Wikipedia

Ambivalence (Neon Genesis Evangelion episode)

"Ambivalence"[a] is the eighteenth episode of the Japanese anime television series Neon Genesis Evangelion, which was created by Gainax. Hideaki Anno and Shinji Higuchi wrote the episode, which animator Tensai Okamura directed. The series' protagonist is Shinji Ikari, a teenage boy whose father Gendo recruited him to the special military organization Nerv to pilot a gigantic, bio-mechanical mecha named Evangelion into combat with beings called Angels. In the course of the episode, new pilot Toji Suzuhara get into Eva-03. During the activation experiment, however, Eva-03 goes out of control, possessed by the Angel Bardiel. Shinji, aboard his Eva-01, refuses to fight against 03, coming into conflict with his father.

"Ambivalence"
Neon Genesis Evangelion episode
Eva-03 possessed by Angel Bardiel with the Sun behind it. Writer Virginie Nebbia noted how "Ambivalence" uses directional techniques used by Ultraman director Akio Jissoji, particularly the use of scenes illuminated by the read of the sunset.
Episode no.Episode 18
Directed byTensai Okamura
Written byHideaki Anno, Shinji Higuchi
Original air dateJanuary 31, 1996 (1996-01-31)
Running time22 minutes
Episode chronology
← Previous
"Fourth Child" 		Next →
"Introjection"
List of episodes

"Ambivalence" was produced by Production I.G., among others, and Shinji Higuchi conceived it as a diptych along with the previous episode, "Fourth Child", drawing particular inspiration from the Ultraman franchise. Critics have compared the episode's writing to Anno's personal experience and the direction to the works of Sergei Eisenstein, Jean-Luc Godard, and especially Akio Jissoji. The conflict between Gendo and Shinji has been compared in particular to the dilemma of the Carneades table. The episode contains cultural references to earlier anime, including Dear Brother, and its title is a quote to Eugen Bleuler's concept of the same name.

"Ambivalence" was first broadcast on January 31, 1996, and drew a 9.6 percent audience share on Japanese television. The episode during its first airing attracted criticism because of the violence of the confrontation against Bardiel. Critics welcomed the script, direction, and battle scenes, considering it one of the best episodes in the series.

Plot

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The mecha Evangelion 03 during its airlift between the United States and Japan passes through a lightning-filled thunderstorm cloud. Misato Katsuragi, head of the strategic department of the special agency Nerv, fails to tell his subordinate Shinji Ikari, pilot of the Eva-01, the identity of the pilot. During the activation test of the Eva-03 it goes out of control, gaping its jaws and causing an explosion. The Evangelion is indeed revealed to be possessed by Bardiel, thirteenth in a series of enemies of humankind called Angels. Bardiel fights Rei Ayanami's Eva-00, attempting to merge with it, and Asuka Langley Soryu's Eva-02, defeating them easily. Shinji refuses to fight 03 and injure the pilot inside it. Gendo Ikari, captain of the Nerv, therefore activates a device named Dummy System; the Eva-01 activates itself, violently destroying the Eva-03 and destroying the pilot's cockpit, with Shinji watching helplessly. After the battle Shinji sees the miraculously surviving pilot extracted from the cockpit, discovering that it is Toji, badly wounded, screaming.

Production

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Genesis and staff

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Neon Genesis Evangelion director Hideaki Anno

From 1993, Gainax wrote a presentation document for Neon Genesis Evangelion entitled New Century Evangelion (tentative name) Proposal (新世紀エヴァンゲリオン (仮) 企画書, Shinseiki Evangelion (kari) kikakusho), containing the initial synopses of the planned episodes.[1][2] The Proposal was published in 1994.[3][4] For the first twelve episodes aired, the company followed the proposal's schedule with only a few minor script differences.[5][6] The Proposal document already included an Eva-01 built in United States.[7] From the thirteenth episode onward, the production deviated from the writers' original plan and from the submission document.[8] According to Michael House, American translator for Gainax,[9] Neon Genesis Evangelion's main director Hideaki Anno initially intended to give the story a happy ending but during production, he realized he had created problematic characters so he changed his plans.[8] Furthermore, according to Hiroki Azuma, a culture critic who interviewed Anno, during the airing of the series, Anno began to criticize obsessive anime fans, known as otaku,[10][11] whom he considered closed-minded and introverted,[12] and changed his original plans by creating a more-dramatic, introspective mid-series story.[13]

Shinji Higuchi[14][13] and Hideaki Anno wrote the screenplay for "Ambivalence",[15][16] while Tensai Okamura produced the storyboards.[17] Okamura also directed the episode,[18] assisted by Masahiko Otsuka and Ken Ando[19][20] and with Kazuchika Kise as chief animator.[21][22] Production also involved studios other than Gainax, including Studio Mark[23][24] and Production I.G.[20] Production I.G previously worked on the animation for the thirteenth episode,[25][26] which already presented an invisibile microscopic Angel, Iruel.[19][27] Production IG later worked on the CGI of The End of Evangelion (1997). The Red Cross Book, the official booklet on The End of Evangelion distributed in Japanese theaters during the film's release, noted how the series makes extensive use of CGI, but these are processed in a flat, two-dimensional manner, like computer screens.[28]

Development and writing

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Shinji Higuchi wrote the script for "Fourth Child" and "Ambivalence"

Gainax decided the basic plot for the eighteenth episode in the 1993 Proposal, with Shinji fighting an Angel-controlled Eva-03 piloted by his friend and making a choice.[29] Hiroki Azuma noted that while Evangelion parodied previous anime shows and used "a lot of clichés", especially in the first part, Anno later subverted the anime tropes. While comic characters like Asuka and Toji "must not be seriously injured in an anime", Anno broke the implicit expectations with the public making them injured in battle.[11][30] Asuka's story reflected the changes. Despite receiving criticism for the violence, Anno defended its choice; believing that violence is too hidden in children's programs, the director attempted to show the horror of violence in all its crudeness,[31] going against the expectations and the pleasure principle of anime fans.[32] According to Evangelion assistant director Kazuya Tsurumaki, staff conceived Unit-03 in⁣ci⁣dent as a "cru⁣cial, cli⁣mac⁣tic episode", and they had no choice but to aban⁣don por⁣tray⁣ing Asuka as a major char⁣ac⁣ter. More⁣over, after the Unit-03 in⁣ci⁣dent, "even the scenes where she does ap⁣pear were bound to be re⁣duced".[33] Shinji Higuchi, who worked on the episode's script,[34] also wrote the previous episode, "Fourth Child",[35][36] as an anticipation of "Ambivalence".[37] According to writer Virginie Nebbia, Higuchi borrowed this scheme of two linked episodes from the Ultraman franchise.[38] Nebbia also compared Bardiel's role in the installment with Imit Ultraman from the Ultraman series, fake Ultramans controlled by Alien Zarab.[39] Because of his commitments to Gamera 2: Attack of Legion (1996), after writing the draft for "Fourth Child" and Ambivalence" he left the rest to Anno, causing problems for the production.[40]

 
 
 
Critics compared "Ambivalence" directional style with the works of Akio Jissoji, Sergei Eisenstein and Jean-Luc Godard.

Anno initially thought to actually kill Toji after the confrontation with Eva-01; at the beginning of the series production, however, he promised King Records producer Toshimichi Ōtsuki that he would not kill minor characters in the process, so he then veered away and staff decided to leave him mutilated.[38][41] In the final version of events, Toji loses only his left leg.[42] This event is related to Anno's personal experience; his father, Takuyo Anno, due to a youthful accident with a power saw lost his left leg and was consequently forced to wear an artificial prosthesis.[43] The director in the aftermath of the accident developed a fascination with deformity, believing that he could love, in his own words, only something that is stumpy.[44] In Tetsujin 28-go for example, a robot loses an arm; Anno therefore grew up believing that he could not love a perfect thing and that mecha were more beautiful amputated. For this reason, Anno included scenes in which mechas are cruelly mutilated in his works.[44]

In the scene where Eva-03 arrives in Japan, a diffusion process has been applied to the cels, trying to depict the haze that rises due to the heat.[45] In the original script of the episode, staff included a scene in which Toji goes to visit his sister in her hospital room. Although his sister was not supposed to be framed and have no dialogue, Toji would talk to her and tell her that he had made his decision and leave her a well-gifted present.[46] According to the Evangelion Chronicle magazine, the plot of "Ambivalence" proceeds without the name of the Fourth Child being explicitly stated, although his identity is clear; the characters become anxious, and this development arouses suspense for the climax in viewers.[47] The same magazine noted how there is no scene of Toji wearing the Evangelion pilots' plugsuit boarding the mecha, perhaps to give viewers a shock.[48] Furthermore, according to official filmbooks on the series, including the scene of Hikari happily preparing bento for Toji unaware of the battle places emphasis on the brutality of the confrontation.[49]

Japanese academic Osamu Tsukihashi compared the direction of the battle between Unit 01 and Bardiel to Sergei Eisenstein's film Aleksandr Nevsky (1938). As in Aleksandr Nevsky, close-up shots depicting the facial expressions of Eva Units are first used during the clash, a shot of the scenery, and finally a description of the movement in half or full body.[50] Hiroki Azuma also noted how from Anno uses directorial techniques similar to those of Jean-Luc Godard in "Ambivalence" and other Evangelion episodes.[10] According to Azuma, however, Anno was not directly influenced by Godard; Anno actually named Kihachi Okamoto among its influences, a director influenced by Godard.[11] Trees and road signs are framed throughout the clash against Bardiel to give a sense of grandeur to the Evangelions and the battle.[51] Such camera angles are reminiscent of old tokusatsu live action films.[52][53] Writer Virginie Nebbia, in particular, compared the episode's direction to that of Akio Jissoji, director of Ultraman; "Ambivalence" shares several elements typical of Jissoji's direction, such as the use of images reflected in glass, strong contrasts between figure and background, and scenes lit by the red of twilight.[54]

Voice acting and music

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Tomokazu Seki and Junko Iwao, original voice actors of the characters Toji Suzuhara and Hikari Horaki.

Miki Nagasawa, Akiko Hiramatsu and Koichi Nagano, voice actors for several main characters in the series, played unnamed Nerv operators in "Ambivalence".[23] Tomokazu Seki and Eiji Maruyama also voiced other unidentified men.[23] Michael House and two of his friends, George and Hiromi Arriola,[55] participated in the voice acting playing the Nerv's native English-speaking operators.[52][53] In an interview, House stated that about three weeks before that episode went to the recording studio, Anno walked up to him and asked him "if there was anyone among my obviously extensive gaijin acquaintances whom I could get for recording some dialogue in an upcoming episode".[8] House, George and Hiromi also did another block of dialogue before the commercial break, which Anno mixed or overlaid with the Japanese dialogue that was recorded before they went into the recording room. House said, "I recall the result was incomprehensible".[8]

In the course of "Ambivalence", Shinji's character, played by Megumi Ogata, cries and screams during the against the Angel Bardiel; at the end of the episode Ogata felt physically exhausted, as if her "whole body [was] aching".[56] Junko Iwao, original interpreter of Hikari Horaki, similarly cried after watching one of the last scenes of the episode, in which Hikari, unaware of Toji's fate, prepares bento for him.[57] In addition, in one scene of "Ambivalence", the staff included a program followed by Asuka audible in the scene where she is at home with Shinji and Kaji, which was already audible in the fifteenth episode. In the audible segment in the fifteenth episode, the woman insisted that the man get back together with her, while in "Ambivalence" she seems to have regretted their reconciliation; the woman's feelings in the program can be overlaid with Misato's feelings for Kaji.[52] Hiramatsu played the woman, while Nagano played the man from the fictional show.[23] British singer Claire Littley then sang an Off Vocal version of the song "Fly Me To The Moon" as the episode's closing theme song;[58] for subsequent home video editions, the staff later replaced it with a version called "B-4 Guitar".[59][60]

Cultural references

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In the first scene of the episode, English-speaking Nerv operators call control towers during the flight of the Eva-03 Ekta 64 and Neopan 400. The names refer to Ektachrome[61] and Fuji Neopan[62][63] photographic films.[64] Eva-03 then lands at Matsushiro, Nagano,[65] where Nerv's second test site is located. In historical reality at Matushiro is located the Matsushiro Underground Imperial Headquarters,[66][67] underground facilities built during World War II.[68] The scene in which Hikari and Asuka argue at sunset over Toji echoes a similar sequence from Osamu Dezaki's Dear Brother anime.[69][70] Moreover, a humorous drop-like graphic symbol appears on Asuka's forehead in the same scene; according to official filmbooks on the series, the symbol constitutes an anime to a "certain magical girl anime".[71] Several scientific terms are also mentioned throughout the episode, such as apoptosis,[53] amygdala,[72] parietal lobe,[73] hippocampus,[74] motor cortex,[75] and ganglion.[76] Writer Dennis Redmond interpreted the scream of the infected Eva-03 as a reference to Godzilla. Redmond also noted that Eva-03 is framed against a setting sun reminiscent of the Japanese flag in the episode. According to him, this is "a dead ringer for John Woo's Hong Kong thrillers, and the conclusion will subtly quote Woo's trademark theme of warring brothers or battling doubles".[77]

Japanese architects and writers Taro Igarashi and Yasutaka Yoshimura noted how a building visible from Misato's apartment resembles the Bank of China Tower in Hong Kong, designed by Ieoh Ming Pei.[78] According to Yoshimura this would be in the vein of other 1960s influences on Evangelion and Tokyo-3 urbanism, such as Kenzō Tange's 1960 Plan for Tokyo or Pei's own Louvre pyramid.[79] The episode's English title, "Ambivalence", is a reference to the eponymous concept from psychology. The term, coined by Eugen Bleuler, indicates the presence of conflicting feelings in the same individual, and can be applied to Misato's indecision in telling Shinji the identity of the 03 pilot,[80] or to Shinji wanting to understand Gendo by talking to Kaji but rejecting him after the battle against Bardiel.[81] Shinji himself in the course of "Ambivalence" is torn whether or not to carry out Gendo's orders.[20] Bleuler's term can also refer to a child's feelings toward a parent, who becomes an object of attachment and hostility; this can linked to the fact that Eva-01 simultaneously protects Shinji but carries out Gendo's order to destroy Unit 03.[82]

Themes

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According to academic Fabio Bartoli, "Ambivalence" and "Introjection" have the most shocking scenes of Evangelion, in which the hedgehog's dilemma shows "its most dramatic consequences"

Official filmbooks on the series noted how in "Ambivalence", which constitutes the second episode of a trilogy focusing on the Forth Child, Toji Suzuhara, there are more detailed and dramatic psychological depictions.[83] The installment particularly focuses on the relationships between the protagonists and the violence of the battle against Bardiel.[53] As suggested by the Japanese title, "Life and Death Decisions", Gendo and Shinji come to two different conclusions,[84] and Shinji must decide whether to kill or be killed.[85] According to critic Kenneth Lee, Toji helps Rei realize that "she does have a purpose" during the scene in which he confronts her on the rooftop of Tokyo-3 school.[86] Rei thus becomes aware of her feelings toward Shinji by talking to Toji,[17][87] while Hikari confesses her feelings for Toji to Asuka.[88] Asuka shows wounded pride because of Toji's selection as an Eva pilot;[89] after the shock of discovering his selection,[90] he verbally attacks him.[91][92] Toji, on the other hand, exhibits a sense of duty toward his sister comparable to the Japanese concept of giri (義理).[93] Furthermore, as noted by Newtype magazine, in one scene in the episode, Kaji, arguing with Shinji, claims that mutual understanding is an illusion.[94][95] According to the filmbooks, it is an essential sentence for understanding Neon Gensis Evangelion.[96]

For academic Fabio Bartoli, "Ambivalence" and "Introjection" have the most shocking scenes of Evangelion, in which the hedgehog's dilemma mentioned in the fourth episode shows "its most dramatic consequences".[97] Comic Book Resources described the episode as a "turning point" and a point of no return, after which Evangelion becomes darker and more dramatic.[98][99] Furthermore, according to writer Virginie Nebbia, the depiction of the setting sun during the battle against Eva-03 represents "the end of something".[100] For website Looper, "Bardiel lays the foundation for the first of three events that drive Shinji's mental health to the brink".[101] The only light scene in the whole installment is the one in which Hikari and Asuka argue about Toji.[102] The nature of the Evas is also brought into focus in the episode.[103]

Yūichirō Oguro, editor of extra materials from the home video editions of Neon Genesis Evangelion, likened the conflict between Gendo and Shinji to the dilemma of the "table of Carneades" by the Greek philosopher of the same name, in which two men are imagined to find themselves vying for a table in order to survive after a shipwreck. According to Carneades, already mentioned in Anno's previous work GunBuster, it might be ethically legitimate to kill another human being in extreme life-and-death situations.[18] According to Asiascape magazine, the battle between Shinji's Eva-01 and Bardiel shows how the last part of the series questions the division between humanity and alien Angels, as well as the legitimacy of human resistance against them.[104] Virginie Nebbia also argued that the gory blood-filled scenes of the battle destroy the expectations of the classic mecha audience. For Nebbia, the conflict between Gendo and Shinji also represents a generational divide; "the idea that the end justifies the means, that sometimes circumstances drive the worst horrors, versus youthful idealism and rebellion".[105] Academic Cristopher Smith similarly wrote that, while Shinji previously performed masculine violence on the Angels on behalf of society, he cannot perform the same violence on his friends; while the relationship between the pilot and the robot is usually the fulfillment of power masculine fantasies in mecha genre, in "Ambivalence" it becomes a mechanism of trauma, forcing Shinji to watch his "second skin" perform violence that he does not desire.[106] According to Evangelion Chronicle, the fight resembles a "bizzarre massacre" more than an actual battle,[107] and the use of Dummy System depicts Nerv as an evil organization that is difficult to trust, following and amplifying the trend inaugurated by Mobile Suit Gundam anime series, which in 1979 proposed a scenario questioning the classic model of good and righteous guys versus bad guys.[108]

Reception

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"Ambivalence" was first broadcast on January 31, 1996, and drew a 9.6% audience share on Japanese television.[109] In 1996, it ranked sixteenth among the best anime episodes of the Anime Grand Prix, a large annual poll made by Animage.[110] In July 2020, Comic Book Resources reported an 8.9/10 rating for the installment on IMDb, making it second among the highest-rated Evangelion episodes.[111] Merchandise based on the episode, including a line of official tee-shirts,[112] has been released.[113][114]

"Ambivalence" proved controversial. According to Nikkei Business Publications and writers Kazuhisa Fujie and Martin Foster, the depiction of violence was criticized as being "unsuitable on an anime show that is viewed by children".[115][116] Kenneth Lee of Anime News Network in a review of the series harshly criticized the script and characterization of the characters in this part of the series. Lee noted how there is a similarity between Gendo and Shinji's stubbornness, who is willing to die for his beliefs by nearly getting himself killed by Toji's Eva;[86] despite these "frightening and interesting" parallels between the characters, however, according to Lee these potential parallels remain "inconclusive".[86] Akio Nagatomi of The Anime Café criticized the script, which he said has "more holes than Swiss cheese".[117] Nagatomi criticized the choice to reveal the identity of Eva-03's pilot at the end and Eva-03's airlift "plain idiotic" symbolism.[117] Despite this, Nagatomi praised Kotono Mitsuishi's performance as Misato and the direction, "It's tight, it's suspenseful, and it' very disturbing to watch".[117] Rhett Intiago of Comic Book Resources criticized Shinji's hesitation before Eva-03, citing it as one of the actions by which Shinji "ruined his likability": "If Shinji had just taken care of things himself, he could have tried to stop the Angel without harming Toji/Asuka, but he chose to do nothing".[118] Edward Lequin of the same site in contrast cited the battle among the moments when the viewer sympathizes with Shinji, calling it "heartbreaking".[119]

GameFan magazine praised "Fourth Child" and "Ambivalence," giving them an A for the story.[120] Digitally Obsessed's Joel Cunningham gave a positive review of "Ambivalence", since "it blends great action and animation without touching character moments".[121] Newtype magazine especially praised Hikari's portrayal as a young girl in love with Toji, describing it as "heartwarming".[122][123] ScreenRant,[124][125] Game Rant[126] and Comic Book Resources[127] cited the battle against Bardiel among the most "disturbing" and best moments in Neon Genesis Evangelion. SyFy Wire's Daniel Dockery listed the battle among the series' "most awesome moments",[128] while the Supanova Expo website cited Shinji's refusal to fight among the character's best moments, describing his refusal as a "noble" choice.[129] Collider's Jeremy Urquhart similarly ranked "Ambivalence" seventh among the best animated TV episodes ever; according to Urquhart, although Evangelion is divisive in itself, it's unlikely to have had the same lasting impact without "Ambivalence".[130] Film School Rejects's Max Covill placed it first on his list of the best Evangelion episodes, describing it as "a landmark episode of anime featuring images that will be forever etched into viewers' minds".[131] Covill also listed several frames from "Ambivalence" among the "perfect shots" of Evangelion,[132][133] including the image of Eva-03 walking with the sunset behind it.[134] The website Kotaku similarly cited it among the best episodes of the series.[135]

References

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  1. ^ Japanese: 命の選択を, Hepburn: Inochi no sentaku o, lit. 'Life and Death Decisions'

Citations

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  1. ^ Nebbia (2023), Cap. 1: Lancement du Project Eva
  2. ^ Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. p. 26.
  3. ^ Nebbia (2023), Chap 2: La Proposition
  4. ^ "History 1993-1999". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  5. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 88. ISBN 4-04-852700-2.
  6. ^ Neon Genesis Evangelion Theatralical VHS Box Booklet (in Japanese). King Amusement Creative. 1997.
  7. ^ Evangelion Chronicle (in Japanese). Vol. 7. Sony Magazines. p. 26.
  8. ^ a b c d House, Michael (November 28, 2011). "Interviewing translator Michael House". Archived from the original on August 24, 2020. Retrieved July 23, 2020.
  9. ^ Tomo no Kai, ミニミニゲリオンナ人達: Michael Houseの巻
  10. ^ a b Azuma, Hiroki. "Animé or Something Like it: Neon Genesis Evangelion". NTT InterCommunication Center. Archived from the original on August 8, 2012. Retrieved August 13, 2012.
  11. ^ a b c Krystian Woznicki (September 1991). "Towards a cartography of Japanese anime – Anno Hideaki's Evangelion Interview with Azuma Hiroki". Blimp Filmmagazine. Tokuma Shoten.
  12. ^ "Kazuya Tsurumaki Interview". The End of Evangelion Theatrical Pamphlet (in Japanese). Gainax. 1997.
  13. ^ a b Nebbia (2023), Chap 1: Diffusion à la télevision
  14. ^ Nebbia (2023), Chap. 1: Production et catastrophes
  15. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 178. ISBN 4-04-852700-2.
  16. ^ 新世紀エヴァンゲリオン 原画集 Groundwork of Evangelion (PDF) (in Japanese). Vol. 2. Ground Works. 2020. p. 251. ISBN 978-4903713014. Archived from the original (PDF) on 26 October 2023.
  17. ^ a b Porori 2010, p. 52.
  18. ^ a b Oguro, Yūichirō. "第51回 エヴァ雑記「第拾八話 命の選択を」". Style.fm (in Japanese). Retrieved July 23, 2020.
  19. ^ a b Poggio 2008, p. 62.
  20. ^ a b c Neon Genesis Evangelion: Platinum Edition Booklet. Vol. 5. ADV.
  21. ^ Evangelion Chronicle (in Japanese). Vol. 27. Sony Magazines. p. 25.
  22. ^ Evangelion Chronicle (in Japanese). Vol. 47. Sony Magazines. p. 1.
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  24. ^ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 23.
  25. ^ Poggio 2008, p. 48.
  26. ^ Oguro, Yūichirō. "第46回 エヴァ雑記「第拾参話 使徒、侵入」". Style.fm (in Japanese). Archived from the original on November 9, 2021. Retrieved July 23, 2020.
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  29. ^ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. p. 25.
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  35. ^ Porori 2010, p. 48.
  36. ^ Oguro, Yūichirō. "第50回 エヴァ雑記「第拾七話 四人目の適格者」". Style.fm (in Japanese). Retrieved July 23, 2020.
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  38. ^ a b Nebbia (2023), Chap 1: Tenir bon jusqu'à la fin
  39. ^ Nebbia (2023), Chap. 2: Les Anges
  40. ^ Tomo no Kai, ゲリオンな人達: 樋口 真嗣の達
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  42. ^ Filmbook, p. 66.
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  55. ^ Tomo no Kai, 声優博士のちょっちチェック
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  67. ^ Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 6. Dynamic Italia. p. 30.
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  80. ^ Evangelion Chronicle (in Japanese). Vol. 47. Sony Magazines. p. 10.
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Bibliography

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  • Neon Genesis Evangelion Film Book (in Japanese). Vol. 6. Kadokawa Shoten. 1996.
  • Eva Tomo no Kai (in Japanese). Vol. 9. Gainax. 1996.
  • Morikawa, Kaichiro (1997). The Evangelion Style (in Japanese). Daisan Shokan. ISBN 4-8074-9718-9.
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