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BYU Asian Studies Student Journal

Keywords

existential themes, character development, narrative closure

Abstract

Evangelion is widely regarded by fans and critics as a masterpiece, with its final episodes often described as transformative and perfect (Shinseiki Evangerion, 1995-1996; Erter; Azuma). With its release, Evangelion “entered among the most widely discussed TV series in anime history” (Solomon). However, this profound impact invites a critical examination of its narrative conclusions. In Dr. Mick Broderick’s article “Anime's Apocalypse: Neon Genesis Evangelion as Millennarian Mecha,” he writes that the anime’s protagonist, Ikari Shinji, “learns to break free from his self-absorption, the anomie of selfpity and hatred that has prevented true interaction with family, friends and colleagues.” Yet I believe this season-long resolution is never truly realized because there are no later depictions of Shinji practicing this acceptance of life. Rather, despite the dramatic conclusion, Shinji is still depicted in the same place as he was in the beginning of the series. But, Evangelion’s almost lack of a resolute ending is able to find closure through Sonny Boy, a highly parallel anime (2021, Sanībōi). With Sonny Boy’s creator, Shingo Natsume, listing Evangelion as the series’ central influence, both anime explore similar existentialist themes and responsibilities with comparable protagonists and even reach the same conclusions of identity and respective responsibility, yet both series differ drastically in the presentation of their final message (Natsume). Evangelion concludes with an intense focus on Shinji's internal growth, delving deep into his psyche. In contrast, Sonny Boy takes a more restrained approach, showcasing Nagara's external development through his actions, which subtly bring the anime’s themes to a natural and cohesive close.

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