tr:Evangelion 2.0 Complete Records Collection

"Japonca soruları okuyamadığını mı söylüyorsun?" "Doğru, henüz tüm Japonca harfleri öğrenemedim. Orada üniversitede bunları görmedik." Bu sayfanın doğru bir çeviriye ihtiyacı var. Japonca biliyorsanız lütfen yardım edin! (Resmi bir çeviri şansı düşük olduğundan, bunun bilgilendirici olması amaçlanmıştır.) Lütfen bu makaleyi düzenleyin veya bu konuyu tartışma sayfasında tartışın.

Başlık	Evangelion: 2.0 You Can (Not) Advance Complete Records Collection
Orijinal Yayınlanma Tarihi	Eylül 2010
Yayınevi	khara
Sayfa Sayısı	362 + 436 + 232 + 292
Boyutlar	32.5 x 23.5 x 10.5 cm/5490g
ISBN	(ISBN 978-4-905033-00-4)

Evangelion 2.0: You Can (Not) Advance Complete Records Collection (ヱヴァンゲリヲン新劇場版：破 全記録全集), ikinci Rebuild filmiyle ilgili devasa bir materyal koleksiyonudur. Bir karton kutu içinde paketlenmiş dört kitaptan oluşur. İlk iki kitap, ciltli ve ayrıca sert kapaklı, personelle yapılan röportajlardan konsept sanatına ve filmin kesilip kesilmemesine kadar her şeyi içerir. Diğer iki kitap, avant+A+B ve C+D bölümlerine ayrılmış filmin hikaye tahtalarıdır.

İçindekiler

2.22 FİLM

FİLM

Bazı çekimlerin altındaki diyaloglarla birlikte, tüm filmin sahnelerinin bir dökümü. Khara logosundan fragmana ve jeneriğe kadar.

Müzik İpucu Sayfası

Her parça, uzunluğu ve hangi sahnede çaldığı ile birlikte etiketlenmiştir.

Ek Senaryo

Filmde gerçekten konuşulduğu İngilizce ve Rusça versiyonları da dahil olmak üzere, tüm arka plan diyalog senaryoları kesilmiştir.

Poster

Asuka'nın Sadamoto tarafından hazırlanan katlanır posteri.

Arşivler

Arşivler

Karakter tasarımı ve referans görüntüleri, birçok şey için kabataslak çalışma ve ayrıntılı nihai tasarımlar, kullanılmayan erken konseptler, Eva ve havari tasarımları, çeşitli araçların, binaların ve diğer yapıların 3D modelleri, yerleşim sayfaları, monitör ekranları ve genel olarak bir ton malzeme.

Buradaki görüntüler, Eva'nın yerden direklerin tepesine kadar olan 80m'lik resmi yüksekliğini, diğer birçok yapı ve araçla birlikte 4m'lik bir tabloya ilk sıraya koyarak daha da güçlendiriyor ve bir sonraki sayfada, çeşitli Eva vücut parçalarının araçlar ve binalarla daha ayrıntılı bir karşılaştırması için 2m'lik bir tablo mevcut. Yine de bunun yalnızca Rebuild için geçerli olduğu varsayılır.

Sanat Görselleri

Filmden çeşitli sahnelerin konsept resimleri.

Röportaj

Yoshiyuki Sadamoto - Ana Karakter Tasarımı (02/10/2009)

Ikuto Yamashita - Ana Mekanik Tasarım (21/06/2010)

Youji Enokido - Senaryo İşbirliği (14/09/2009)

Note: This is an incomplete translation. Some parts are untranslated. Please PM me if you are interested in helping.

Translation by: Numbers-kun
Compilation by: Gwern

A Request to Perfect the Screenplay

We received a strong demand from Anno-san that an interview with Enokido-san be included in the “Complete Works Collection”.

Enokido: I see! If that’s the case, I’ll answer enthusiastically (laughs).

When we were gathering information from (Kazuya) Tsurumaki-san before the premiere, he told us that, in “destroying” Eva, your ideas are being incorporated everywhere⁠. So we’re interested [to talk to you]. Do you remember the first occasion when [Anno] reached out to consult you?

Enokido: The document [produced as a result] still exists, so I brought it.

Thank you. The story of the exact moment contains a strange “pattern”, right?

Enokido: It was two years ago, so I think there are parts I’ve started to forget. The first talk was in 2007, I think in late September or in October.

So just following the premiere of “Prelude”?

Enokido: Yeah. I went to see the movie, as a fan, soon after it opened. As I watched the preview trailer after the ending, I thought, “So, from the next film forward we get new developments? This seems interesting”.

You saw it as “a complete outsider”, right? (smiles)

Enokido: That night I received a call from “Khara-san” [Anno]. “What do you want to do for the second film?” “Huh? Me?” I remember a conversation along those lines.

The fact that you had seen the first film just before that … it seems predestined, right? How did you view it?

Enokido: It was very interesting. I think it was a kind of conformation. To this day I still haven’t asked [Anno], but I wondered, “why choose me for ‘Break’”? I thought it was either because of my collaborations with Tsurumaki-san on FLCL and Gunbuster 2, or else I had been called because of my contributions to the scripts of the original “Eva” series as a rotating staff member.

When we were conducting other interviews, we got the feeling that the project reached a “limit”, followed by some kind of major change. It seems like Enokido-san’s ideas were relied on more than what had been developed previously.

Enokido: When I was called, there were already scheduling pressures. At that time I also heard that two different versions of the last scene had been storyboarded and scrapped.

That being the case, did you have the impression of seeing things from completely outside of the “Rebuild” project?

Enokido: Yes. Because I worked as a scriptwriter on four episodes of the original TV series, I am credited in the “Rebuild” films as a “screenplay consultant”. However, I did no work at all on “Prelude”, and at the time I was called to work on “Break”, a complete draft of the film’s script already existed. As Anno said he wanted further changes, I was sent a copy of the script before a meeting between us was even arranged. So first of all I read the script, and found it very interesting.

What sort of things seemed interesting?

Enokido: To begin with, considering that “Prelude” has to recreate episodes one through six in less than two hours, I think they did an excellent job organizing the film and maintaining balance. The story development is the same; it’s okay if they crowd out the details. That being the case, when I thought about “Break”, I expected that they would do a good job if they managed to cover episodes eight to thirteen or so. But when I realized they were attempting to treat everything up to episode twenty-three in one go, I couldn’t understand how they would do it. However, when I read the script, I saw how amazingly skillfully things had been organized. “Just as I expected!” I thought. “Indeed, if they do it like this, the entire series becomes a single episode”.

And yet, despite doing so well, they had lost their bearings, and asked you to fix things?

Enokido: Right… I had received the impression that Mari’s character development was not yet complete. Furthermore, I think that there were parts that still retained the atmosphere of a “summary film”. Because an outside observer often sees further than the participants, I thought it would be good to begin by pointing out these sorts of things. I wrote an entire “plan of organization” or “plan of revision”; I believe it was this document here (Dated October 13; reproduced in CRC 2.0 pp. 236–237). To the extent it discusses the plot no changes are made; it’s a “compositional memo”. I submitted the memo shortly after the script arrived, and after that a meeting was arranged, but the location was not Khara-san’s studio. I was ordered, “Come to Atami!” and I was led away as though I were being abducted. It’s as one expects from “Eva”, right? (laugh)

That was the “Atami Retreat”, right?

Enokido: When I asked, “Why Atami?” I was answered, “If we are to arrange a proper meeting, we should go where the food is delicious”. That’s a very Anno-like proposal. As the script had already been written, there were not supposed to be any major changes, and so I had thought that when I sent the memo, that would be it. When we began the “Atami Retreat” on October 31st, I was wondering what on earth was going on.

The Overpowering Characters of Rei and Asuka

So big changes were being intended at Atami.

Enokido: The truth is, the day before I went to Atami, I received a call from (Toshimichi) Otsuki-san, and I was told that they would leave the content alone, and there was only one matter they wanted to pursue. At that time, based on the current screenplay, the film was projected to run between 130 and 140 minutes, and the aim was to reduce it to less than 120.

Besides yourself, who were the members of the retreat?

Enokido: There were the directors, Anno-san, Tsurumaki-san, and Masayuki-san, as well as (Ikki) Todoroki-san, who was performing secretarial duties.

So you begin the Atami Retreat with the assumption that you would be deepening Mari’s character a little and fine-tuning the screenplay to reduce the length of the film, but what was the reality?

Enokido: Concerning the matter of strengthening Mari’s character, Anno-san had already been asking me if I had any ideas, so I started to investigate the problem. However, as I worked through it, the twosome “Rei and Asuka” was such a powerful combination that they seemed to stand in the way. When I tried to investigate what made this pair so strong, I realized that this combination followed the archetype of the so called “harem anime”, and that all the desires, lusts, and dreams of young men were bound up in them.

One “type” is the girl who was a childhood friend, who has always been with you since you were born, and with whom there are no new or strange feelings. Rei is established to resemble a “mother” in some respects, and so she produces in young men a feeling of distance [from things?] as though they were still half in the womb. Now, Asuka’s particular type is that of the girl who comes from a foreign country. This also produces a very good feeling. Probably it is the male instinct to think, in some respects, that girls from another world are better than girls who are familiar and close to hand (laughs).

Certainly, if we assume that there is a male instinct to “spread” DNA, or propagate the species by mixing heterogeneous elements.

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.

However, Tsurumaki-san, who had been listening nearby, was looking at us with a distant expression. It looked as though he was thinking, “It’s a pleasant conversation [for you], but just who is going to be saddled with the difficulty of placing that character in the world of Eva?” (laughs) I think the result of finalizing Mari’s appeal was that Tsurumaki-san was made to suffer with storyboards.

Since viewers were heavily anticipating a new character from the first film’s preview, you want to give Mari more to do; was that the atmosphere [at Atami]?

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.

I have a feeling that those ideas influenced the final film. What other discussions did you have about Mari?

Enokido: We didn’t just discuss her character traits, but we were also tangled up in discussing to what extent she should appear in the film. I remember that this caused everyone a great deal of distress. If we wanted to increase her appearances we could, but, because we were limited by the running time of the film, the number of scenes depicting the activity of other characters would be reduced. Even watching the completed film, there are selections we made at the last minute. If we added more Mari, we would have to further cut strong scenes involving Rei and Asuka, but if we didn’t, then there would have been no point to putting Mari in the second film [to begin with]. In the end I think we were impressed with her character and have high expectations for her in the future.

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”.

That’s a striking character trait.

Enokido: Did this development survive or die off? Because Mari hasn’t undressed yet, nobody knows (laughs). With things like this, we tried too hard to develop Mari’s character traits; when I think back on it, we were only discussing “forced” or “absurd” things. In asking “how can we beat Rei or Asuka?” we had a tendency to get a little bit too much into an “impact contest”.

After all, if you want to insert Mari somewhere, you have to leave out Rei or Asuka. We also heard about this difficulty from Tsurumaki-san.

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.

Boarding ‘Eva’ Again After Sixteen Years

This memo you put out, with what kind of feeling was it made use of?

Enokido: That was mainly a list of scenes to be cut. At that time we were still wondering whether scenes like the pilots going to eat Ramen together should be left in. I not only participated in the original TV series but watched it as a fan, so I knew which scenes were my favorites. However, as far as the film was concerned, I thought it was best to focus on Shinji-kun’s scenes. In addition, I would comply with (the producer) Otsuki’s order to bring the film under 120 minutes. Therefore, I rapidly cut sequences which, although famous, did not have a strong relation to the main story. However, as I did this everyone naturally saw favorite scenes being cut, one by one, and because of this I was becoming increasingly shut out by the group (laughs). For example, Anno-san lost his favorite Misato scene…

Which Misato scene?

Enokido: There were many scenes at the start of the script showing a deeper friendship between Misato, Ritsuko, and Kaji that were discarded. They were “film-like” scenes and, from the dramatic perspective, very good; however, because I thought it was best to organize the film around Shinji, I proposed that they be cut. Because Anno is the chief director, if he hates a cut he can prevent it by saying “I want that scene to stay”. However, he doesn’t do so. Nevertheless, when he’s displeased the atmosphere becomes very oppressive (laughs).

Furthermore, when even Tsurumaki-san, the one person I expected to support me, started saying things like “I’m an Asuka fan, and I won’t be happy if this scene gets cut”, I had a feeling like, “Huh?” (laughs). At that time, Masayuki-san came to my rescue, saying “Look, we should just do as Enokido-san says, okay?” I had the impression that I had just barely kept my place [at Atami] (laughs). Masayuki probably decided to bring “balance” to the sessions (laughs).

It was difficult, wasn’t it? (laughs)

Enokido: Only, once we had cut a few scenes, naturally the next problem was the opposite one; owing to the cuts you could begin to see gaps detracting from the organization of the whole. As these gaps arose from cuts I had made, naturally I, as the person responsible, had to fix them. For example, while in the first half of the film Asuka appears as a character who strongly repels others, in the second half she becomes a little kinder, and develops into a character who is concerned with Shinji’s feelings. This development is crucial, but I had a feeling that, due to my excessive cuts, the basis for this change became too thin. Trying to make up for that loss, I had the idea for a scene where Asuka, unable to bear her loneliness, enters, uninvited, the room of the sleeping Shinji. The scene used in the film was translated from the concept almost exactly. By inserting this scene, it seemed likely that something of a connection between the “first half” Asuka and the “second half” Asuka could be skillfully established.

Because I had broken off my journey aboard the TV series in the middle of the voyage, this time I had the privilege of boarding the “New Theatrical Edition” in the middle of the voyage, and I have the profound impression that Eva, [for me,] is finally connected by a single line. I had the privilege of a rare personal experience of which few other examples exist (smiles).

There’s not many stories of people bridging a gap of ten years or more.

Enokido: Near the beginning of “Break”, Asuka says: “It’s not just the color that’s different. (…) This is the world’s first ‘true’ Evangelion, designed for real combat”. 16 years ago I wrote those lines of dialogue for episode eight of the television series. When I heard those lines spoken in the movie, I was so overcome with emotion I couldn’t speak. There were two sides to the feeling: “At last, the line is connected”, and “The journey isn’t over” (smiles). I have the impression that the train I departed from has returned as a high-speed express, and, just as before, I am a passenger once more (smiles).

[...] (the following excerpts are out of context and possibly out of order)

Enokido: Because “Rebuild of Evangelion” is basically a reconstruction of the TV series, we presume that sooner or later Rei II will die. If Shinji-kun were to save Rei II it would mean a significant departure from the TV series. However, I believed that the last scene of the film had to be an earth-shattering climax. When I had this idea, it was impossible for me not to communicate it. I remember, on the third day [of the sessions], performing a solo play in front of everyone using hand gestures and body movements entitled “this is how it ends!”

So, in this play, you performed actions like [Shinji] pulling [Rei] up and out [of the Angel]?

Enokido: Right. Rei gets completely absorbed by the Angel. It’s just as though she has died and entered the netherworld. The audience is thinking that Rei is dead. Despite this, Shinji pilots Unit-01 again in order to save Rei. He cries out “Ayanami!” and reaches forward, with an awful noise, through the front of the entry plug. He must establish some means of descending to the underworld. Finally, having grabbed (the unclothed) Rei’s hand, he pulls her out with a sudden movement. I feel I demonstrated this method of rescue with all my might. I completely transformed into Shinji. I think everyone was staring at me very coldly (laugh).

[...]

Enokido: … I felt the development of the second half of the TV series was incredible. Only, I was a little saddened by death of Rei II and her replacement by Rei III. For myself, I wanted that Rei who had repeatedly shared battles and encounters with Shinji to go on to the end. But the original scenario for “Break” was, naturally, similar to the TV series, with Rei II self-destructing. On the morning of the third day [the production team] stayed together, I suddenly had the thought: “What if, in the final scene, Shinji happened to save Rei? … It would be incredible!” I worked myself up into a frenzy. Among the reasons for my enthusiasm was the recognition that this would completely overturn the expectations of the audience. When we speak of the most important “catharsis” provided by film, we might say that a film creates in the audience a sense that the characters are in danger, only to overturn it: we go from, “this character is in danger and surely will be badly hurt,” to “it can’t be!” This constitutes, so to speak, a betrayal of the audience in the form of a sudden change. This “salvation” is the essence of the final scene.

[...]

Enokido: … At that time I had only decided that Shinji would save Rei II. Afterwards, as I was performing and speaking more or less off the top of my head, I was entering a kind of trance state. As is typical of me, when I reached the climactic scene where [Shinji] cries “Ayanami!” and begins to walk forward, just as I grabbed [Rei’s] hand and pulled [her] upwards, I suddenly came back to myself (laugh). “Now what happens?” I wondered. Now, in the film, when Shinji saves Rei, Kaworu-kun suddenly descends from heaven and impales him with a spear. When I was enthusiastically performing the “saving” scene, I couldn’t envision anything except Kaworu-kun stabbing me with something sharp and screaming “That’s Enough! Act Responsibly!” (laugh)

[...]

Enokido: In short, Rei or someone else is caught in a desperate situation, a situation in which she absolutely cannot be saved. Shinji saves that person by means of an impossible method. I could not help wondering if the subtitle ‘The Only Neat Thing To Do’ implied such a scene, which achieves a cathartic reversal in a miraculous way.

[...]

Enokido Memos

Memo 1

"Evangelion New Theatrical Edition: Break" Screenplay Retreat Memo
2007/10/31--11/2 Atami

"Break" Outline

North Pole: Mari/Unit-05 versus the 3rd Angel

[On Lake ??]: Asuka/Unit-02 versus the 7th Angel (Main Staff Titles)

~ Main Title ~

- Graveyard: Gendo and Shinji visit Yui's grave
Rei's appearance in Gendo's VTOL aircraft.
Shinji returns in Misato's car. Regarding Operation Yashima: "Your father appreciates you, too".
Shinji recognizes Misato's concern.

- Navy port? : Arrival of Unit-02
Misato and Shinji returning from Yui's grave.
Appearance of Mari as Unit-02's backup pilot.
Appearance of Kaji.

- Depiction of everyday life
Kaji and Ritsuko.
Asuka and Mari become part of Shinji's class.
Asuka, Shinji, and Misato's daily life together. A conversation about Misato's scar and Second Impact?
Mari living at Hikari's house.

- Nerv HQ: Synchro Test
Mari's synchro rate exceeds Asuka's.

- The Moon: Gendo and Fuyutsuki observing Unit-06
Meeting with Kaworu.

- Aquarium: Shinji, Asuka, Mari, Hikari, Touji, Kensuke, Kaji
Everyone eats bentos made by Mari and Hikari.
Rei understands the value of cooking.
Asuka is isolated.
Shinji calls Gendo but doesn't get through.
Kaji tells Shinji about Second Impact.

- Spaceship returning from the moon: Gendo and Fuyutsuki viewing the Earth's tragic appearance

- Attack of the 8th Angel
Mari selected as Unit-02's pilot. She is injured from the battle with the 3rd Angel,
but instead of declining, she accepts.
Asuka is shocked.
Shinji asks Mari why she pilots. Mari talks about "severe reality".
A confrontation between Misato and Ritsuko concerning the pilots.

- Battle with the 8th Angel: A victory where Unit-01 takes the leading role
Shinji is praised by Gendo.
"What Misato said was true". Shinji and Misato make eye contact.
Unit-00 and Unit-02 are partly damaged.

- Depiction of everyday life
Conversation between Rei and Shinji. "You seemed like a mother".
Shinji makes Bentos for everybody. Rei, Hikari, Mari, and Asuka eating them.
Conversation between Touji and Shinji. "You've changed".
Rei's room. "Thank you. Words of gratitude. The first time I've used them".

- Rei's tank---A meal with the commander
Rei in the tank. Gendo and Ritsuko, "Rei no Kankei". [Rei's connection? A conversation connected with Rei??]
Rei invites Gendo to a dinner party with Shinji.

- Nerv HQ Lounge---Watermelon Patch
Conversation between Kaji and Shinji.
"Something good happened?" "Somewhat". "You gained some self-confidence?" "A little bit".

- Rei's room---School
Rei practicing cooking.

~ Eyecatch ~

- Misato's Apartment
Asuka making Miso soup. She knows about Rei's plans for her dinner party.

- Unit-04's disappearance
Explanation of Eva's relation to world affairs.
Discussion regarding the Unit-03 activation experiment.

- Preparation for the Unit-03 activation experiment
Unit-02 goes to Sasebo (is this necessary?)
Gendo has the dummy plug installed in Unit-01. Conversation between Maya and Ritsuko.

- Who is the pilot of Unit-03?
Unit-03's activation on the same day Rei plans to have her dinner party.
Asuka understands Rei's feelings for Shinji.
Asuka declares herself a candidate to pilot Unit-03.
Rei phones Asuka "Thank you".
Toji's sister leaving the hospital.

- Unit-03 activation experiment
Conversation between Asuka and Misato. "It's a nice feeling to talk to someone".
Unit-03 taken over by the 9th Angel.

- Battle against Unit-03
Unit-01's dummy plug is installed.
Kaworu watching what happens to Asuka (アスカの成り行きを見ているカヲル).
Shinji refusing to destroy Unit-03 ("I won't do anything" Shinji)
Unit-01 switches over to the dummy system.
Unit-01 crushes Unit-03's entry plug. Asuka, terribly injured.

- Nerv Headquarters
A rebellious Shinji remains inside Unit-01.
Shinji faints due to increased LCL pressure. Unit-01's power stopped.

- Hospital
Rei in the lobby holding a Bento box.
Shinji's dream. "I couldn't forgive my father's betrayal". And so on.

- Nerv Command Room
Conversation between Shinji and Gendo. "I don't want to pilot Eva anymore".

- Shinji leaves Nerv
Hikari, Kensuke, Touji call Shinji.
Ritsuko talking to someone. "Rei, she didn't cry".
Shinji's DAT player abandoned in a garbage container.
Rei's room, abandoned cooking utensils.

- Considering the Location (is the scene itself necessary?)
Conversation between a departing Shinji and Misato. Conversation with Mari?

- 10th Angel Attacks
Nerv battles an Angel that invades the Geofront. The Angel shrugs off every attack.

- Shelter---?
Shinji sees the tragedy of the ordinary people (Nerv staff members?).

- Nerv Command Center
Unit-01 refuses the dummy plug. Gendo facing the cage.

- Watermelon Patch
Conversation between Mari and Shinji. (At the time of the Unit-03 affair, protect Asuka or
kill her and protect the world, there was nothing you could do).

- 10th Angel versus Unit-00
Unit-00 plunges forward with a bomb. Unit-00 is seriously damaged and can no longer fight.
The Angel eats Unit-00. In headquarters, Rei's signal vanishes.

- Watermelon Patch / Geofront
Shinji decides and stars running. Shinji struggles over rubble and other obstacles.

- Nerv Headquarters
The Angel penetrates into headquarters.
Gendo faces a wounded Shinji covered with blood.
"Let me pilot".

- 10th Angel versus Unit-01 (1)
Eva-01 plunges into the command Center.
Eva-01 is shot into the Geofront and attempts to tear Unit-00 apart from the Angel.

- Angel becomes the "corroding type"
Rei's heart wants to be one with Shinji. Unit-00 (taken in by the Angel) corrodes Unit-01.
Unit-01 is accepting and nonresistant. "So you came to trust Rei that deeply, Shinji-kun?"
[そんなにレイに心を許していたのね, シンジ君. In the storyboard, そんなに is そんなにまで
and the line is spoken by Ritsuko.]
Unit-01 is near its power limit.
Rei begins to self-destruct.

- 10th Angel versus Unit-01 (2)
Unit-01's power limit reached.
Unit-01 goes berserk.
400% synchro rate, furious Shinji. Unit-01 plunges its body (arm?) into the Angel. In the same way,
Shinji stretches out his arm inside the entry plug. Rei's hand materializes;
when Shinji pulls her out, her body materializes.
The berserk doesn't stop; Unit-01 transforms into a giant of light.
Unit-01 destroys the Angel with overwhelming power.

- Unit-06 Arrives
Suddenly, a spear flies in. Unit-01's berserk is halted.
Unit-06 enters the atmosphere. Removes Unit-01's entry plug.
Fuyutsuki and Gendo's conversation. "Finally, he has come". "From here, everything begins".
The reunion of Kaworu and Shinji.

~ To be continued ~

Concerning Mari:

- A character like Wato-san from "The Three-Eyed One".
The type who will suddenly initiate physical contact.
"Boku" character
She has very serious thoughts. The most adult of all the pilots.

- Mari lives together with Hikari in Hikari's house.
 They are close friends (Asuka's position in the previous work).
 They make Bentos together, and so on.
- She has the names of the pets she has kept tattooed along her back.

- Asuka thinks Mari is just the backup pilot for Unit-02.
She calls Mari "Hoketsu" [substitute].

Other things:

- Concerning the battle with 8th Angel.
At the time of the operation, Unit-02 flies in via transport?
The 8th Angel materializes from a vortex of clouds resembling the eye of a typhoon.

- When the dummy plug system is put into operation, the dummy plug's "human model"
pins down Shinji's body so he can't escape.

End

Memo 2

Evangelion New Theatrical Edition: Break
Organizational Plan Draft
2007/10/13 Yōji ENOKIDO

The major elements of the story are fundamentally unchanged.
Mari and Asuka's development will be slightly altered.

At the beginning, after the battle with the Angel at the Arctic Branch,
Mari and Kaji return together to Japan.

On the way, Mari destroys an Angel with Unit-02.

Asuka arrives separately, at the same time as Mari and Kaji.
As both Asuka and Mari are designated pilots of Unit-02, they have a rivalry.
Because Asuka believes that she is unquestionably the true pilot and Mari is a spare,
she is especially strongly attached to Unit-02.
Mari is more composed than Asuka, and appears to be interested in Shinji instead.

After the synchro test results, it is decided that Mari is to be Unit-02's true pilot.
Asuka is shocked.
When the Angel that falls from the sky is defeated, Mari is piloting.
The operation succeeds, but Unit-02 is heavily damaged.

Unit-03 arrives in Japan, and Asuka is chosen as the pilot.
Asuka is delighted. But there is a tragedy.

When Shinji revolts against Gendou and abandons Eva, Mari persuades him to pilot again.

- "Old" North Pole (Pages 1-2)
The scene by itself is not changed. Only:
One thing pertaining to Mari's character development.
Mari is portrayed as the exclusive pilot of provisional Evangelion Unit-05,
but Unit-05 is in the care of the Arctic Base; conversely,
it is to be clearly indicated that she is there temporarily to safeguard the third angel's seal,
and was originally the pilot of Unit-02.
In brief, in this work Asuka and Mari become rivals to pilot Unit-02.
In this case, it's probably necessary to slightly alter scenes,
adding lines like "you're not much like Asuka-chan".

- Pacific Ocean---Old Ito-Area Waters (Pages 2-3)
One is reminded of a return to the naval fleet transport scene from Episode 8,
but the attacking angel is different.
Unit-02 stands on the deck of a ship to meet the angel's attack.
Kaji gazes at the frame of Unit-02, shining deep crimson beneath the open sky.
But, the pilot in the cockpit---is Mari.
Proceeding from the opening scene, Kaji accompanies Mari on her transfer.
So Asuka is not aboard the naval fleet.
Mari destroys the angel with Unit-02.

- The military transport vessel arrives in port (Pages 3-4)
Shinji, Touji, and Kensuke watch Evangelion Unit-02 arriving.
Asuka arrives via a VTOL aircraft (or something similar).
She arrives by herself from Germany.
Asuka, who is convinced she is the exclusive pilot of Unit-02,
boasts to Shinji and his friends about Unit-02 (as in the script).
But, Asuka is shocked when she sees Mari emerge wearing Unit-02's plug suit.
"You used Unit-02 without my permission‽"
Furthermore, when she sees Mari's behaviour with Kaji, she is shocked once again.

- At school---Year 2 Class A (Page 4)
Asuka and Mari are moving into their new places.
Asuka introduces herself as "The true pilot of Evangelion Unit-02".
Meanwhile, Mari's reaction to seeing Shinji.

- At school---By the school gate (Page 6)
Asuka no longer becomes friends with Hikari.
Or, somehow worried about Asuka, Hikari is about to call out to her,
but she is interrupted by Mari calling out to Hikari, etc.

- (Pages 7-8, in and around the scene where Asuka moves into Misato's place --)
Insert a scene with Mari living at Hikari's house.
"I don't like living alone. (For this reason she kept many cats and dogs, etc.)"
"I already have two sisters living here, so one more person doesn't matter".
Mari becomes friends with Hikari.
In short, by becoming the pilot of Unit-02, arriving with Kaji, becoming friends with Hikari,
and so on, Mari usurps Asuka's position in this world.
Mari herself has no evil intention, but Asuka is overtaken.
It's not related to the main story, but if we insert a scene with Hikari's sisters in pajamas
or changing clothes, we can hope for the
"economic result of the African Campaign in Gundam" (ガンダムのアフリカ戦線経済結果).

- Facility for the Preservation of Saltwater Sea-life (Page 8 onwards)
Mari also comes along.
Hikari and Mari have already become intimate friends.
Hikari and Mari have made an O-bentou together, and so on.
* * *
Shinji has been wondering about Asuka and her desire to pilot Eva.
This is because he truly did not want to pilot Eva.

- The Falling Angel (Page 12 onwards)
The Asuka and Mari Synchro Test scene is inserted here. Mari's synchro rate is higher.
As in the TV version, Asuka is on her period. (Despite absolutely not wanting children)
The operation to destroy the falling angel begins.
It is decided that Rei will pilot Unit-00, Shinji will pilot Unit-01, and Mari will pilot Unit-02.
Asuka is shocked.

- Rei and Asuka in the Elevator (advancing the scene on page 18)
Mari is present.
Rei comments on Asuka's low synchro rate.
Asuka becomes furious.

[Pages 4-5 excluded]

PAGE SIX

- Watermelon Field (Page 47)
The intense fight between the angel and Unit-00.
In a somewhat isolated place, so Shinji just stands and stares at the fight.
He stands in Kaji's watermelon field.
Mari arrives at the watermelon field.
Shinji and Mari meet and stare at one another.
In the background the battle between Unit-00 and the angel continues.
"Why don't you fight? Aside from you no one can do anything; only you can do something, right?"
"..."
"... so, you got angry because Asuka was hurt? You're angry at the adults who sacrificed Asuka?
You've just rebelled against the ways of adults?
You've just rebelled against your father?"
"..."
"If you don't fight, everybody dies. In the end, both Asuka and Rei will die...".
* * *
Unit-00 battle scene. Rei engaging in a difficult battle.
* * *
"Even if Commander Ikari sacrificed Asuka, he did it to protect everyone... but you won't even do that?"
"..."
Suddenly Shinji pushes Mari to the ground. (Or she possibly collapses as a result of an explosion?)
One [or more?] watermelon[s] bounce[s] and break[s] apart.
The red juices stain both of their bodies.
"These are the watermelons Kaji was raising", Shinji mutters.
"They were important to him. But I have no important memories or anything else important to me..".
* * *
Reflection insert (page 19 onwards).
Gendou: Human beings live on by forgetting their memories, but there are some things one must not erase.
* * *
"Just think about it..". Mari says.
"Think about it a little. Maybe, right now, there's nothing important and worth protecting
for you in this world. But..".
"! (Surprised Shinji)"
Mari now:
A. Kisses Shinji
B. [REDACTED]
C. [REDACTED]

[All pages after 6 excluded]

Shinji Higuchi - Hikaye Tahtaları, Görüntü Panosu Sanatçısı (22/10/2009)

Katsuichi Nakayama - Altyazı Yönetmeni (14/09/2009)

Daizen Komatsuda - Altyazı Yönetmeni (04/09/2009)

Daisuke Onitsuka, Hiroyasu Kobayashi - CGI Direktörü (04/09/2009)

Shiro Sagisu - Müzik (04/12/2009)

Makoto Sumiya - Yeniden Kayıt Mikseri (24/09/2009)

Ikki Todoroki - Genel Müdür Yardımcısı, Tanıtım (04/12/2009)

Masayuki - Yönetmen (23/10/2009)

Kazuya Tsurumaki - Yönetmen (22/04/2009 18/05/2009 23/10/2009)

Hideaki Anno - Genel Müdür (09/08/2010)

Reklam

Çeşitli posterlerin yanı sıra sahnelere ayrılmış ön göserimler ve fragmanlar içerir.

Diğerleri

Diğer tüm promosyon malzemelerinin resmini içerir: sinema biletleri ve broşürler, OST ve DVD kapakları, Doritos paketleri, UCC kahve kutuları ve diğer şeyler.

Senaryo

48 sayfalık senaryo dosyasını içerir.

Poster

Sadamoto tarafından çizilen Mari'nin katlanır posteri

Dış Bağlantılars

• Evangelion 2.0 Complete Records Collection - Gwern.net, Numberkun'un çevirilerinin derlenmesi

Resmi Yayınların Listesi

Genel: Newtype Film Kitapları | Newtype 100% Collection | Film Broşürleri | Eva Fan Club | Evangelion Chronicle

Prodükisyon: Neon Genesis Evangelion Önerisi | Evangelion Original | Hikaye Tahtaları Koleksiyonu | Konsept Tasarım Koleksiyonu

Sore o Nasumono: NGE Konsept Tasarım İşleri | Evangelion'un Temelleri

Sanat Kitapları: Der Mond | Die Sterne | Carmine | 2015: Ryohji Kaji'nin Son Yılı | Fotoğraf Dosyaları (Adam ve Havva) | Evangelion Chronicle İllüstrasyonları

Diğer: E-Mono | Evangelion RPG: The Nerv White Paper | Evangelion RPG: Angelic Advent | End of Evangelion: Boku to iu Shingou | It's A Miraculous Win| | Kaworu Nagisa Hakkında Her Şey: Evangelion'un Çocuğu | Schizo/Parano

Rebuild of Evangelion

Genel: Film Broşürleri | Evangelion'un Temelleri | Evangelion'un Yeni Filmleri: Hikaye Tahtaları | Eva Extra

Eva 1.0: Evangelion 1.0: Giriş Dosyası 1 | Evangelion 1.0 Complete Records Collection

Eva 2.0: Evangelion 2.0 Complete Records Collection