In fact, it's not even possible to imply that Shinji and Asuka are the only humans to have come back to life at that point [5] , but rather that it's the first time they've met each other. These points also help to elucidate the symbolic and metalinguistic aspect of this sequence, expressing the reestablishment of humanity's contact the other, on an individual level.
Throughout the anime, scenes involving hands, and more specifically, strangulations, can be described as prominent. Metaphorically speaking, hands are a form of connection between one person and another, through contact, and also an indicator of self-reflection, especially in the case of Shinji. End of Evangelion is very consistent in establishing this pattern, since hands are the result of different types of contact with other people: both for violence and for a peaceful contact.
Shinji makes this kind of contact with Asuka and Rei in different parts of the film, and other characters do the same throughout the show, such as Gendo in the case of Rei 3 and Naoko Akagi in the case of Rei 1. In an intrapersonal way, Shinji is often seen looking down at his hands during the show.
This act in itself denotes how the character has disbelief in his own attitudes and doesn't know very well how to approach others. In all these scenes, Shinji mostly demonstrates insecurity, an important marker of his personality.
A more emphatic attitude with the hands needs greater mental strength for Shinji to be able to perform. Interestingly, it is also through his hands that he controls his Eva, reflecting the weight that is in them, even though he is not sure about his attitudes and their meaning.
With that said, when Shinji freely uses his hands to hurt, perhaps the weight he feels is lesser, because he is abdicating his relationship with the other, rejecting them. Speaking specifically about the choking scenes, which also set a pattern in the show, and using the metaphor of connecting with others, this kind of aggression can be described as a denial of the other.
This denial can mean rejection, distancing, or, more directly, death. In the same way that Naoko strangles Rei 1 by denying her as a human being, and rejecting her as a image of Yui Ikari, Shinji strangles Asuka by denying her as another one just as he did with her earlier, in the kitchen scene. However, Asuka uses her hand in an opposite way: that of acceptance, willing to accept Shinji's condition as another, and this act itself shocks Shinji deeply.
In this way, he manages to accept the reality he witnesses and stops denying it to the other. The expression of affection is a symbol of the new possibilities of humanity, free from Instrumentality. These script details are lower-level Tier 1 canon material since they come from the show's production, and can be considered highly reliable supplements to the material already seen in End of Evangelion itself as long as they do not explicitly contradict anything that is seen onscreen.
They also provide general hints of the ideas surrounding the scene conception. See also: Resources:End of Evangelion Screenplays. The End of Evangelion script presents some details that help to assemble the existing puzzle in the scene.
The following material has been disputed by more fanbase discussions over the years, but has been consistent with evidence that has emerged later, such as releases of extra material on blu-ray. As such, this section is dedicated to exploring the story behind the creation of the final sequence, using these resources to understand the ideas that permeated its creation, the opinions of the authors and Voice Actors, and their general impact for the final result.
To start with, we can talk about the differences between the script provided and the movie itself. Some details are modified, indicating simplifications and changes in direction. Examples include the opening sequence, from the hospital, which would take place in Shinji's room, with some surreal elements permeating the screen; farewell scenes including Shinji's classmates, Asuka saying a sooner " Kimochi warui " when waking up inside Eva etc.
What interests us directly regarding this scene are the changes throughout the final sequence of the film. The eyecatch would appear much earlier and start a long sequence in Live-Action, different from the one seen in the movie. This would lead to one of two prototype endings, and a credits song, not specified in the script, which could probably be Everything You've Ever Dreamed. The two discarded endings are referred to as "Last A" and "Last B". Given to this proximity of Last A with the end of the film, the information contained therein are generaly taken into account for the interpretation of the scene and its meanings.
Last A starts out exactly as we know it. The difference lies when the gravemarks are seen. When the camera focuses on Asuka's gravemark, we see it being kicked down by herself. The following scenes are also similar to the ones we know, except for the final sentence: instead of "Kimochi warui", Asuka says something like: "Idiot. No way I'll let you kill me", with the "Idiot" being suppressed. The ending credits roll in a horizontal scroll, just like GunBuster.
During the credits sequence, we were to see Eva lying on the Moon, and woman's hair showing from its broken mask, with her face remaining unseen.
Behind Eva, you could see Earth, entirely red, and the Black Moon, destroyed. The camera goes to the sun, then to the stars. The End. Last B would start out exactly like A, but we wouldn't have the appearance of Asuka or the gravemarks.
Shinji would be on the beach holding another hand. He would then say:. Shinji would press the hand harder, and then Rei Quantum would appear, exactly as seen in the movie. The camera would then reveal that the hand Shinji was holding belonged to a disembodied arm. The moon is shown and horizontal credits roll. The huge similarities between the end of the film and the alternative Last A lead us to believe that this one was followed.
In fact, even the last line was preserved, but was later altered in an exchange between Anno and Yuko Miyamura Asuka's voice actress , and by her suggestion, as Anno was still unsatisfied with this line. Several implications can be drawn from Last A. First, the fact that Asuka destroys her gravemark is an indication that she is recovered from her pre-Instrumentality injuries, and is also purely aware of what is happening, and rejects the idea of being dead. Probably, that way, the whole scene would not take place right after her return, but a while later.
The change in her final line is perhaps the most intriguing factor. The original phrase would be rude, closer to how Asuka usually acts. Which genuinely contrasts with her empathetic attitude at the same time. This could imply that Asuka, despite being determined to start over, would not put her personality aside just to please Shinji or get in good mood with him.
The fact that Anno was not happy with the line demonstrates the complexity of feelings involved there, which probably could not be resolved by a returning to the status quo, as the scene would imply. As Miyamura emphasizes, the scene was changed from a more natural tone on Asuka's part to her tension.
Her feelings are described by the voice actress as of disgust, by the presence of the man who is there. Even through Asuka can empathize with Shinji, she can't deny the feeling of disgust she carries with him, which justifies the sentence.
With all this in mind, there's much debate over the canonicity of some details existing in Last A, but absent in the traditional ending, albeit with remnant evidence. For example, one of the gravemarks is broken, which can considered to be the one Asuka broke on her return in Last A, which also implies that she is in relatively healthy despite the bandages.
Furthermore, the existence of names on the stakes also serve to reinforce that the gravemarkers was raised up by Shinji to his friends. Either because he doesn't believe they would come back, or hoping for their return. Last B, on the other hand, has far more direct and negative implications.
Shinji directly says that no one is coming back, and that he accepts it. His words and the fact that is holding a disembodied arm denote a nihilistic attitude.
He just accepts the disaster and embraces pain. His realization that he will go on living anyway is the tragic conclusion he draws from his journey. In this version, Shinji would simply go on living, as there would be nothing left in the world, as no one would return. This makes room for the possibility that, in fact, no one else will come back. Something that, although sounds contradictory with Yui's words, is possible, given the fear that humanity faces, especially after the disasters of Second Impact onwards.
The return of humanity depends on the will of each of the beings, and it is entirely possible that they choose not to come back.
Asuka's absence in this version also implies that. While in Last A her return represents hope, in Last B her absence denotes suffering and also Shinji's disbelief. Over the years, some staff members have been asked in interviews about their thoughts and ideas about the end of the movie, or, more specifically, about specific scenes.
This session seeks to summarize these interview excerpts in order to make clear the authors' intention. Note: Some of the translation of these interviews is done by fans, and may be subject to revisions.
If you are fluent in Japanese, you can help us! Director Kazuya Tsurumaki describes the ending as an broaden of the genre, presenting an ugly and unhappy ending, apart from a more conventional positive resolution. This has a lot to do with the profile of the professionals at Gainax at the time, made up mainly of otakus with a more insecure profile, which brought them closer to the audience. Something that also contributes to a message more relatable to the public and less an illusory, utopian, ending.
A known situation is that Megumi Ogata Shinji's voice actress strangled Yuko Miyamura Asuka's voice actress during the recordings in End of Evangelion. This occurrence is confirmed and described by both.
Ogata describes that they were not able to act convincingly during the final scene, and, being agitated, she strangled Miyamura. As for the reason why Shinji choked Asuka, I stick with the translation of "Kimochi warui" card from Eva card game , but I'm willing to accept other theories, Shinji renounced the world where all hearts had melted into one and accepted each other unconditionally.
But I have no clear explanation of why did Asuka caress Shinji when he is strangling her. Improve this question. Snaut Snaut 1 1 gold badge 1 1 silver badge 4 4 bronze badges. This is an interesting question, but probably a bit too opinion-based since that movie was so hard to interpret.
Thematically, though, if we take the interpretation that Shinji choking Asuka was his way of confirming that rejection and denial still exist, Asuka stroking Shinji should probably mean that acceptance also still exists, even when all the hearts are separated. Shinji refused to get close to anyone because he feared rejection; Asuka constantly rejected everyone.
Shinji had to learn to stop fearing rejection, and Asuka had to learn to stop rejecting everyone out of hand. Also, this scene echoes an earlier one during Instrumentality when Shinji chokes Asuka while arguing with her about whose fault it is that they were never able to get closer. Asuka caressing Shinji could also be interpreted as her admitting her own fault, and pledging to try harder to correct her own flaws.
Add a comment. Active Oldest Votes. Improve this answer. Torisuda Torisuda The original line was "An'ta nanka ni korosareru no wa mappira yo! Finally, Anno told Miyamura to imagine a stranger masturbating over her while she was sleeping; he also asked her what she would think or say upon waking and realizing what had happened. Miyamura's reply: "Kimochi warui" "I feel disgusting" — Igor Nikiforov.
I rewatched the series after 19 years and just saw End of Evangelion for the first time. Rubiksmoose 5 5 bronze badges. Jim Jim 11 1 1 bronze badge. Jesus cipher Jesus cipher 1. It's interesting to know this, but I'm afraid this doesn't answer the question of why Asuka caress Shinji. An answer should be answering the question, not to reply to other posts question or answers , which might make this answer "not an answer" and deleted.
Consider taking a quick tour to understand how this site works. Sign up or log in Sign up using Google. Sign up using Facebook. Sign up using Email and Password. Post as a guest Name. Email Required, but never shown. We have not been able to definitively verify the origin of this quote, but even if it is completely made up, it's still an interesting interpretation:.
His desire That is why the first thing he did after coming to his senses was to place his hands around Asuka's neck. To feel the existence of an 'other'. To confirm make sure of rejection and denial. One reading of "Neon Genesis Evangelion" is that the Human Instrumentality Project represents the desire to drown out dissent and hatred and that the only way to do so is to have all human beings become one.
However, Shinji rejects this project in "The End of Evangelion," and decides that despite all the suffering he has endured and caused, he wants to live in a world where other people, including himself, have the agency to accept or reject other people, even if that will inevitably lead to suffering.
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