The TV version of "Neon Genesis Evangelion" is a well-honed production that visually depicts the invisible "human heart" in a tangible form.

Shin Evangelion the Movie:||", released on March 8, 2021, has been a pleasant hit. We would like to take this opportunity to rediscover the charm of the old "Neon Genesis Evangelion" (1995).
The TV version of "Eva" is known for its conversational-drama-based production of episodes 25 and 26, which drew great controversy. While episode 25 used animation from past episodes, episode 26 is characterized by the use of rough pictures that look like they were painted over storyboards, and even the script itself is shown on the screen, filming the "materials that make up the animation" as is.

Many people may have been shocked by the "no animation" and "not even celluloid pictures" in the second half of the series, which was a shock to them because the first 13 episodes were richly illustrated with a large number of drawings.
Such a style of direction in the latter half of the series was probably introduced in the 16th episode, "Disease Leading to Death, and...". In this episode, the sphere-shaped Twelfth Apostle Leliel appears in the sky over the Third New Tokyo City, and Shinji's life is in danger when he is caught in the shadow of the sphere. Let's take a closer look.

Using "lines" for postrecording to show the "invisible".

In the cockpit of the first plane, Shinji is trapped in the shadows, and in an extreme situation where escape is impossible, he encounters his other self. In a tram stained with the setting sun, the present Shinji sits across from the young Shinji of the past. In this scene, the conversation takes place not only through the movement of the characters' eyes and mouths, but also through mere "lines.
The unstable "lines" drawn by hand are the vertical lines of the present Shinji and the horizontal lines of the past Shinji. Gendo's past lines are a complex combination of vertical and horizontal lines. Misato's past lines run in a crisscross pattern.

These "lines" run exactly at the same time as the lines. In the days when animation was produced on film, this type of "postrecording reel" was often used. When the animation was not ready for postrecording, lines were drawn on the blank film for the necessary number of frames of dialogue.
Shinji's inner world, self-questioning, and such "invisible things" were depicted in the animation. ...... If they could be used for that purpose, even the level of materials, such as lines for postrecording, were mobilized. The attempt to depict "invisible things" such as hearts and emotions had already been done from the first episode.

Physically expressing the "invisible" such as "surprise" and "collision

In the first episode, Shinji is forced by Gendo to ride in the first Eva. Shinji stubbornly refuses, but the moment a piece of debris falls on Shinji's head, the right hand of the first plane moves by itself to protect him. One of the shards that hit Hatsuki's right hand hits Gendou in the face (or more precisely, the glass in front of Gendou's face). Gendou does not move at all, but the shard crashes into his face, expressing the shock and surprise he feels in his heart.
A variation of this scene can be seen in episode 19, "Man's Battle," which repeats a similar situation to episode 1. Unlike the first episode, however, Shinji voluntarily gets on the first plane. The first plane engages in a mortal combat with the apostles, and Gendou, who is watching closely, is covered in the blood of the Eva. Gendou, after all, does not move at all. However, Gendou's surprise at Shinji's unexpected action is vividly conveyed by the "blood on the body" picture.

The scene of confrontation between Misato and Ritsuko in episode 16 also uses physical motifs to express emotion.
Ritsuko plans a plan to retrieve the first plane, which has been captured by the apostles. Ritsuko assures Shinji that she does not care whether the pilot lives or dies, but Misato, who is concerned about Shinji, slaps him. At the moment of the slap, a helicopter crosses behind them with a loud noise. The sudden sound and light of the helicopter indicate the magnitude of the collision between the two, more than just the "Misato slapped Ritsuko" play.
There is a similar scene in episode 20. Shinji is captured, this time not by an apostle but by an Eva. As in episode 16, Misato strikes Ritsuko for her disregard for Shinji's life. However, the moment of the slap is not shown on screen. When the sound of the slap is heard, Maya Ibuki and Makoto Hyuga are shown sitting at the console.
In other words, the fact that Misato slapped Ritsuko, and the fact that she was forced to slap her, is taken very seriously by the people around her. Can the surprise felt by humans, and the conflicts and relationships between humans, be conveyed by carefully depicting conversations and facial expressions?　The most vivid depiction of "invisible emotions" is in episode 21, "Nerf, Birth.

Silent layers of still pictures evoke a sense of "inexpressible anxiety.

At the end of episode 21, the expression that suggests that Kaji Ryoji, who was working as a spy in the dark, has been murdered is depicted. His girlfriend Misato asks, "Is he?" but when she hears the cold reply, "I don't know," she seems to foresee Kaji's death.
Misato returns home to the apartment where she lives with Shinji.

The front door with the nameplate "Katsuragi" slides open, and Misato's voice says, "I'm home.

Bust shot of Shinji listening to music on headphones (motionless still image).

3. Misato's hand (slide only) opening a refrigerator filled with beer cans.

4. Close-up of the cassette recorder that Shinji is listening to, ticking off the seconds (still image).

5. Bust shot of Misato with the beer can on the table, hands on her head and eyes closed (stop picture, ambulance can be heard in the distance).

6. close-up of Shinji's earphones being inserted into his ears (stop frame).

7. close-up of Misato with her eyes closed (same composition as 5).

8. close-up of Shinji listening to music through headphones (same composition as 2)

9. close-up of Misato with her eyes closed (continuation of 7); she opens her eyes and gasps when she notices something.

10. close-up of the blinking light on the answering machine.

11. close-up of Misato looking into her eyes.

Misato hears Kaji's message recorded on the answering machine and breaks down crying. Shinji recognizes the cry, but without words to say, he covers his ears with a pillow.
Misato's crying on the table is the most impressive scene in the film. However, don't you think that the quiet "stop" cuts leading up to the crying scene eloquently express Misato's unspoken and heavy anxiety?　The distant sound of the ambulance also stirs up anxiety.
Animation is not only about using a large number of pictures and moving them around. The TV version of "Eva" makes full use of the expressive power of still pictures.


(Text by Keisuke Hirota)