Theory and Analysis:Sandbox Sequence

The Sandbox Sequence is a 2 minute 43 second long sequence of scenes from the End of Evangelion that depicts a young Shinji in a playground, specifically in a sandbox. This sequence follows the cut where Yui asks Shinji what he wishes for while he is in the Entry Plug of Evangelion Unit-01. This sequence is filled with symbolism and metaphors and some fans often ask what the purpose of this scene is and what it means. This is one possible interpretation of the events of this sequence.

Summary

Leading up to this sequence, Shinji is in the Entry Plug and is asked what he wishes for. Without giving an answer (here we see a superimposed sketch of a woman's breasts) he starts wavering and turns into LCL. Then the drop of water, which is a visual cue that indicates a shift from the real world to "imaginary world" or vice versa. In this case, we're shifting from the real world (the Entry Plug) to the "imaginary" one (the Sandbox Sequence and following scenes).

At first, we see that everything is grainy, as if we're watching an old movie. As if to further push this motif, we see stage lights and what looks like a movie set.

Stage lights

We see a swing set, swinging back and forth and the music starts, the music is almost carnivalish pipe organ sounding. In the background, we see hills that look very similar to a woman's breasts.

Hills, the Sun, and a swing set

We then see a zoomed out shot of the playground, we can see the swing, the hills, the surrounding trees and the sandbox itself. In the sandbox are Shinji and 2 other children. Here, we hear Shinji narrating, as if he is observing this scene: I see... It's just like when I started the cello. I thought that if I came here, I could find something...

The playground

Analysis

"It's just like when I started the cello"

The only piece of narration we get in the entire sequence is Shinji saying I see... It's just like when I started the cello. I thought that if I came here, I could find something.... This brings us back to what he said about playing the cello in Episode 15

Asuka: Not bad! I didn't know you played.
Shinji: I've been studying since I was five, and this is all I can do, so I don't really have any talent.
Asuka: Perseverance is power. I'm a little impressed.
Shinji: I started studying because my teacher told me to, so I could have quit anytime.
Asuka: Then why did you keep going?
Shinji: Because nobody told me to stop.

This indicates his attitude towards the cello, someone had told him to do it, he did it because he was told to, and he never stopped because nobody told him to stop. There is another line from Episode 26 where Shinji mentions the cello in the context of Shinji clinging to Eva because he lacks any purpose otherwise:

Kaji: The Eva itself will become all you are.
Misato: The real you will cease to exist.
Shinji: I don't care! I never had anything to begin with anyway! Even the cello lessons I used to take all came to nothing.
Asuka: That's because you never took the initiative to make something of it!
Shinji: But I can pilot the Eva now!
Asuka: And eventually, you won't be able to do anything without the Eva. Like me.
Eye Catch: "Why do you pilot the Eva?"
Shinji: Because that is all I have.

This is an important clue into interpreting the imagery in the Sandbox Sequence. Shinji is comparing his experience with Eva to his cello.

The hills and the swing

The sun is like a core

In the image of the hills, the sun, and the swing set swinging back and forth. The hills are obviously imagery of a woman's breasts, possibly representing the mother, but the Sun in it's position, almost looks like a Core, possibly representing Shinji's mother, specifically Eva-01. The swing itself is in the foreground and swings back and forth. The swing can be heard creaking in the background and of varying speeds. One possible explanation of this is that it reflects that of Shinji's mood during the Sandbox Sequence. It swings faster when Shinji is content and happy, but slower when he is distressed or sad, until eventually, it stops completely. Arriving to the point that the swing stops, his friends have left him and he cannot follow them, distraught, he continues building the pyramid by himself. With it completed, he stares at it as the sun sets, then destroys it. After destroying the pyramid, the swing stops completely, and never starts swinging again.

The stage lights and the set

The stage lights throughout the sequence is commonly interpreted as being eyes. The first cut of the sequence tells us that these are stage lights, and not simply street lamps that are part of the playground (note that there is a street lamp in this sequence). Whereas the street lamp would be part of the "movie set", the stage lights are almost "observing" the set itself. It so happens, that nearly everytime we see the stage lights, they look similar to a pair of eyes, watching Shinji. During these instances, they are always behind him and in some instances, it looks as if they belong to the hills. Connecting the eyes to the mother, it is possible that this represents Shinji's mother watching over him. To reinforce the notion that the stage lights are not part of the set, different angles and different shots of the playground sometimes has the stage lights in the shot, but others do not. For instance, you can clearly see that the stage lights are right behind Shinji, but when we zoom out, they are no longer there.

The set itself serves another purpose. It shows that this is not a flashback (at least not literally). This is an interpretation of something from within Shinji and he is observing it. His narrative first line in this sequence also backs this up. In another instance, the set is actually used to show the "uncrossable chasm" that separates the other children's mother, and later, the other children, from Shinji himself.

External Links

Discussion of the Sandbox Sequence: [1]