Apocalyptic Narrative in Japan: A Look into Neon Genesis Evangelion

*Note: Japanese names are given with the family name first, followed by the given name, as is usual in Japan.

In the aftermath of World War II, Japan experienced a profound cultural and literary transformation, marked by a shift in narrative themes and societal reflections within postwar fiction. Traditional Japanese folklore narratives often centered around natural disasters and the subsequent rebuilding of communities. However, the devastation wrought by the atomic bombings and the nation's defeat in WWII catalyzed a reexamination of themes, leading to a focus on the destruction of not just physical landscapes but also the self, community, nation, and even broader existential concepts in Japanese postwar fiction.

Major traumatic crises in the 1990s continued to shape Japanese apocalyptic fiction, marked as the beginning of the Age of Impossibility — an age without belief (Ōsawa 81-83). Three crises, namely the Asset bubble burst beginning in 1986, the Kobe earthquake and the sarin gas attack on the Tokyo subway by cult Aum Shinrikyo in 1995 destroyed the previously established society (Tanaka 140). While the bubble burst destroyed people’s confidence in the economy, the earthquake and the gas attack on the Tokyo subway have shaken people’s trust in government, infrastructure, and efficient social systems. The fragility of human lives certainly triggers further apocalyptic beliefs. Hence, people have lost confidence in all aspects of the society. In fiction, the apocalyptic crisis now serves as a pure trope to set off the real focus of the story: the love relationship between the incompetent male protagonist and motherly heroine – furthermore, this relationship is a reflection of the difficulties younger Japanese males face in establishing mature and socially connected identities (Thomas 1).

Neon Genesis Evangelion by Anno Hideaki followed such a trend during the first half of the story, revolving around a 14-year-old boy Ikari Shinji who pilots the biomechanical robot Evangelion (EVA)  to fight the unknown enemies “Angels”. Not knowing why Ikari Gendō, his affectless father, has summoned him, Shinji arrives in Tokyo-3(a futuristic Tokyo city built to defend Angles after the original city was destroyed) just as the third Angel attacks the city. Gendō orders Shinji to fight, and Shinji reluctantly agrees to pilot Evangelion Unit 01. His first few battles were filled with indetermination until later in the story the other characters he met such as Katsuragi Misato, Souryu Asuka Langley, and Ayanami Rei, broadening the world around him. Throughout the story, Shinji experiences struggles with self-doubt and loss of orientation. Still, he always returns to normal life with the help of others, most notably Misato, a mother-sister-like figure who takes care of Shinji. Unconventionally, the story shifts to take a psychological analysis of characters beginning in episode 16, exploring Shinji’s internal vulnerability due to the loss of his mother. The TV series continues to explore Shinji’s mental change but misses out on what happened in reality; therefore, in the movie End Of Evangelion: Air/Magokoro Wo, Kimi Ni, the story expands into the mysterious institution SEELE and its Human Instrumentality Project, a plan to break down the AT fields (a metaphor of barrier in interpersonal communication) and consolidate all people to one entity, which I will expand in the later essay. Facing the decision of accepting this plan and being integrated into one being or rejecting it and continuing to live as an independent, Shinji ponders about his childhood, interrelationships, and self-worth. At the beginning of the story, 14-year-old Shinji has difficulties building relationships in an unfamiliar environment and facing his father who has been absent for almost his whole life, longing for intimacy but is also afraid of its unfamiliarity. He gradually opens up his heart, whereas all his naturally built-up relationships come to a crumbling halt. After struggles and breakdowns, he rejects the project and decides to live in a world with Others, embracing an existentialistic view of life: "I still have no idea where happiness can be found. But I’ll stay here…and keep thinking about my life." EVA is, in short, a story of Shinji’s recurring battle between Id and Superego, a conflict between self and Other, and individuation. Although EVA is worth examining from different angles, I want to focus on analyzing the sociological messages that are latent in EVA and its reflection on reality.

The Human Instrumentality Project reflects a fancy under the disintegrated society. In essence, the Project would merge all individuals into a unity, thus eliminating pain and anxiety within social relationships; it eliminates the difference between individuals, the possibility of self-realization, and the society itself. This desire for escapism and a unified understanding among beings resonates with the contemporary Japanese mindset, especially in the aftermath of economic crises and natural disasters like the Kobe earthquake. These events shattered previous social norms, leading to a sense of disconnection and a retreat from traditional societal expectations. Yet, an important question emerges: without others, what defines the Self? A more approachable metaphor might be the utility pole, which emerged as a symbol repeated throughout the story – without the connection between utility poles, can a utility pole function after all? Relating to such concerns, Anno created EVA to illustrate the zeitgeist of contemporary Japanese and demonstrate his mixed thoughts.

Notably, Anno focused on narrating a closely interconnected relationship web constituted by a group of closely related peers, adults, and especially females, rather than placing Shinji into a grand society. Society in a greater sense, in EVA, is condensed into tightly interconnected relationships, which continually shape Shinji’s character; hence these relationships intertwine with and lead to Shinji's existential struggles. It is his father’s manipulation that triggers his question “Why do I exist”; similarly, it is the rejection from classmates that makes Shinji ponder “What is the point of socializing with others” — they all condense into a question he has asked to Rei and Asuka and himself repeatedly“Why do you pilot EVA.” Yet, it was also his father’s command that happened to grant him his identity and the praise from his father supported him in the early story. Shinji does not find his value in society — saving the world through piloting EVA — but in others’ recognition. It is through relationships with others Shinji constructs his identity. Hence, in episode 26 of the TV series, Shinji admits himself through communication with others, and Shinji’s internal world no longer contains only himself but all other characters that are interconnected with him. With a crack of an eggshell, Shinji shouts: “I want to be here! It’s okay for me to be here!” All other related characters suddenly appear, applauding and congratulating Shinji. Shinji needs such recognition and a relationship with others to ensure the being and existence of self. He needs to live in a world with Others for self-realization, even though it might be painful. This suggests that to live is essentially to connect with others, since a person cannot define and affirm the existence of oneself alone — although barriers may always exist between people, we are still somehow connected. Men are independent creatures; while being independent, interpersonal relationships are necessary.

In End Of Evangelion, Anno rewrites the ending. In addition to Shinji accepting his existence, Anno explains the world after Shinji rejected the project. While all other humans accept the plan and integrate into one, Shinji is left lying on the shore with Asuka – as Shinji needs others to recognize him. Yet Shinji chokes Asuka, and the movie ends with her line: “I am sick of you.” This plot confuses many. Shinji does this out of self-aversion and out of fear of Asuka’s rejection. Shinji has exposed his fragility before Asuka; the existence of Asuka symbolizes his incompetence, which he does not want to admit. Shinji, thereby, wants to kill Asuka to destroy the “self” he hates. Throughout the film, Asuka rejects Shinji multiple times in Shinji’s imaginary world; however, this is merely a reflection of Shinji’s self-denying and internal conflict. Shinji desires help from and communication with others, but is afraid to act voluntarily; he presumptuously denies himself, thinking Asuka would reject him, without actually approaching her. Shinji’s internal problems remain unsolved: he is still afraid of potential damage from relationships, and still denying his value and existence. The last line “I’m sick of you” reinforces the theme of EVA, emphasizing the importance of Others in self-definition. Without rejection from Asuka, the intended self-aversion and diffidence of Shinji would remain hidden, as well as  Shinji’s precise definition of himself. This line also acts as a plain rejection from others, revealing that Shinji is not ready to bear the potential pain of communication.