei and Asuka are completely different types, I wondered if a “neutral”, lighthearted type who battles with an “innocent” image would be good. At this point, though Anno-san agreed that it would be good, he thought a Wato (Chiyoko) type (from [Tezuka’s] The Three-Eyed One) would be more realistic, and he got quite excited about it." - [https://www.gwern.net/docs/eva/2010-crc#part-2-1 Evangelion 2.0 CRC - Enokido interview]</ref> Enokido's suggestion was that Mari should serve as a rival for Asuka who ultimately usurps her. Enokido wanted to go so far as to have Mari become the main pilot for Unit 02, say ''anta baka'' to Shinji and even kiss him, though this was eventually discarded by Anno and other writers. Tsurumaki, in particular, protested one of the proposed alterations as “I’m an Asuka fan, and I won’t be happy if this scene gets cut”.<ref name=":3" /> Enokido also suggested for Mari to be full of tattoos symbolizing her dead pets.<ref>''"— In the original scenario Mari was the daughter of a distinguished English family who kept dogs and cats, and so on; what were the circumstances [relating to that]?<br>Enokido: Speaking of that, I also remember conversations like, “What if we gave her tattoos of the names of all the pets she’s kept up until now?” For example, we would insert a bath scene where we see the area from her chest to her stomach is completely covered in tattoos. If she gets asked, “Why do you have them?” she’d answer something like, “They’re the names of all my pets that have died up until now. The tattoos ensure I don’t forget them, and that they still ‘live’ with me”."'' - Eva 2.0 CRC</ref> Anno's assistant, [https://wiki.evageeks.org/Ikki_Todoroki Ikki Todoroki], suggested scenarios like her being a guest at [[Hikari Horaki (Rebuild)|Hikari's]] house, and a rival with Asuka for Kaji's affections and control of Unit 00, beating her in a synch test. One inspiration for her demeanour were the ''miko'' women of Shinto temples.<ref>Enokido: As we had many conversations relating to Mari, I think it was. As for other images, there was the part of a Miko-san [shrine maiden] channeling the gods. She is not “practical” like Asuka, but thinks about “deep” things, like someone who somehow can see mysterious things like those connected with the gods. She is not “unworldly” to Rei’s extent and she talks a lot. As nothing had yet solidified, we had these sorts of discussions about ideas. - [https://www.gwern.net/docs/eva/2010-crc#part-2-1 Evangelion 2.0 CRC - Enokido Interview]</ref> These indecisions led to about forty revisions of the script in total, and the writers were mostly forced to come to an agreement when repeatedly reaching deadlines.
===Tasarımı===
[[File:Mari Makinami Illustrious Earlier Designs 2.jpg|thumb|200px|Mari's earliest available designs. Note the resemblance with the other female characters.]]
Similary to his other attempts to distance himself from Mari's conceptualization, Anno gave initially vague ''settei'' to Sadamoto and Tsurumaki. In one of her old character designs, her plugsuit is numbered 04 instead of 05 like she appears initially in the movie. Anno requested her design be based on a "Christian Missionary-style". Other early designs included a Victorian version of Mari, playing on English stereotypes, and her checkered skirt was in reference to Scottish stereotypes. Her early association with green and use of tights was in reference to pictures of British schoolgirls Anno brought to Sadamoto when he asked for references. Initially, he also considered giving her a long-sleeved blazer.<ref name=":2">"Yes. When I got the instructions on Mari's seifuku design, the document consisted of only two lines: British-style and Christian Missionary School-style. When I asked the general director Anno-san "What is Missionary School-style", he replied "I don't know, create an image from the words"! I then asked him for some reference material and a few days later he brought some photos of British school girls and said "Like this". All their skirts were long – 15cm below the knee – and some looked so old! Looking at all the photos I found that many used check designs, most school girls wore tights and the blazers had colored edges. I used these features in creating the design. I told Amano san that if she didn't wear a blazer it wouldn't look very British. In the trailer of EVA 1 you know Mari is wearing a Blazer, but in EVA 2 it would not be right if she wore one so I changed the design." - [https://web.archive.org/web/20120304091240/http://sekai-seifuku.org/en/interview2_2/ Sadamoto, World Seifuku Project Summit Part 2]</ref><ref>"Speaking of pink, at first it wasn't used at all for Mari's plug suit and we didn't even test it. For over two weeks we would try green, then yellow, and then it struck me "Pink is it". We photoshopped in pink and it was perfect, and decided on the spot to make it pink."<br>Ayanami's plug suit is white, and Asuka's is red. Pink is in between these two colors and it loses some impact, so I did think about making it a more outrageous color. Black would be more British, but a bit harsh, so I went for green. Mari's older model plug suit is green, but I was surprised how much pink suited her. - Sadamoto, [https://web.archive.org/web/20120304151905/http://sekai-seifuku.org/en/interview2_3/ World Seifuku Project Summit]</ref> Sadamoto concluded that her glasses were a simple but effective way to differentiate her from the other main female characters.<ref>[https://nonsolopanzer.com/2016/06/19/yoshiyuki-sadamoto-interview-osada-bon-2009/ Sadamoto, O-sada-bon 2009]</ref> Mari was intended to attract a new kind of fan, and a character that could be "broken". <ref>"As for Mari, a character present in the Rebuild, they wanted to attract a new type of fan, as well as create an additional character that could be "broken" (in this case the translator was not sure of the word used); Sadamoto also said that he really likes Mari's character, and plans to reuse it in the future." - [https://wiki.evageeks.org/Statements_by_Evangelion_Staff#Yoshiyuki_Sadamoto:_Milan_Manga_Festival_.282013.29 Yoshiyuki Sadamoto: Milan Manga Festival (2013)]</ref><ref>''On the one hand we wanted to create a different character, one that would appeal to a new type of audience and mark a break in the story. There were both "market" and plot requirements, and I had to keep them in mind. In the movies there is a great mystery around her presence, which is why you only find her there. '''I couldn't use her in the manga, although I would have liked to.''' She'll be up to a lot of mischief, together with Asuka, so wait for the new movie, because there will be surprises and a lot of interesting characters.'' [https://web.archive.org/web/20130814092522/http://www.dummy-system.com/sadamoto-days-i-fan-meet-e-lintervista/ Sadamoto Days – i fan meet e l’intervista] (2013)</ref> Additionally, Anno thought Mari's glasses were a good way to showcase their animators' talent, as it was much harder to animate them in the original series.
[[File:Mari Makinami Illustrious Earlier Designs 1.jpg|thumb|200px|left|These designs feature an umbrella, another example of British stereotypes influencing Sadamoto.]]
At first, Sadamoto simply merged Asuka's and Rei's characters; however, he himself was dissatisfied with the result, thinking the character was too derivative. To visually distinguish her from the two protagonists of the series, he gave her straight, dark hair and a taller head and body than her colleagues. The eyes instead were designed to be long and well defined, so as to give her a more kawaii look. He opted for a hairstyle with two braids, but since Asuka also has hair with two braids, Anno suggested moving the springs of the braids down, adding a band. For the posture and hairstyle, inspiration was taken in particular from those of actress Yui Aragaki, who played Umemura Hikari in the dorama ''[https://en.wikipedia.org/wiki/My_Boss_My_Hero My Boss, My Hero]''. Anno decided to make the character wear two different combat suits, one old and one new generation, as a further element of detachment from the other pilots.
[[File:Mari Makinami Illustrious Earlier Designs 3.jpg|thumb|Mari's early design uniforms. Note the strong British influence also.|200px]]
[[File:Mari Makinami Illustrious Second Plugsuit 1.jpg|left|thumb|200px|Mari's early plugsuit designs, with changing colors.]]
In the very early stages of production, staff considered a plugsuit in green, indigo or yellow, and then moved to pink, a color popular in anime, giving her a touch of femininity. Sadamoto later noticed that, compared to the white and red models of Rei and Asuka, pink has less visual impact, which is why he then gave her a more "scandalous" color, so for her reveal in the green plugsuit, he opted for green, which he also associated with England, from [https://en.wikipedia.org/wiki/British_racing_green British racing green].<ref name=":2" /> The proposal was made by the colorist Kikuchi Kazuko, and was immediately welcomed with fervor by Sadamoto. Its design was inspired by the green uniforms of the Gamilas from ''[https://en.wikipedia.org/wiki/Space_Battleship_Yamato Space Battleship Yamato]'', as well as by some spacesuits from the TV series ''[https://en.wikipedia.org/wiki/UFO_(TV_series) UFO]'', and the space suits of Soviet cosmonauts. Sadamoto attempted to give her a sleekier, more modern design that'd feel updated, but still similar to the existing pilots' suits. Anno decided to give it a helmet as well, in order to cover the face until the end of the battle and create a dramatic effect for her reveal; for the design of the helmet Sadamoto took inspiration from those of [https://en.wikipedia.org/wiki/Track_cycling track cyclists], much like [[Misato Katsuragi (Rebuild)|Misato's]] motorcyclist-inspired<ref>[https://web.archive.org/web/20031221114712/http://kodansha.cplaza.ne.jp/gainax/sadamoto/sadamoto_4th/sadamoto_4th_scene3.html Sadamoto - Kodansha 2003 interviews]</ref> jacket. The design of the lower part of the suit, however, traced that of fencing suits, feeding the idea of a girl belonging to European aristocracy, and more mature than the other pilots.<ref>'''''YA: What did you think when you first heard about Mari?'''''S: I thought it was fitting that the new films should include a new character. I really strove to design a character who was distinct from Asuka and Rei, though I do worry that there are some small but telling similarities that remain. My idea was to create a character so distinct from the other Evangelion characters as to almost feel out of place in the Evangelion world. I suppose I could've designed her as a sort of "halfway point" between Asuka and Rei, but Asuke and Rei are both such strong characters, in their own separate ways. I wanted to bring something completely different to the table with Mari.
For Mari, I'd been asked to design a character who "goes about with a parasol, like the sort of heroine you see in an anime". As I initially designed her, she was very adult-like, having attended a strict private Christian school in Britain. However, in the original script, there was a scene where she returns home to a room full of birds and dogs and begins talking to them, to indicate that she was also rather idiosyncratic. Mr. Anno had also requested that she be more adult-like in appearance and manner than either Asuka or Rei, to set her apart. And that she have a huge chest (laughter).
There was a television drama I'd really been enjoying at the time I began designing Mari. The heroine in this drama had a pair of long ponytails. I really liked this character feature, and worked it into Mari's design. After all was said and done, we ended up with the design that we have now, although there are still many elements of my personal tastes and interests of the time in Mari's design (laughter).
Incidentally, I decided to give Mari glasses because I thought that this would be a simple yet affective way to set her apart from the other characters. Some people have said that she "doesn't seem like an Evangelion character", which is exactly what I was aiming for. I'm glad to see, though, that the majority of people have appreciated her character.
YA: How did you go about designing Mari's uniform and plug suits?
S: I'd been asked to make Mari seem very British, so I tried to design accordingly. For her school uniform, I thought that a large bow and long socks, along with a traditional checked skirt, would look the part. [https://www.gwern.net/docs/www/gainax.forumfree.it/1cd20f172f9022c9d4d64bc23761ed8d2915124b.html Sadamoto Interview (Young Ace n.3, 2009)]</ref><ref>[https://forum.evageeks.org/post/930375/Evangelion20-CRC-interviews/#930375 Evangelion 2.0 CRC - Sadamoto interview]</ref> There are several nods to her age being in fact much older than the other pilots.
Sadamoto had considerable impact in her earlier characterization as well. Due to his experience in the [[Neon Genesis Evangelion (manga)|Evangelion manga]], staff valued his input in how to handle the reduced space for characterization the movie format gave them. Producer Ohtsuki also complained to Anno that they had not yet decided on a voice actress even by the time the recording stage of production was imminent. Ohtsuki asked other staff for suggestions, and using Maaya Sakamoto, a famous voice actress that Sadamoto, Enokido and Tsurumaki worked with before on ''[https://en.wikipedia.org/wiki/Diebuster Diebuster]'' but had no familiarity with Eva was Sadamoto's idea. Maaya Sakamoto was called and selected without an audition or explanations, and would only then receive some information on the character. Sakamoto, after trying hard to interpret the character, concluded from explanations by Anno and Tsurumaki that she'd play the character as an "alien" element to Evangelion.<ref>''[Maya] I said that Marie had destroyed “the former Eva”.<br>[...]- Parting words filmmakers somehow affected the result?<br>[Maya] When I heard about the “destruction”, then realized what an important role, and at the same time extremely responsible mission entrusted to me.I’m sure: to destroy the so ingrained image of the product, the new creation must be a monstrous adventure. And I threw all worries about leaving “Old Eva”, and decided to voice Mari as some kind of an alien element, that today’s Anno needs.'' - [https://webcitation.org/5t5HxYsjU Newtype July 2009]</ref><ref>特集:『破』が教える、エヴァンゲリオンは生き続ける, CUT Magazine, August 2009</ref> Sakamoto says she herself still has difficulty understanding Mari's character an that she's full of mysteries, an opinion shared by Ogata, Shinji's voice actress. She says Anno shared several important details with her, but she says she won't reveal them: "I'll take it to my grave".<ref>[https://www.buymeacoffee.com/rikki/maaya-sakamoto-talks-pain-understanding-role-mari Maaya Sakamoto talks about the pain of understanding the role of Mari. I will take secrets to my grave.]</ref> Moyoco Anno has commented on associating herself with Mari, [https://ha-navi.com/eva-my on her paid fan newsletter], from April 2nd: ''Don't compare me with Mari. It's great that people are talking about "Shin Evangelion" and their thoughts on it, but... But please don't compare me to the work any more than you have to. Please don't make me feel uncomfortable about it.'', as well as Khara staff's denial and Anno himself. Instead, they link her to Tsurumaki's decisions.<ref>Khara [http://yaraon-blog.com/archives/198024 staff] and [http://yaraon-blog.com/archives/197163 official account] had commented on on Gainax co-founder, Toshio Okada, [https://www.excite.co.jp/news/article/Myjitsu_286477/ talking about it] on [https://www.youtube.com/watch?v=EGLGGMsGr his Youtube channel]: ''Another disgusting video came around. I've never had any contact with the director, and I've never met Toshio Okada. I think it's time to stop making insulting remarks based on crazy assumptions. ; "Toshio Okada hasn't even met Anno for a quarter of a century, and he's never met Moyoco. And yet, there are people who misguidedly say that Mari is Moyoco and believe them. The most misguided part."''; ''"Mari only has Tsurumaki-san's libido in her. She has glasses, is strong, and could have been in FLCL. She's also a character with the same dialogue."''</ref><ref>Hideaki Anno did comment on Moyoco in her 2002 manga ''[https://i.redd.it/nqb1gw5hbth71.jpg Insufficient Direction]'': ''"My wife's public image is that of a strong woman, but actually she's very sensitive, fragile and weak. She constantly has to face her difficult past, and she couldn't escape the reality of having to provide for her family. It's just that she needed to don a piece of armor called "toughness" over her heart. I can sense that deep inside she battles loneliness and alienation and is barely holding her emotional balance in check."''</ref><ref>''Director Anno said, "You can speculate about me as much as you want, but if you're gonna speculate about my wife, you can read as much as you want about her in her works at the upcoming Moyoko exhibition."'' - [[Evangelion 3.0+1.0 Assorted Translations#April 11 stage greeting]]</ref>


==Notlar==
==Notlar==

Revision as of 11:17, 26 September 2021

"Sorumlu kişi sorumluluk almak için vardır."
 Bu makale/bölüm kötü organize edilmiş, içeriği olması gerekenden çok daha az erişilebilir ve kullanıcı dostu hale getiriyor. Bunu düzeltmek için gerekli önlemleri alın.
Lütfen bu konuyu tartışın, veya sayfayı düzenlemeye başlayın..


Mari Makinami Illustrious
Mari
真希波・マリ・イラストリアス
Bağlantı(lar) Bilinmeyen üçüncü taraf (2.0), Wille (3.0)
Kökenleri İngiliz[1]
Doğum Günü Bilinmiyor.[2]
Seiyū Maaya Sakamoto
Seslendirmeni İngilizce: Trina Nishimura (1. sesi); Deneen Melody (Amazon)
Almanca: Jennifer Weiß (1. sesi); Lea Kalbhenn (Amazon)
Fransızca: Kaycie Chase (Amazon)
İtalyanca: Monica Ward (Amazon)
Avrupa-İspanyolca: Marta Barabarà (Amazon)
Latin Amerika İspanyolcası: Mireya Mendoza (Amazon)
Brezilya Portekizcesi: Melissa Lucena (1. sesi); Maitê Cunha (Amazon)

Mari Makinami Illustrious (真希波・マリ・イラストリアス) Evangelion 2.0: You Can (Not) Advance'de tanıtılan bir Eva pilotu ve üçüncü taraf operatörüdür. Gözlüklü ve "ikiz kuyruklu" stilize bir esmerdir.

Profil

Mari'nin esrarengiz bir kişiliğe sahip olduğu gösterilmiştir. Tüm pilotlar arasında, pilotluğu gerçekten sevdiğini itiraf eden tek kişi odur. Tekrarlanan cümleleri, LCL kokusundan hoşlandığını gösteriyor. Ayrıca, kısıtlamaları azaltmış gibi görünüyor ve hatta Shinji'yi ilk karşılaşmalarında dört ayak üzerinde sürünerek ve LCL kokusunu koklayarak bir pilot olarak tanımlıyor. Mari'nin bilinmeyen bir üçüncü şahıs için çalıştığı ima ediliyor. Mari'nin resmi olarak bir tane (evren içi) olduğu varsayılarak bir pilot ataması sağlanmamıştır. (Farklı sürekliliklerde mevcut olmadığı için kaçıncı pilot olduğu ile alakalı herhangi bir bilgi yoktur.)

Savaşta son derece saldırgandır ve deneyimsizliğine rağmen, daha yüksek olmasa da Asuka seviyesinde uzman bir pilot olduğu gösterilmiştir. Üçüncü Havari ile ilk karşılaşmasında hiçbir taktik kullanmadı, ancak havariye kafa kafaya saldırdığını, üssün dışında kovaladığını ve kendini imha etmeden önce onu sabitlediği görüldü. Ayrıca, Eva'ların duyarlı doğasının bir dereceye kadar farkında gibi görünüyor, onlara doğrudan şefkatli bir tonda hitap eder ve hatta Eva-05'in yok edilmesinden önce veda edecek kadar ileri gidiyor. Eva-05'in kendini imhası, Ryoji Kaji'nin Mari'nin bir tanıdığı olması durumu şüpheli olmasına rağmen, onu sabote eden kişi olma ihtimalini ortadan kaldırır.

İsmi

Mari, adını iki adet İkinci Dünya Savaşı savaş gemisinden, Japon muhrip Makinami'den (巻波, "taşan dalgalar") ve İngiliz uçak gemisi HMS Illustrious'dan almıştır. Asuka'nın durumunda olduğu gibi iki ismin karışık bir mirası temsil etmesi amaçlanmış olabilir: burada, İngiliz ve Japon (en azından). Kesin konuşmak gerekirse, ne "Illustrious" ne de "Makinami" (真希波, "asil gerçek dalga" olarak yazılmıştır) gerçek soyadlardır,[3] ancak bu yaratıcı bir özgürlükten başka bir şey olmayabilir.

Originally, Anno considered naming her Mariko, borrowing from one of his wife Moyoco Anno's manga, but instead opted for using the name of Mari Sakurano, from Brave Raideen. Mid-way through productionh Anno also considered changing Mari's name yet again to Chizuru, as a homage to Chizura Nambara from Combattler V, and as a gesture to please "Shō-chan", refering to his friend and colleague Shōji Kawamori, creator of the Macross mecha franchise. The choice of Mari was also done as a nod to another friend of Anno, Yutaka Izubuchi, creator of RahXephon. Izubuchi speculated that another character from Raideen served as inspiration for Rei and Asuka. This characer's name was Rei Asuka. By finally making a reference to Raideen, Anno felt, Izubuchi could "save Buc-chan[Izubuchi]'s face."[4][5]

İlk adı, Nintendo DS Petit Evangelion@Game oyununda ortaya çıktı.[6] Daha sonra, resmi film afişlerinden biri, tam adı için bir "ön gösterim" içeriyordu: "Mari" bölümünü gösteren ve kalan karakterleri yıldızlarla ("*** Mari ********") şeklinde değiştirerek.[7] Mari'nin tam adı, sonunda Eva Extra'nın ilk sayısında yer alan posterin gözden geçirilmiş versiyonunda ortaya çıktı.[8] Asıl adı ortaya çıkmadan önce, Mari hayranlar arasında yalnızca "Gözlüklü Kız" (Japon hayranlar arasında めがねのこ, megane no ko, aynı anlama gelir) olarak biliniyordu. Asuka, İngilizce'de ona "Dört Gözlü Crony" diyor. ÇN: Crony; kocakarı, yakın arkadaş ve dost gibi anlamlara gelmektedir. Herhangi birisini seçmektense hepsini yazmayı tercih ettim.

She caused a furor among fans after months of teasing and her ultimate reveal.[9][10]

Evangelion 2.0: You Can (Not) Advance

Mari, Evangelion Ünite-05'in kapsülünde ilk kez, Bethany Üssü'nden kaçmaya çalışan Üçüncü Havari'yi yakalamak üzereyken tanıtıldı. Ünite-05'in AT Alanı'nı etkinleştirerek, yakın dövüş sırasında mızrağını havariye vurmaya çalışır, ancak havari ondan kaçar ve üssün dışına bir delik açmak için bir hale kullanarak kaçar. Mari onu aralarında az bir fark varken takip eder (bu süreçte pil gücüne geçer), havariyi mızrağıyla üssü çevreleyen sütunlardan birine sabitler ve sol eliyle çekirdeği ezmeye başlar. Bununla birlikte, sibernetik uzuvlar Eva ile zorla senkronize edildiğinden çekirdeğe yeterince baskı uygulayamıyor. Zamanı ve seçenekleri kısıtlı olan Mari, sağ kolun kontrolünü Eva'nın kendisine bırakmaya karar verir ve Ünite-05'in yarı çılgın bir duruma girmesine, çenelerini yırtıp böğürmesine ve sağ koluyla göbeğinin sıkıştırmasına neden olur. Saldırısı işe yarar ve havarşnşn çekirdeği ezilir. Mari hemen dışarı çıkar ve Ünite-05'in Bethany Üssü'nü de beraberinde götüren kendi kendini yok etmesinden kaçar. Kendi hedeflerine ulaşmak için bir yetişkini dahil etmek konusunda o kadar emin olmadığı konusunda derin düşüncelere dalıyor ve Ünite-05'e iyi iş yaptığını söyleyerek veda ediyor.

Bir süre sonra Mari, paraşütle gizlice Japonya'ya girmeye çalışır, ancak hedeften sapar ve okulun çatısında dinlenen Shinji'nin üzerine şiddetle düşer. Çarpmanın etkisiyle gözlükleri düşer ve tam bulduğu gibi birinden telefon gelir. Telefondaki kişiye hedefin dışına çıktığını bildirir ve "Euro personelinin" (muhtemelen EURO-Nerv veya IPEA) bunu çözüp çözemeyeceğini sorar. Daha sonra onları daha sonra çıkarmaya hazır olmaları konusunda bilgilendirir ve telefonu kapatır. Dikkatini Shinji'ye çevirerek, onu kokluyor ve onun LCL koktuğunu söyleyerek "ilginç" olduğunu söylüyor. Daha sonra ona SDAT'ini verir ve karşılaşmadan kimseye bahsetmemesini ister, ona "Nerv'ün Yavru Köpeği" der ve ayrılır.

Filmin sonunda Zeruel Tokyo-3'e saldırdığında, Mari savaşa girmek için IPEA yardımıyla Eva-02'yi çalıştırdı ve çift kollu palet tüfekleri kullanırken Geofront'un içindeki havariyi durdurdu. Asuka'nın seride havariye tekrar tekrar zarar verme girişimlerinin aksine, Mari menzilli saldırılardan çabucak vazgeçti ve bir Yıldırım Mızrağı ile savaş çığlıkları içerisinde hücuma girdi; havarinin üzerine atlayarak ve Eva-02'nin iğneli tüfeklerini ateşleyerek havarinin AT Alanına nokta vuruşlu bir saldırı ile girmek için başarısız bir girişimde bulundu. İngilizce dublajda, oldukça ağzı bozuktur, pilotluk yaparken sürekli olarak rakipleriyle alay ediyordur.

Ayrıca Eva-02'nin Canavar Modu'nu ("kontrollü çılgın moduna" benzeyen) etkinleştirerek Evangelionlar'ın iç işleyişi hakkında önemli bilgiler gösterdi. Bu sırada, Eva'nınkinden farklı olmayan kana susamış, hayvani bir davranış sergiledi ve aldığı ağır hasara rağmen, bir kez bile geri çekilmeye çalışmadı, Eva'sı savaş kabiliyetinin ötesinde hasar görene kadar havarinin saldırılarını bastırdı.

Mari, film boyunca iki farklı eklenti kullanıyor. İlki, uzuvlarda farklı malzemeler (Eva'nın mekanik protezlerine karşılık gelir) ve her bir bileğe bağlı üç yeşil tüp ile Eva-05 için özel olarak yapılmış gibi görünen alışılmadık yeşil ve beyaz takım elbise (muhtemelen protezlerle "zorla senkronizasyona" dahil). Mari'nin Eva-02'deki fırlatması için giydiği ikinci tulum, Kaworu'nunkine çok benzeyen beyaz süslemeli pembe bir tulumdur. Eva'sının değişmesine rağmen, yeni tulumu hala 05 ibaresini taşıyor, bu da kıyafetin bu ünite ile kullanılmasının amaçlanmış olabileceğini düşündürüyor.

Evangelion 3.0: You Can (Not) Redo

14 yıl sonra Mari, Evangelion Ünite-08'in pilotu ve Wille'in bir üyesidir. Asuka ile şakacı, kavgacı bir ilişkisi olduğu gösterilmiştir; Asuka sık sık ondan "Dört Göz" olarak bahsederken, Mari Asuka'dan "Prenses" olarak bahseder. Mari ilk olarak ABD Operasyonu sırasında Evangelion Mark.04 birimleriyle savaş sırasında Asuka'ya keskin nişancı desteği sağlarken görülüyor. Daha sonra, Asuka Ünite-02'ye zamanında ulaşamadığında, Misato, Mari'yi Ünite-08'de Evangelion Mark.09'a karşı gönderir. Mari, Mark.09'un kafasını uçurmayı başarır, ancak bu Rei Ayanami'nin Shinji ile kaçmasını engellemez.

Mari, Terminal Dogma'da Evangelion 13'e karşı savaş sırasında Asuka'ya bir kez daha keskin nişancılık yaparak koruma sağlıyor ve ayrıca Asuka, Shinji'nin Mızrakları çekmesini engellemeye çalışırken, Evangelion Mark.06'daki 12. Havari ile savaşabilmesi için ona yedek piller ve bir konteyner sağlıyor. Ayrıca Rei ile de konuşur girer ve Mark.09'un Adamlar'ın Vücudu'na dönüşmeden önce ondan ayrılmasını tavsiye eder. Rei tepkisiz kaldığında Mari, Rei'nin "orijinalinin" daha hoş olduğunu düşündüğünü söyler. Dördüncü Patlama başlarken Mari, uyanmış Evangelion 13'ün gerçekten hayatta kalan bir Adamlar olduğunu hemen anlar. Asuka tarafından Evangelion 13'e saldırmakla görevlendirilir, ancak Kaworu Nagisa Patlama'yı durdurmak için başarısız bir girişimde bulunarak ölmeden önce ona ulaşamaz. Dördüncü Patlama'yı tamamen durdurmak için Mari, Shinji'yi zorla dışarı çıkararak ona Asuka'ya yardım etmesini ve dünyayı tanımasını söyler. Ünite-08 daha sonra AAA Wunder tarafından Ünite-02'nin enkazı ile birlikte alınır.

Mari'nin 3.0'daki yeni tulumu, önceki filmdeki ikinci tulumuyla renk olarak benzer, ancak şimdi Ünite-08'in pilotu olarak yeni statüsünü yansıtmak için bir 08 ibaresi taşıyor. Ayrıca önceki yuvarlak gözlükleri yerine dikdörtgen çerçeveli yeni gözlükleri var.

Wunder'da Asuka ile birlikte kaldığı oda aynı zamanda bir tür izolasyon odasıdır. Bu, 10. Khara yıldönümü sergisi için konsept sanatında bu şekilde atıfta bulunulmaktadır. Asuka ve Mari, mürettebattan ayrı tutulması gereken ve mürettebatı insanlıktan daha da uzaklaştıran "tehlikeli kişiler" olarak anılır.

Evangelion 3.0 (-120 min.)

Fırlatmadan önce Asuka, Mari'nin yanında, okul üniformasını giyiyor. Asuka aya bakarak Manyoshu'dan birini tekrar görmek istemekle ilgili bir şiir okur. Mari, Shinji'nin iyileştiğinde onları kolayca tanımasını istediğini açıklar. Misato'nun planı Mari'nin Asuka'nın desteğiyle operasyona liderlik etmesidir, çünkü Ünite-08'i daha az hasarlıdır, ancak Mari bunun yerine Asuka'nın liderliği üstlenmesini önerir. Ancak Asuka isteksizdir ve Shinji'nin kendisinin ölü ve kurtarılamaz olduğuna inanır. Shinji'nin eski bir resmine bakan Asuka, fikrini değiştirir ve önceki filmden kalma eski tulumunu giyer ve doğaçlama bir onarım yapar.[11]

Evangelion 3.0 + 1.0: Thrice Upon a Time

Evangelion: 3.0 + 1.0 Thrice Upon a Time'da Mari, Paris'in bir kısmını restore etmek ve büyük bir tedarik önbelleğini kurtarmak için 0706 Operasyonunun bir parçasıdır. Ünite-08'in bacakları pahasına Nerv saldırganlarını yener. Wunder onları almaya geldiğinde Mari; Asuka ve Shinji ile tanışır. Asuka'yı selamladıktan sonra onunla, Shinji'ye karşı çözülmemiş duyguları hakkında alay eder, "Onun yaşındaki erkekleri umursamadığını sanıyordum", der. Asuka ise Shinji'nin "bir kız arkadaşa değil bir anneye ihtiyacı olduğunu" söyler. Antarktika'daki görevlerinden önce Mari kendini Shinji'ye yeniden tanıtır. Shinji, Asuka'nın kendisine neden kızgın olduğunu anladığını ifade ettiğinde, Asuka onun büyüdüğünü kabul eder ve Asuka, geçmişte ondan hoşlandığını itiraf eder. Mari, Shinji'yi tebrik eder ve Asuka'ya kendini daha iyi hissedip hissetmediğini sorar ve Asuka bunu onaylar.

Nerv'e karşı son savaş sırasında Mari, Asuka'yı destekleyen onarılmış Eva-08'i bir Nerv Eva dalgasına karşı kullanır. Gendo'nun planlarına şaşırıyor. Asuka, Eva-13 tarafından absorbe edildiğinde ve Shinji, Ünite-01'i tekrar pilotlaştırmaya hazırlanırken; Mari, Eva-08'i "örtüşen bir duruma" alır ve onu Eva-09, Eva-10, Eva-11 ve Eva-12 ile birleştirir ve onu yeni bir Nerv Eva sürüsüyle savaşmak için kullanır. Shinji'ye bir kez daha "Prenses'i kurtarmasını" söyler. Mari daha sonra Fuyutsuki ile karşılaşır, ondan "Fuyutsuki-sensei" olarak bahseder, daha fazla aşinalığını ima eder ve Fuyutsuki ona "Iscariot'lu Maria" der.

Tamamlanma durdurmaya çalışan Mari, birleşik Evangelion'unu feda eder. Gendo'nun Ekstra Patlama'sı sırasında, Mari'nin üniversitede Yui Ikari ve Gendo'nun bir arkadaşı olduğu ve onların bir araya gelmelerine yardımcı olduğu gösterilmiştir. Shinji, Asuka ile konuşup duygularını ifade ettiğinde, Mari, Asuka'ya veda eder. Unit-08γ okyanustan çıktığında Shinji sahilde oturuyor. Mari gözlüklerini çıkarıyor ve "tam zamanında geldiğine" dair yorumunu yapıyor. Shinji ayağa kalkar ve ona doğru koşar. Okyanusa düşerek, Ünite 8+9+10+11+12'ye teşekkür eder ve kaybolmadan önce ona "son Evangelion" adını verir. Okyanustan çıkar ve gözlüklerini geri takar ve "Seni beklettim Shinji" der.

Filmin son sahnesinde, Asuka, Rei ve Kaworu, yetişkinler olarak, Japonya'nın Yamaguchi Eyaleti, Ube kentindeki Ube-Shinkawa tren istasyonunun diğer platformundalar. Mari, gözlerini kapatıp kim olduğunu sorduğunda, yetişkin Shinji çantası ve takım elbisesiyle bir bankta oturuyor. Shinji, Wunder'daki daha önceki karşılaşmalarına atıfta bulunarak yanıt verir. Aynı zamanda bir yetişkin olan Mari, pembe bir ceket giyiyor. Mari, Shinji'nin yanına gelir ve Shinji'nin boynuna yaklaşır ve boynunun kokusunu alır: "Bir yetişkinin kokusu". der. Shinji başta sinirlenmiş gibi görünse de kendinden emin bir şekilde Mari'yi şaşırtarak yanıt verir ve Mari, Shinji'nin DSS Şokçusunu çıkartır. Elini uzatır ve "Pekala Shinji-kun, gidelim" der ve Shinji kabul eder, ana kapıdan ayrılırlar ve Mari yeni dünyaya yönlendirir.[12]

  • "Iscariot'lu Maria" kelimesindeki "Maria" İncil'deki Mary'nin Japonca adı olduğu için "Iscariot'lu Mary" olarak da çevrilebilir.
  • Mari'nin okyanustan çıkışı, Küçük Deniz Kızı'nda Ariel'in ortaya çıkışına görsel bir göndermedir.

Mangada Görünüşü

Manganın ekstra bölümünde, Yui Ikari ve Mari'nin sınıf arkadaşı olduğu ve ikisinin Fuyutsuki'nin öğrencisi olarak yakın arkadaş oldukları ortaya çıkıyor. Ancak Yoshiyuki Sadamoto, bir röportajda ekstra bölümün ve Mari'nin bu bölüme dahil edilmesinin ne manganın ne de Rebuild serisinin hikayesinin bir parçası olarak görülmemesi gerektiğini açıkladı; bölümün "hayran hizmeti" olduğunu söyleyerek tamamen "eğlence" için yaptığı bir şey olduğunu belirtti.[13]

Mangada Mari
Yui'nin Mari'ye yeni bir görünüm kazandırdığı gösterilmiştir.
Yui, kıza Makinami Mari olarak hitap eder.


Galeri

Mari Makinami Illustrious
1.0 önizlemesinde Mari'nin ilk yakın çekimi.
İlk kapsül giysisiyle
Mari, bir Eva'daki ilk savaşına hazırlanır.
Eva-05'e veda ediyor.
Mari kendini resmi olarak Shinji Ikari'ye tanıtır.
Canavar Modu etkisi altında.
Evangelion 3.0 önizlemesinde yandan görülüyor.
3.0'da yeni gözlükleriyle.


Üretim Geçmişi

10. Havarinin yıkıcı kargaşasını izleyen Mari'nin gerçekleşmemiş sahnesi.

Mari'nin karakterinin çalkantılı bir gelişim geçmişi var ve Baş Yönetmen Anno, Mari için yazdıkları amacın, Mari'nin "Eva'yı yok etmesini" istemesinden daha fazla olduğunu söylemiştir. Yönetmen Kazuya Tsurumaki, Mari'nin sorumluluğunun çoğunu üstlendi ve Yoji Enokido da bir yazarın Mari'nin hikayesini yazmayı bırakması sırasında bir yabancının fikrinin sağlanması için işe alındı. Anlaşmazlığın çoğu, Mari'yi önceden var olan Eva çerçevesine nasıl (ve ne kadar) entegre edeceği ve kişiliğinin doğası etrafında dönüyordu. Bir noktada Mari, ön başlıktaki Üçüncü Havari dizisinde görünmekten biraz daha fazlasını yapacak ve daha sonra Onuncu Havarinin yıkıcı gücünü gözlemleyecekti (ikinci fikir, Ha için (2.0) ilk filmin "Gelecek Sefere" fragmanında gösteriliyor). Mari'nin başka bir karakterin rolünün bir kısmını NGE'den devraldığı erken senaryo taslaklarında ve hikaye tahtalarında çeşitli fikirler test edildi ve sonunda Mari'ye kendi kimliğini verme arzusu nedeniyle diğer tüm fikirlerden vazgeçildi. Enokido'nun önerisi, Mari'nin sonunda onun yerini gasp edeceği Asuka için bir rakip sağlaması gerektiğiydi. Enokido, Mari'nin Ünite-02'nin ana pilotu olmasını, Shinji'ye "anta baka?" demesini ve hatta onu öpmesini sağlayacak kadar ileri gitmek istedi, ancak bu sonunda Anno ve diğer yazarlar tarafından reddedildi. Mari için bitmiş filme asla dahil edilmeyen başka bir konseptte, çok sayıda kediye sahip olacaktı ve kollarında ve bacaklarında kedi dövmeleri olacaktı. Mari'nin ara sıra konuşmasını "nya" ("miyav"ın Japonca karşılığı) ile noktalaması, bu terk edilmiş fikre bir gönderme olabilir.

Geliştirme Süreci

Mari's character has a tumultuous development history, with Chief Director Anno knowing little more of his intent for her than that he wanted her to "destroy Eva". Unlike the others, her character was not Anno's idea, but rather the result of an explicit request by the producer, Otsuki, for a new main female character. Anno accepted it as a way of differentiating the Rebuilds from the anime series, but believes it was for commercial reasons.[14][15] Anno initially intended to make Mari a rather isolated charcater, devoid of relationships, but could not refrain from making her to much like the series' original characters, so decided to hand her development to others. Assistant director Kazuya Tsurumaki ended up shouldering much of the responsibility for Mari, and Yoji Enokido was also recruited during a writer's retreat to provide an outsider's opinion - Enokido is considered an outsider, and his characterization ended up being mostly his brainchild.[16] This is in contrast to the existent NGE characters, which were all based on Anno himself to varying degrees.[17][18]

Much of the disagreement revolved around how (and how much) to integrate Mari into the preexisting Eva framework, and the nature of her personality.[19] In the very first drafts, Mari was to do little more than appear in the pre-title Third Angel sequence and to later observe the Tenth Angel's destructive power (the latter idea shown in the first movie's trailer for 2.0), and Anno kept Asuka's role relatively intact relative to her NGE self, and she'd remain the focus of the film much like the corresponding Action Arc of the series. Various ideas were tested in early script drafts and storyboards wherein Mari took over part of another character's role from NGE, which was eventually abandoned due to the desire to give Mari her own identity. At first, Anno kept Asuka's role relatively intact relative to her NGE self Her personality changed from various different themes, like being a mysterious and quiet girl, or the dojikko archetype of a clumsy and careless girl, all in an attempt to differentiate her from Rei and Asuka.[18] Anno decided to inpinge some relationships from other characters into hers in order to give her more spce, for instance, Kaji and Asuka's relationship was entirely removed from the film and replaced with Mari's "subordinate" role to Kaji.[20] Other suggestions slowly began to surface as Anno could only give vague directions to his writers - one of his first was that the character should be an "Onee-san" or be an animal lover. The ideas were so generic and vague that Tsurumaki considered Mari to have had "multiple personalities"; "a different character in each scene she appeared in", making it difficult to give her a consistent characterization and psychology. Tsurumaki in particular felt she'd simply end up simply repeating Shinji's relationships with other characters and consuming their personalities. In the storyboard of the preparatory manuscript drawn by director Masayuki, there is a scenario introducing her to Shinji and others as the "Fourth Girl" at the 8th Apostle War Prewar Strategy Conference. In another storyboard, Mari would have pushed up her glasses in the same manner as Gendo.[21] Anno decided to postpone discussion at the time. It was during this "script retreat" that Enokido was brought in as an outsider.

In response to mounting pressure from fans after her first teased apparence during the preview at the end of Evangelion 1.0, Anno progressively increased her role and space in the story. Tsurumaki noted she'd be a character of "minor importance" originally.[22][23][24] Most of the new ideas ended up discarded and rejected by the rest of staff, who couldn't come to a consensus. In draft number 7, for instance, Mari would pilot Unit-02 together with Asuka in the same entry plug, in draft #11, Mari was depicted as an European classmate of Asuka's. Other ideas included playing up to stereotypes of her British nationality, like her first meeting Shinji in a train station, or having tea time on the roof of the school in draft #13. Tsurumaki felt particularly unsatisfied, and felt that Mari could never be distinct enough from Asuka, Rei or Misato. Tsurumaki eventually came up with the idea of her falling from the sky by way of parachute, as a way of having her do something bizarre and different.

Enokido was asked for his input, and he suggested Mari to be a "neutral and lighthearted" character inspired by harem and shounen manga.[25] Enokido's suggestion was that Mari should serve as a rival for Asuka who ultimately usurps her. Enokido wanted to go so far as to have Mari become the main pilot for Unit 02, say anta baka to Shinji and even kiss him, though this was eventually discarded by Anno and other writers. Tsurumaki, in particular, protested one of the proposed alterations as “I’m an Asuka fan, and I won’t be happy if this scene gets cut”.[18] Enokido also suggested for Mari to be full of tattoos symbolizing her dead pets.[26] Anno's assistant, Ikki Todoroki, suggested scenarios like her being a guest at Hikari's house, and a rival with Asuka for Kaji's affections and control of Unit 00, beating her in a synch test. One inspiration for her demeanour were the miko women of Shinto temples.[27] These indecisions led to about forty revisions of the script in total, and the writers were mostly forced to come to an agreement when repeatedly reaching deadlines.

Tasarımı

Mari's earliest available designs. Note the resemblance with the other female characters.

Similary to his other attempts to distance himself from Mari's conceptualization, Anno gave initially vague settei to Sadamoto and Tsurumaki. In one of her old character designs, her plugsuit is numbered 04 instead of 05 like she appears initially in the movie. Anno requested her design be based on a "Christian Missionary-style". Other early designs included a Victorian version of Mari, playing on English stereotypes, and her checkered skirt was in reference to Scottish stereotypes. Her early association with green and use of tights was in reference to pictures of British schoolgirls Anno brought to Sadamoto when he asked for references. Initially, he also considered giving her a long-sleeved blazer.[28][29] Sadamoto concluded that her glasses were a simple but effective way to differentiate her from the other main female characters.[30] Mari was intended to attract a new kind of fan, and a character that could be "broken". [31][32] Additionally, Anno thought Mari's glasses were a good way to showcase their animators' talent, as it was much harder to animate them in the original series.

These designs feature an umbrella, another example of British stereotypes influencing Sadamoto.

At first, Sadamoto simply merged Asuka's and Rei's characters; however, he himself was dissatisfied with the result, thinking the character was too derivative. To visually distinguish her from the two protagonists of the series, he gave her straight, dark hair and a taller head and body than her colleagues. The eyes instead were designed to be long and well defined, so as to give her a more kawaii look. He opted for a hairstyle with two braids, but since Asuka also has hair with two braids, Anno suggested moving the springs of the braids down, adding a band. For the posture and hairstyle, inspiration was taken in particular from those of actress Yui Aragaki, who played Umemura Hikari in the dorama My Boss, My Hero. Anno decided to make the character wear two different combat suits, one old and one new generation, as a further element of detachment from the other pilots.

Mari's early design uniforms. Note the strong British influence also.
Mari's early plugsuit designs, with changing colors.

In the very early stages of production, staff considered a plugsuit in green, indigo or yellow, and then moved to pink, a color popular in anime, giving her a touch of femininity. Sadamoto later noticed that, compared to the white and red models of Rei and Asuka, pink has less visual impact, which is why he then gave her a more "scandalous" color, so for her reveal in the green plugsuit, he opted for green, which he also associated with England, from British racing green.[28] The proposal was made by the colorist Kikuchi Kazuko, and was immediately welcomed with fervor by Sadamoto. Its design was inspired by the green uniforms of the Gamilas from Space Battleship Yamato, as well as by some spacesuits from the TV series UFO, and the space suits of Soviet cosmonauts. Sadamoto attempted to give her a sleekier, more modern design that'd feel updated, but still similar to the existing pilots' suits. Anno decided to give it a helmet as well, in order to cover the face until the end of the battle and create a dramatic effect for her reveal; for the design of the helmet Sadamoto took inspiration from those of track cyclists, much like Misato's motorcyclist-inspired[33] jacket. The design of the lower part of the suit, however, traced that of fencing suits, feeding the idea of a girl belonging to European aristocracy, and more mature than the other pilots.[34][35] There are several nods to her age being in fact much older than the other pilots.

Sadamoto had considerable impact in her earlier characterization as well. Due to his experience in the Evangelion manga, staff valued his input in how to handle the reduced space for characterization the movie format gave them. Producer Ohtsuki also complained to Anno that they had not yet decided on a voice actress even by the time the recording stage of production was imminent. Ohtsuki asked other staff for suggestions, and using Maaya Sakamoto, a famous voice actress that Sadamoto, Enokido and Tsurumaki worked with before on Diebuster but had no familiarity with Eva was Sadamoto's idea. Maaya Sakamoto was called and selected without an audition or explanations, and would only then receive some information on the character. Sakamoto, after trying hard to interpret the character, concluded from explanations by Anno and Tsurumaki that she'd play the character as an "alien" element to Evangelion.[36][37] Sakamoto says she herself still has difficulty understanding Mari's character an that she's full of mysteries, an opinion shared by Ogata, Shinji's voice actress. She says Anno shared several important details with her, but she says she won't reveal them: "I'll take it to my grave".[38] Moyoco Anno has commented on associating herself with Mari, on her paid fan newsletter, from April 2nd: Don't compare me with Mari. It's great that people are talking about "Shin Evangelion" and their thoughts on it, but... But please don't compare me to the work any more than you have to. Please don't make me feel uncomfortable about it., as well as Khara staff's denial and Anno himself. Instead, they link her to Tsurumaki's decisions.[39][40][41]

Notlar

  • Bethany Üssü'ndeki havariye yaklaşırken Mari, Kiyoko Suizenji'nin "The 356-Step March" şarkısının bir kısmını söylüyor:

マリ「しあわっせはーあるいってこないだーからあるいってゆっくんだねーん　
いっちにっちいっぽみーかでさんぽ
　さーんぽすすんでにっほさっがるー　
じーんせいはっわんつー！ぱんち・・・

Shiawase wa aruite konai, dakara aruite yuku 'n da ne
Ichinichi, ippo. Mikka de sanpo.
Sanpo susunde, niho sagaru
Jinsei wa, one-two-panchi...

Mari (şarkı söylüyor): ♪Mutluluk bana doğru yürümez, bu yüzden ben ona doğru yürüyorum
Bir gün, bir adım. Üç günde üç adım
Üç adım ileri, iki adım geri
Hayattır zaten, bir iki yumruk... ♪

Referanslar

  1. ↑ 2.22 DVD sürümüyle birlikte gelen kitapçık, Mari'nin Birleşik Krallık'ta doğduğunu belirtiyor.
  2. ↑ Diğer karakterlerin çoğunda olduğu gibi "seiyuu'nun doğum günü" kuralını kullansalardı, 31/03 olurdu.
  3. ↑ Google, "真希波" kelimesini araması, yalnızca Mari'nin adıyla ilgili sonuçlar verir; bu, bu şekilde yazılan "Makinami"nin muhtemelen bu karakter için orijinal bir icat olduğunu gösterir.
  4. ↑ Evangelion 2.0 CRC - “We persisted in changing Mari’s appearances up until the very last minute”
  5. ↑ See Character Name Origins for the naming of the series' characters.
  6. ↑ DS oyununun ekran görüntüleri
  7. ↑ Promosyon posterinin web sitesi versiyonu.
  8. ↑ Gözden geçirilmiş terimler listesini içeren tanıtım afişi.
  9. ↑ Anno's Evangelion 2.0 Film Slated for June 27 in Japan (Update 2)
  10. ↑ 『ヱヴァンゲリヲン新劇場版：破』新美少女キャラは、めがねっ子の真希波・マリ・イラストリアス！
  11. ↑ Evangelion 3.0 (-120 min.) mangası, 3.0'dan önceki 2 saati, ABD Operasyonu'ndan öncesini anlatan kanon bir mangadır. EvaGeeks'in forumunda İngilizce çevirisi mevcuttur. Türkçe çevirisi için buraya gidin.
  12. ↑ "Benim için ağır bir yüktü, hayranlar böyle yeni gelen birinin sonunda Shinji ile el ele tutuştuğu için beni azarlayacak mı diye merak ettim (gülüyor). Ancak geçmişte "Eva"yı canlandırmanın birçok yolu vardı ve bunu olası sonlardan biri olarak düşünürseniz kurtulacağım."
    "Mari'nin insanları gerçekten sevdiğini hissediyorum. Shinji'yi seviyor ama bence Asuka, Mari için özeldi. Asuka ona soğuk davransa da, Mari ona her zaman "Prenses" der ve ona özel bir insan olarak saygı duyar ve korur. Birlikte oldukları savaşların yanı sıra, saçlarını kestiği sahnede çok sessiz ve sakin ve hoş bir duygusallığı var. İkisi arasındaki kontrastın iyi çizilmiş olduğunu düşündüm. Asuka'nın olduğu sahnede onun sesini Yuko Miyamura ile kaydedebilmek harikaydı." - Maaya Sakamoto, 3.0 + 1.0 afişindeki röportajdan.
  13. ↑ https://wavemotioncannon.com/2017/02/21/the-current-status-of-gainax-interview-hiroyuki-yamaga-yoshiyuki-sadamoto-september-2016/
  14. ↑ Tsurumaki: Yeah. The appearance of a new character and Eva Unit-05 was requested by executive producer (Toshimichi) Otsuki-san. I think the motive was a commercial one—to strengthen the appeal of the film - Evangelion 2.0 Complete Records Collection
  15. ↑ Well, in regards to Mari, she is the result of us trying to make a character that isn’t very ‘Evangelion’-like. Perhaps the way she’s one step away from the seriousness of ‘Evangelion’ makes her appear more ‘FLCL’-like. I didn’t make her purposefully into a ‘FLCL’-like character, but rather she was the result after talking to and finding some common ground with Anno-san. - Tsurumaki, "10 years since then" interview
  16. ↑ Saakamoto: The main story is about Shinji, Rei, Asuka, and the others, and I used to think that Mari was just a cheerful character who would be a spice to the story. In fact, she wasn't really the focus of ":3.0", and I was aware that that was the way it was going to be, but I didn't expect to be given such an important role at the very end. I don't know if he intended it to be this way from the beginning or if he went towards this place while making it. When Mari appeared in ":2.0" for the first time, Anno explained her role to me, but he said, "Tsurumaki is more interested in the portrayal of Mari, so I'll leave it to Tsurumaki," so I assumed that Anno didn't have any feelings for Mari. So I was a little curious as to why she was given such an important role (laughs).
    [...] Tsurumaki: I think the Mari in "EVANGELION:3.0+1.0 THRICE UPON A TIME" has changed a lot in terms of meaning since ":2.0". In ":2.0", when Anno himself created the character, he inevitably became himself, just like Shinji, so I think he wanted to make Mari a different character, so he entrusted her to an external person" - Tsurumaki, Evangelion 3.0+1.0 booklet interviews
  17. ↑ Eva Special Talk with Anno Hideaki and Toshiya Ueno (Newtype 11/1996)
  18. ↑ 18.0 18.1 18.2 "Anno-san had previously said, “All the characters that appear in Eva are me”; he said that not just Shinji, but Kaji and Misato as well, and even characters like Kaworu and Rei, are aspects of himself. In this sense, every character is ultimately the same. On the surface, different “seasonings” have been used, but inside [the characters] really are very similar. If Mari were to end up the same as them, she would not be able to destroy that world. As a result, for me, Mari was a girl who made use of that “frivolousness”112 that was the opposite of diligence for her own benefit." - Evangelion 2.0 CRC - Tsurumaki Interview
  19. ↑ There was an interview with Tsurumaki in which he confessed that during the production of “Ha” they still weren’t sure about what to do with Mari, even the name which was tentatively “Mariko”. They HAD to have a new character (a new pilot), but they didn’t have much of an idea as to what to do with it. - Forum thread, referring to this untranslated interview from CUT Magazine.
  20. ↑ Anno: Yeah. I completely cut it from the film. The main reason was that, in a film, there is simply not enough room to depict something like Kaji and Asuka’s story. Even if we had put just a little [of that] in, then she would not have worked as a character, and it would inevitably have been a nuance that only those who knew the original series would understand. So I completely cut that [relationship], and instead decided to have Kaji be close to Mari. That decision was made because of the fact that, among the main characters who had appeared up to this point, there were none who knew Mari, and this was causing me various difficulties in writing. That being the case, I figured that Kaji was the most suitable. He was, like Mari, a character who appears from “Break” onwards. He’s someone who seems to know various secrets, and to have various connections. - Evangelion 2.0 CRC
  21. ↑ "Tsurumaki: Certainly Mari’s appearances had increased. Furthermore, if there were scenes where Mari appeared by herself, that was still fine. Even in the early stages of the plot[’s development], we didn’t really feel that such scenes were a problem. The difficulty lay in her relationships with other characters. Especially, if we intended to portray a relationship between Shinji and Mari, it would entail strange things happening. At one point she would have Rei Ayanami’s role in relation to Shinji, at another point Asuka’s, at another point Misato’s. There was a sense that her character was changing depending upon the circumstances of each scene. In the first place, if it’s Rei’s role, Rei herself can do it, and if it’s Asuka’s role, Asuka herself can do it. To the extent that this newly arrived character, Mari, is just partially substituting for roles that other people have carried out up until now, the story itself is really unchanged. My impression was, if that’s going to be the case, Mari is probably not needed." - Eva 2.0 CRC
  22. ↑ I thought that Mr. Anno would not be the type to change the way he makes a film based on the reaction of the audience. "But after the end of the first film, I felt that I had to work harder." I thought he wouldn't be the type to change the way he made things. We talked about how we had to work harder after the end of the first film. "In order to respond to our customers, we have to change." We were talking about how we needed to make 2.0 something more... better. But it's hard to decide. We would say, "We have to make changes to meet our customers' expectations. How can we meet the expectations of our customers and satisfy ourselves? In a state of limbo, the production of "Ka" went through many changes. [...] Mari was originally intended to be a character of minor importance. Tsurumaki, CUT Magazine July 2009
  23. ↑ "It's like we were rebuilding at random. Once it started turning, it started accelerating and wouldn't stop. I don't think even Mr. Anno imagined it would go this far.
    This "acceleration" led to the creation of a new character, Makinami Mari Illustrious, a symbol of the changes in the new film version. Initially, Mari was only going to appear briefly, but as it turned out, she became a deeply involved character. But since she was a completely new character, there was no room for her to be included, so it was very difficult. If I put her in, the original story would be destroyed. It's very complicated.
    [...]"The character's personality changed two or three times depending on the production period, and it was very difficult. Her name was 'Mariko' at first, too. - Tsurumaki Interview, July 2009 AERA Magazine
  24. ↑ Enokido: There were versions of the unfinished screenplay where Mari appears only at the beginning, and doesn’t participate in the battle at the end. - Evangelion 2.0 CRC
  25. ↑ "Enokido: The sadness and happiness of young men is bound up in the fact that they always possess these two contradictory wishes. The so-called “Harem Anime” genre is for the most part intended to satisfy these desires. In “Urusei Yatsura”, Shinobu is the Japanese girl who was one’s childhood friend and always by one’s side, and Lum is the “alien girl”. We say “alien”, but [such characters] perhaps [have] an “American” image. Rei and Asuka exactly fit the pattern of this “perfect lineup”.
    Now, coming up with a plan as regards the third girl who must compete with this “ultimate combination” seemed to me a very difficult job. In addition, Director Anno had not, up to this point, developed anything himself, but, expressing the desire for a completely new character, had left Mari’s development to others.
    "This being the case, my first proposal for an additional type was a Sapphire (from [Tezuka Osamu’s] Princess Knight) type. If Rei and Asuka are completely different types, I wondered if a “neutral”, lighthearted type who battles with an “innocent” image would be good. At this point, though Anno-san agreed that it would be good, he thought a Wato (Chiyoko) type (from [Tezuka’s] The Three-Eyed One) would be more realistic, and he got quite excited about it." - Evangelion 2.0 CRC - Enokido interview
  26. ↑ "— In the original scenario Mari was the daughter of a distinguished English family who kept dogs and cats, and so on; what were the circumstances [relating to that]?
    Enokido: Speaking of that, I also remember conversations like, “What if we gave her tattoos of the names of all the pets she’s kept up until now?” For example, we would insert a bath scene where we see the area from her chest to her stomach is completely covered in tattoos. If she gets asked, “Why do you have them?” she’d answer something like, “They’re the names of all my pets that have died up until now. The tattoos ensure I don’t forget them, and that they still ‘live’ with me”."     - Eva 2.0 CRC
  27. ↑ Enokido: As we had many conversations relating to Mari, I think it was. As for other images, there was the part of a Miko-san [shrine maiden] channeling the gods. She is not “practical” like Asuka, but thinks about “deep” things, like someone who somehow can see mysterious things like those connected with the gods. She is not “unworldly” to Rei’s extent and she talks a lot. As nothing had yet solidified, we had these sorts of discussions about ideas. - Evangelion 2.0 CRC - Enokido Interview
  28. ↑ 28.0 28.1 "Yes. When I got the instructions on Mari's seifuku design, the document consisted of only two lines: British-style and Christian Missionary School-style. When I asked the general director Anno-san "What is Missionary School-style", he replied "I don't know, create an image from the words"! I then asked him for some reference material and a few days later he brought some photos of British school girls and said "Like this". All their skirts were long – 15cm below the knee – and some looked so old! Looking at all the photos I found that many used check designs, most school girls wore tights and the blazers had colored edges. I used these features in creating the design. I told Amano san that if she didn't wear a blazer it wouldn't look very British. In the trailer of EVA 1 you know Mari is wearing a Blazer, but in EVA 2 it would not be right if she wore one so I changed the design." - Sadamoto, World Seifuku Project Summit Part 2
  29. ↑ "Speaking of pink, at first it wasn't used at all for Mari's plug suit and we didn't even test it. For over two weeks we would try green, then yellow, and then it struck me "Pink is it". We photoshopped in pink and it was perfect, and decided on the spot to make it pink."
    Ayanami's plug suit is white, and Asuka's is red. Pink is in between these two colors and it loses some impact, so I did think about making it a more outrageous color. Black would be more British, but a bit harsh, so I went for green. Mari's older model plug suit is green, but I was surprised how much pink suited her. - Sadamoto, World Seifuku Project Summit
  30. ↑ Sadamoto, O-sada-bon 2009
  31. ↑ "As for Mari, a character present in the Rebuild, they wanted to attract a new type of fan, as well as create an additional character that could be "broken" (in this case the translator was not sure of the word used); Sadamoto also said that he really likes Mari's character, and plans to reuse it in the future." - Yoshiyuki Sadamoto: Milan Manga Festival (2013)
  32. ↑ On the one hand we wanted to create a different character, one that would appeal to a new type of audience and mark a break in the story. There were both "market" and plot requirements, and I had to keep them in mind. In the movies there is a great mystery around her presence, which is why you only find her there. I couldn't use her in the manga, although I would have liked to. She'll be up to a lot of mischief, together with Asuka, so wait for the new movie, because there will be surprises and a lot of interesting characters. Sadamoto Days – i fan meet e l’intervista (2013)
  33. ↑ Sadamoto - Kodansha 2003 interviews
  34. ↑ YA: What did you think when you first heard about Mari?S: I thought it was fitting that the new films should include a new character. I really strove to design a character who was distinct from Asuka and Rei, though I do worry that there are some small but telling similarities that remain. My idea was to create a character so distinct from the other Evangelion characters as to almost feel out of place in the Evangelion world. I suppose I could've designed her as a sort of "halfway point" between Asuka and Rei, but Asuke and Rei are both such strong characters, in their own separate ways. I wanted to bring something completely different to the table with Mari. For Mari, I'd been asked to design a character who "goes about with a parasol, like the sort of heroine you see in an anime". As I initially designed her, she was very adult-like, having attended a strict private Christian school in Britain. However, in the original script, there was a scene where she returns home to a room full of birds and dogs and begins talking to them, to indicate that she was also rather idiosyncratic. Mr. Anno had also requested that she be more adult-like in appearance and manner than either Asuka or Rei, to set her apart. And that she have a huge chest (laughter). There was a television drama I'd really been enjoying at the time I began designing Mari. The heroine in this drama had a pair of long ponytails. I really liked this character feature, and worked it into Mari's design. After all was said and done, we ended up with the design that we have now, although there are still many elements of my personal tastes and interests of the time in Mari's design (laughter). Incidentally, I decided to give Mari glasses because I thought that this would be a simple yet affective way to set her apart from the other characters. Some people have said that she "doesn't seem like an Evangelion character", which is exactly what I was aiming for. I'm glad to see, though, that the majority of people have appreciated her character. YA: How did you go about designing Mari's uniform and plug suits? S: I'd been asked to make Mari seem very British, so I tried to design accordingly. For her school uniform, I thought that a large bow and long socks, along with a traditional checked skirt, would look the part. Sadamoto Interview (Young Ace n.3, 2009)
  35. ↑ Evangelion 2.0 CRC - Sadamoto interview
  36. ↑ [Maya] I said that Marie had destroyed “the former Eva”.
    [...]- Parting words filmmakers somehow affected the result?
    [Maya] When I heard about the “destruction”, then realized what an important role, and at the same time extremely responsible mission entrusted to me.I’m sure: to destroy the so ingrained image of the product, the new creation must be a monstrous adventure. And I threw all worries about leaving “Old Eva”, and decided to voice Mari as some kind of an alien element, that today’s Anno needs.     - Newtype July 2009
  37. ↑ 特集:『破』が教える、エヴァンゲリオンは生き続ける, CUT Magazine, August 2009
  38. ↑ Maaya Sakamoto talks about the pain of understanding the role of Mari. I will take secrets to my grave.
  39. ↑ Khara staff and official account had commented on on Gainax co-founder, Toshio Okada, talking about it on his Youtube channel: Another disgusting video came around. I've never had any contact with the director, and I've never met Toshio Okada. I think it's time to stop making insulting remarks based on crazy assumptions. ; "Toshio Okada hasn't even met Anno for a quarter of a century, and he's never met Moyoco. And yet, there are people who misguidedly say that Mari is Moyoco and believe them. The most misguided part."; "Mari only has Tsurumaki-san's libido in her. She has glasses, is strong, and could have been in FLCL. She's also a character with the same dialogue."
  40. ↑ Hideaki Anno did comment on Moyoco in her 2002 manga Insufficient Direction: "My wife's public image is that of a strong woman, but actually she's very sensitive, fragile and weak. She constantly has to face her difficult past, and she couldn't escape the reality of having to provide for her family. It's just that she needed to don a piece of armor called "toughness" over her heart. I can sense that deep inside she battles loneliness and alienation and is barely holding her emotional balance in check."
  41. ↑ Director Anno said, "You can speculate about me as much as you want, but if you're gonna speculate about my wife, you can read as much as you want about her in her works at the upcoming Moyoko exhibition." - Evangelion 3.0+1.0 Assorted Translations#April 11 stage greeting



Karakterler
Ana Karakterler: Shinji Ikari | Rei Ayanami | Asuka Langley Soryu
Nerv Personeli: Misato Katsuragi | Gendo Ikari | Ritsuko Akagi | Kozo Fuyutsuki | Ryoji Kaji | Maya Ibuki | Makoto Hyuga | Shigeru Aoba
Sınıf Arkadaşları: Toji Suzuhara | Kensuke Aida | Hikari Horaki
Diğer Karakterler: Kaworu Nagisa | Yui Ikari | Naoko Akagi | Kyoko Zeppelin Soryu | Dr. Katsuragi | Keel Lorenz | Pen Pen
Rebuild of Evangelion: Asuka Shikinami Langley | Mari Makinami Illustrious | Sakura Suzuhara | Ryoji Kaji (Çocuk)
Çeşitli: İkincil Karakterler | İkincil Karakterler (Rebuild) | Ekstrakanonik Karakterler
Teori ve Analiz: Karakter İsimlerinin Kökenleri (Savaş Gemileri) | Tasarımlar | İlişkiler | Profiller
Kaynaklar: 2015: Ryohji Kaji'nin Son Yılı


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