「亞洲影帶」繼《我們這一家》後 再把超人氣動畫帶上大銀幕 勢起狂熱！ 新世紀福音戰士 最震撼一章 《福音戰士新劇場版：序》 亞洲影帶、羚邦娛樂有限公司 香港榮譽發行 製作公司：Khara、Studio Khara 原作、劇本、總監製：庵野秀明 監製：摩砂雪、鶴卷和哉 特技監製：增尾昭一 美術監製：加藤浩、串田達也（美峰） 音響製作：樂音舍 音樂：鷺巢詩郎 角色設計：貞本義行 機械設計：山下??? 新分鏡劇本：?口真嗣、京田知己 日語聲音演出：緒方惠美、林原惠、三石琴乃、山口由里子、立木文彥、清川元夢 主題曲：「Beautiful World」由 宇多田光 主唱（EMI Music Japan Inc.） 官方網站：www.evangelion.co.jp 2008.4.03 世紀經典…強勢重生！ 前所未有的EVA體驗，再臨。 《福音戰士劇場版》3部曲首度披露眼前！ 《新世紀福音戰士》是前所未有的科幻超大作。這是一個人類史上最大規模的故事，透過乘坐巨大人型決戰兵器的少年少女與神秘物體「使徒」的戰鬥，反映出人類的內心，人與人的關係，甚至直迫人類誕生的根源。 自1995年初出至今已經12年，其人氣仍然絲毫不減。更令人驚訝的是，每個新的時代也會誕生出新的「EVA」迷。這超越了單純的動畫框框，為多個世代帶來感動。這是因為本作品擁有一種能夠貫穿、抓緊、推動「人的心靈」的力量。 回應新時代的要求，《新世紀福音戰士》的製作群將為觀眾準備了一個全新故事，其名也是《福音戰士新劇場版》四部曲。這次《福音戰士新劇場版：序》(Evangelion: 1.0 You Are (Not) Alone) 畫面和故事都是重新製作，利用配合數碼時代的最尖端映像令規模得以超中幅提升，挑戰電影大銀幕！ 《福音戰士新劇場版》3部曲──包括《福音戰士新劇場版：序》、《福音戰士新劇場版：破》、《福音戰士新劇場版：急》與及神秘結局之延續《？》。New Character全新角色、New Machine全新EVA、New Story全新結局，一切皆新的福音戰士，即將現身我們眼前！ 到底會變成怎樣？驚愕與興奮的四部作品。 《福音戰士新劇場版》既非復原版，亦非更新版或續集。這個計劃絕對沒有回顧的意思。這是為了開拓新時代而製的最新作品！ 《福音戰士新劇場版》推出時間將分割為3期。前篇是「序」、中篇是「破」。而最後就是作為後篇的「急」和「？」，全篇分別為這4個副題，預定結局將由兩個仍未決定方案的2部完結篇構成。作為導入作品，「序」由與舊作差不多一樣的劇情開始發展。 然而，從途中開始那種「EVA」獨有的「不知道會被帶到何處」的感覺將會得以復活。原本應該一樣的故事會出現變化，之後更會在各處埋藏著全新改變的先兆。 在破之後……就是全新EVA系列出場的時間。新角色也會在這裡加入故事中。各角色的命運，也會依據與舊作完全不同的方向改變起來。無論何時何地，哪個角色將要迎接最壞結局也不會奇怪？電影院裡將會充滿任何人都無法預知的緊張感和興奮。 至今「福音戰士」仍然向著未來不斷進化！ 超越了重製版的EVA，最精彩的映像！ 作為序的「EVA1.0」的高潮，是描寫一個全國規模作戰的「屋島作戰」。壓迫感充滿銀幕的物量，使徒對EVA的激戰，畫面上投入了最尖端的數碼技術。負責為這個精華的大規模作戰設定分鏡劇本的，是曾製作《暴風女神》和《日本沉沒》等大家記憶猶新的大作的?口真嗣。「EVA:1.0」超越了單純重製的驚愕展開正等待著各位。 新的傳說就在這裡開始。我們，已經不能回頭。 故事大綱 - 大更改！ 突然襲向全世界的一個前所未有的大災難「第二次衝擊」。這災害令接近半數人類死亡，世界各地亦留下了大破壞的痕跡。正當人們以為終於回復和平日子的時候──14歲的少年碇真嗣被父親召來第3新東京市。 當他正等待迎接時，眼前的山間突然出現一隻巨型生物！這是被稱為「使徒」的神秘存在，它正與國連軍展開激烈交戰。受到爆風波及，陷入危機的真嗣。把他救出的是一位名為葛城美里的女性。 乘坐美里的車來到特務機關NERV總部，真嗣和他父親相隔十年終於再見。然而，真嗣卻被父親碇源堂帶往參觀秘密開發的巨大人型兵器，更被迫與使徒對抗。這就是真嗣與人造人Evangelion初號機的相遇。 雖然真嗣採取反抗態度，但當他看到女性駕駛員綾波麗的傷勢後，終於否定了逃避念頭，決意出擊。在未受任何訓練之下，首次與使徒對峙的EVA初號機和真嗣。 被託付了全世界命運的14歲少年真嗣，到底會怎樣戰鬥？還有隱藏在第二次衝擊背後的「人類補完計劃」的真相又是甚麼？ 掌握著所有謎團的碇源堂，只是靜靜地注視著苦戰的真嗣…… 疑團…解說 《新世紀福音戰士》至今為止，總銷售額已達1,500億日圓以上，在推出12年後的今天人氣不但沒有衰退，還陸續令更多新的支持者湧現，實在是一套怪物級殿堂作品！ 自1995年10月起，全26集的電視動畫「EVA」開始於東京電視台系列播放。一名14歲的少年駕駛著巨大人型機動兵器Evangelion（簡稱：EVA），與不斷來襲的神秘敵人戰鬥……故事的開始，是走這條廣為人知的機械人動畫路線。 然而觀眾們迅即察覺到異樣，並開始引起談論。「EVA」那些極具壓迫感的畫面帶出非常大量情報，而且擁有極高質素。在人們看到的事件背後有著一些幕後黑手，這些二重、三重機關組裝於其中，慢慢暗示出「EVA」本身藏有一個令人畏懼的真實。這「壓倒性的情報量」和「從謎團中產生出謎團的構造」，一反外界的預期，蘊釀出整個「不可思議世界觀」。很多動漫迷看過一次《新世紀福音戰士》就不能自拔──一套提供「上癮成病的趣味」的觀眾參加型作品。這就是稱為「EVA」的動畫！ 「EVA」的魅力並不單在於故事和世界觀。首先吸引到注意的是角色和機械，還有經過深入琢磨的設計感覺。這就是本作深受歡迎的原動力。 角色和情節歷史 《新世紀福音戰士》主角是14歲的少年碇真嗣。他極度害怕與別人接觸的內向感性，不斷作為情報帶出來，這是深受壓力摧殘的現代人代表。另一方面，他身邊女主角們也相當有魅力。特別是「白與紅」和「靜與動」，印象完全相對的綾波麗和明日香──兩位女主角是支撐著整套作品的標記。貞本義行（亦負責漫畫版）設計的角色，對之後的動畫作品也有十分大的影響。 Evangelion是裝備了槍和小刀等大量附屬武器的人型兵器。初號機、零號機、?號機……「EVA」本身也準備了很多變化。不過正如「人造人」的名字，EVA的實體絕對不是機械的東西。「EVA」作為娛樂作品的入口非常廣闊，是人所共知的具深度作品。她超越了動畫的框框，把藝術家和學者都捲入其中，掀起一次重大的變遷。她在亞文化雜誌「Quick Japan」刊登了連續特集，又裝飾過「Studio Voice」的封面，亦出版過多本相關的單行本，集外界的注目於一身。其巨大的市場性甚至商業雜誌都前來取材，可見對社會的強烈影響，連經濟效果也深受注視。 1996年3月，電視版《新世紀福音戰士》以一種超越了故事框框的驚人方式完結。到1997年作為回應支持者的聲援，製作了一套劇場版作完結篇。當時附送特典的預售戲票迅即售清，其人氣甚至製造出通宵排隊的人龍，受歡迎程度可媲美以往的「宇宙戰艦大和號」和「機動戰士高達」。本作是公認為第3次動畫盛世的起爆劑，至今那些以製作委員會形式出品的深夜動畫非常繁盛，其起源也是來自「EVA」。 這些強烈熱潮的起點，將要以全新的形式再次站起來。到底受到全世界注目的「福音戰士新劇場版」會成為怎樣的作品……？ 製作筆記 將「REBUILD」化作可能的「EVA」新映像 庵野秀明總監製與工作人員，提示了「REBUILD」（再構築）這個前所未有的新映像製作技巧。一直以來，將電視動畫電影化時都是把16mm菲林放大，把一部分修補而成。然而這種手法會使畫質變得粗糙，可能會對「EVA」原本的映像風味造成壞影響。新劇場版是工作人員將他們的目標映像投入世間求問的作品，這種舊有的手法實在不適切。在這裡得出的結論，是將「EVA」的本質完全繼承，然後以新時代的映像《再構築》的技巧「REBUILD」。 既非完全新作亦非舊作，與「新福音戰士世界」融合 作為導入不能是完全新作。不過，亦希望是新事物。要解開「既是新作亦非新作」這個難題，「REBUILD」的道路十分艱苦。 首先為了迎合電影院的大型闊銀幕，為了調整至最佳的畫面質量，工作人員將最新技術總動員搬出來。新的觀眾會認識為「2007年的新作」，而熟識「EVA」的舊有支持者則應會有種「沒錯這的確是EVA」的深厚感動。能夠同時把這兩種感覺確立的秘密，就是「解體與再構築」。 所謂「解體」，就是把舊作還原成素材。在故事上已把種種電視版的要素分解，而映像也先還原成基本材料。工作人員把已保存了超過10年的貴重原畫、排版（畫面的設計圖）集合在工作室，經過檢視後再下決定「如何泡製這些材料」。 要配合電影大小重新編制，另為了提高畫面構成的質素而重新繪畫多份排版。原畫也由作畫監製以現在的角度修改，加入不少細微調整。角色的舉止和背後的語氣、演技都因應需要作出修正，機械的繪畫手法也大為提升了級數。關於背景方面，密度感、色彩、光與影的表現都變得更加美麗。 工作人員以能夠作出柔軟的修改為前提，以EVA系列的細節、武器為中心繪製了大量新設定，色彩亦是重新調較。這帶出那份新鮮感實在令人驚嘆不已。 用手工帶出數碼技術的潛在能力，呼喚新的感動 現的動畫製作，上色及攝影之後的工程都會「全數碼化」，在「2D＝手繪」導入了「3D＝Computer Graphic」使映像更高度化。「REBUILD」就是考慮到這個狀況，於每一幕分別選擇最適合的做法。「使徒」的一部分改為3D形式表現，得到超乎意料之外的力量提升。那些超常能力的發現在大螢幕上展開，強大而豪華的場面直迫眼前。電腦螢幕的表示和第3新東京市的兵裝大廈群等，畫面的細節也以3D補強，使映像更增添深厚的風味。 「REBUILD」中帶出了最大效果的手法，是「數碼攝影」（合成）。空氣感、存在感和臨場感，把這些纖細的感情變化傳達給觀眾的「映像的手感」「EVA的風味」。帶出這些感覺的決定性東西，就是攝影。在電腦螢幕上作最後的細微調整，在一發定勝負的類比時代最難表達的纖細語氣，現在就能夠做得到了。 「REBUILD」是將過去被製作環境抑壓的「EVA的本質」釋放出來。所有人都知道，但沒有人體驗過的「EVA映像」，就像解除了拘束扣的初號機一樣，捲起了驚愕與衝擊。 最後，工作人員想確認一下「REBUILD」是否重視「EVA」的原點「手製的方法」的製作技巧。數碼系統始終只是對映像作出強化的「畫筆」。為了追求高質素，使用得最多的終歸也是人們的「頭腦與手」。這些手藝才可稱為「新時代之新故事的感動」。 角色一覽 Evangelion駕駛員 碇真嗣 14歲，本故事的主角。乘坐EVA初號機。是個內向的少年，希望藉著與使徒的戰鬥來得到別人認同。 綾波麗 不會表露感情而且很少說話的少女，在很久之前已經接受EVA零號機的駕駛訓練。所有過去經歷都被消除，讓人感到有些人工的部分。
NERV NERV 國連直屬的特務機關，配備了EVA主要任務是殲滅使徒。總部設在第3新東京市，總司令是碇源堂。於世界各國都存在著分部。
碇源堂 特別機關NERV的最高司令官。雖然是真嗣父親，但卻無情地以任務為最優先事情。
冬月耕造 NERV副司令官。是最理解碇源堂的人，經常保持著對等的關係。 葛城美里 NERV作戰部長，亦是真嗣的監護人。雖然平時性格好像十分樂天，但背後卻背負不為人知的事情……
赤木律子 EVA開發負責人。思想方向是具備理性與合理的科學家，工作上也有跟美里對立的時候。 第3新東京市立第壹中學2年A班 鈴原冬二 真嗣的中學同學。是個具有正義感的熱血男子，開始時雖然討厭真嗣，但看到他奮不顧身地戰鬥後終於成為好友。 相原劍介 真嗣的同班同學。冬二的好朋友，是個軍事愛好家。因為父親在NERV工作而知道很多事情。 洞木光 真嗣的班長，性格認真而且十分潔癖，經過囉嗦地教訓冬二等人。 第3新東京市 故事的舞台，於?之湖畔建設中的都市。表面上以將來的遷都地點作為掩飾，實際上是迎擊使徒用的要塞都市。NERV總部就是設在這裡的地底。 神秘計劃 SEELE 於NERV背後決定其經營和意志方向的秘密組織。暗地裡操縱著包括國連在內的世界政治經濟動態。 人類補完計劃 SEELE正在推行的神秘計劃。在阻止使徒入侵的背後，企圖推動人類進化的根源作出變化…… 人類滅亡的威脅 使徒 襲擊設置於日本的NERV總部，無論戰鬥力和真正身份都不明的神秘敵性生命體總稱。擁有名為A.T.Field（絕對領域）的特殊防禦能力，一般兵器完全起不了作用。能夠與使徒對抗的，只有同樣擁有絕對領域，能把力場中和的EVA而已。 Evangelion 人類傾盡全力開發，用作對抗使徒的唯一戰力。正式名稱是「汎用人型決戰兵器人造人Evangelion」。由巨大的人型素體和外部裝甲構成。名稱的語源是「euangelion」（希臘語「福音」） 工作人員 原作、劇本、總監製：庵野秀明 生於1960年。山口縣出身。電影監製。 早在高中時代已經積極參與業餘電影活動。於《風之谷》等商業作品也以動畫師的身份參與。1984年，與大阪藝術大學認識的同伴結成自主電影團體「DAICON FILM」，設立了GAINAX的前身。2006年，設立新的電影計劃製作公司Khara。現在正負責《福音戰士新劇場版》製作工作。 主要監製作品 動畫
實寫
監製：摩砂雪 生於1961年、長野縣出身。動畫監製•動畫師。 累積了多套電視動畫的作畫經驗後，於1987年公映的電影動畫《王立宇宙軍──歐尼亞米斯之翼》開始參與製作GAINAX作品，到了《冒險少女娜汀亞》負責演出和作畫監製。在造成社會熱潮的《新世紀福音戰士」與鶴卷和哉一同就任副監製，曾擔任過多個職位。 近年亦有參與庵野秀明的實寫作品。主要代表作有電視動畫《了不起的猿飛（????猿飛）》（原畫）、《Cybot Robotti》（原畫）、《亂步》（作畫監製•原畫）、《新世紀福音戰士劇場版──DEATH》（監製）、OVA《飛越巔峰！2》（OP演出•分鏡劇本•原畫）等等。實寫作品則有電影《Love & Pop》（友情準監製）、短片《流星課長》（演出助理•分鏡劇本）、電影《Cutie Honey》（監製助理）等。 監製：鶴卷和哉 生於1966年，新潟縣出身。動畫監製•動畫師。 經由Studio Giant（??????????），於90年的《冒險少女娜汀亞」開始加入GAINAX。於同作的LD-BOX映像特典《娜汀亞贈品劇場》初次演出。94年的LD-BOX《飛越巔峰！歡迎回來BOX」收錄的映像特典《飛越巔峰！新•科學講座》首次擔任監製。主要代表作有《新世紀福音戰士》（副監製）、同名劇場版《REBIRTH》（監製•演出）、同名劇場版《Air》（監製•演出）、OVA《FLCL》（原案•監製）、OVA《飛越巔峰！2》（原案•監製）等等。 角色設計：貞本義行 生於1962年。山口縣出身。動畫師、角色設計、作畫監製。 於東京造形大學畢業後，成為動畫師，以角色設計及作畫監製活躍於業界。主要代表作有電影動畫《歐尼亞米斯之翼──王立宇宙軍》、OVA《飛越巔峰！》、電視動畫《冒險少女娜汀亞》、電視動畫《新世紀福音戰士》、同名劇場版、OVA《FLCL》、OVA《飛越巔峰！2》、電影動畫《穿越時空的少女》等。在月刊少年ACE的95年2月號開始連載漫畫版《新世紀福音戰士》。現在所屬是GAINAX。 機械設計：山下??? 生於1965年。岐阜縣出身。漫畫家。設計師。 名古屋藝術大學出身。以機械設計一職參與GAINAX作品《飛越巔峰！》、《冒險少女娜汀亞》及《新世紀福音戰士》。其他作品還有OVA《青之6號》、《戰鬥妖精•雪風》。漫畫方面的代表作有《Dark Whisper》等。 新分鏡劇本：?口真嗣 生於1965年。東京都出身。電影監製、特技監製。 於84年加入GAINAX，出任《王立宇宙軍∼歐尼亞米斯之翼》助理監製。於《飛越巔峰》負責分鏡劇本•設定、《冒險少女娜汀亞》則擔任分鏡劇本與島篇的監製。90年代的加米拉系列以特技監製的身份參加，特別是95年的《加米拉大怪獸空中決戰》更獲得日本Academy獎特別獎。其後負責《暴風女神》（05）監製。接著於06年擔任小松左京原作的《日本沉沒》監製，成為突破50億日圓票房的大作。另外亦為多套電影、動畫等提供分鏡劇本，於《新世紀福音戰士──THE END OF EVANGELION》亦提供了分鏡劇本。 新分鏡劇本：京田知己 生於1970年，大阪府出身。動畫監製、動畫師。 原為圖像設計師，後來轉投動畫業界，在電影動畫《Rahxephon•多元變奏曲》首次擔任監製。接著於電視動畫《交響詩篇Eureka Seven》同樣擔任監製，此作於第5屆東京動畫節勇奪電視部門最優秀作品獎。另外亦有以工作人員身份參與《地球防衛家族》、《鋼之鍊金術師》等動畫作品。 音樂：鷺巢詩郎 生於1957年。東京都出身。作曲家、編曲家。 代表作有MISIA、平井堅、CHEMISTRY、SMAP、《新世紀福音戰士》、《CASSHERN》等，作為代表日本的作曲及編曲者，向世界發表了多個代表作品的多元化藝術家。 作為代表日本的混合樂隊「T-SQUARE」的一員，於78年正式初演，之後離隊開始個人活動。到了80年代偶像全盛期，以作曲及編曲者的身份活躍，曾為小泉今日子、中森明菜、西城秀樹、田原俊彥、澀柿子隊等人作曲編曲。同時亦有參與動畫和戲劇音樂、電影音樂等作曲，以《危險刑事》和《橙路》等最為著名。另外亦有一些如「笑也可以」「糟糕電話主題曲」等獨特的作品。 其後於95年的電視動畫《新世紀福音戰士》擔當音樂部分，充分發揮作為古典作曲家的實力。此作的原聲大碟錄得爆炸性的銷量，甚至被稱為一種社會現象。另一方面亦有參與MISIA和ACO的作品，發揮他在R&B方面的實力。到了99年，推出了集合20年活動歷史的個人大碟「SHIURO'S SONGBOOK」。他在古典、福音、R&B、HIP HOP的融合音樂得到極高評價，此工作亦成為他的畢生職業。04年負責電影「CASSHERN」的音樂，其漂蕩著重厚感覺的音樂成為全世界的話題。 《新世紀福音戰士》破紀錄資料 作品得獎歷表
作品總銷售數字 超過1500億日圓
《福音戰士新劇場版：序》 2008.4.03 戲院見
Evangelion: 1.0 - You Are (Not) Alone 《福音戰士新劇場版：序》 Production Notes HK Release Information: Release Date: April 03, 2008 (Thursday) Distributed by: Asia Video & MediaLink Theatre Line-up/ Running Time/ Category: TBC Evangelion: 1.0 You Are (Not) Alone released September 1st, 2007. Evangelion: 2.0 Release planned for 2008. Evangelion: 3.0 & 4.0 Release date to be determined. A completely new Evangelion featuring new characters, new Evangelions, and a new story ending is about to appear before our eyes. ■ The Unprecedented Eva Experience, Returns Once More. Neon Genesis Evangelion (directed and written by Hideaki Anno) was an unprecedented sci-fi animation blockbuster. Young boys and girls piloting giant humanoid ultimate battle weapons are pitched against mysterious "Angels." While action in these battles feature prominently, the narrative also focuses on the individual hearts and minds of numerous characters, the complex relationships between them, and digs further to even address the question of the origin of humanity--Undoubtedly Evangelion is colossal epic on a scale unprecedented in human history. 12 years have gone by since the series was originally released in 1995, and yet the popularity of the narrative has faded little. Surprisingly, each generation has supplied a fresh influx of fans of Evangelion. This is a work that goes beyond the scope of ordinary animation, as it is a work that resonates in the hearts of audiences of successive generations. No doubt, this is possible because Evangelion embodies a universal message that strikes deep into the hearts of audiences. And now, a new narrative has been prepared to meet the demands of a new generation. Its title--Evangelion New Theatrical Release. The film will be presented as four individual segments. The visuals and the story has been revamped and its now about to storm the silver screen employing intricate visuals of extreme high quality befitting the digital age. ■ What's the Story Going to be About? A Four Act Narrative Filled with Excitement and Surprise. Evangelion New Theatrical Release is not some remake or a simple revision or an easily expected sequel. This project has nothing to do with reminiscing about the legacies established in the past. This is a bold new work that will carve out uncharted domain for today and tomorrow! The theatrical release will take place in three parts. The opening chapter will be followed by the second chapter that develops the story, and at the end, the third chapter featuring a climatic twist will be accompanied by the concluding chapter of the four part series. The title of the final segment has not yet been fixed down at this time! The opening chapter itself traces the narrative sequence roughly similar to the original release. But as the story progresses, that unique quality of Evangelion--a sensation where the audience is left wondering where the narrative is going to lead to--will manifest itself once more. The story that was supposed to be familiar will quickly fade away and the audience will start to notice subtle clues interspersed in the film that point toward a new direction. From the second chapter on, an unforeseen Evangelion will come into being. New characters will join part of the narrative. Each character's fates will progress differently from how it proceeded before. The audience will be left sitting at the edge of their seats out of fear that some unfortunate twist of fate might fall upon any one of the characters at any time. High anticipation and excitement will grip audiences as no one knows what will happen next. Even now, Evangelion continues to re-invent itself and evolve anew! ■ Filled with Mind-blowing Visuals, Eva goes Beyond being a Simple Remake!! The climax in Eva 1.0, the first chapter of the new series, revolves around the military operation that involves an entire nation--Operation Yashima. A deluge of hardware and firepower dominates the screen in this titanic confrontation between the Evangelions and an Angel. Cutting edge digital technology has been employed throughout the scenes. The storyboards of this gripping massive operational undertaking was entrusted in the hands of Shinji Higuchi, well known for his recent films Lorelei and Japan Sinks which were both popular at the box office. Eva 1.0 has in store a climax that goes far beyond anything that would be expected from some ordinary remake. A new legend is about to unfold from this moment. There is no turning back now. This fall, an unprecedented shock wave will take the world by storm. ● The Story There was no foreseeable warning before it happened--A catastrophe of unparalleled scale and magnitude overwhelmed the entire globe. This event, recorded in history as "The Second Impact," caused half the population of the Earth to perish and left behind vivid remnants of devastation at numerous locations around the world. Just when people finally felt that life would return to being more tranquil and mundane, a 14 year old boy--Shinji Ikari--was called out to Tokyo 3 by his father and waited for someone to greet him. Just then, completely out of the blue, a huge walking life form emerged from behind a nearby mountain range and entered into his field of view! These giants where code named "Angels" but little was known about them. Desperate combat operations by the United Nations Armed Forces start immediately. The exchange of fire puts Shinji in peril, but his life was saved by a women who identified herself as Misato Katsuragi. Shinji was driven to the headquarters of the special governmental agency NERV to meet his father, a first in 10 years. His father reveals to him a gigantic humanoid weapons system that NERV secretly developed, and then immediately orders Shinji to pilot this giant and fight against the Angel. This was Shinji's first encounter with the artificial human Evangelion Unit One. While Shinji resisted at first, the sight of an injured female pilot--Rei Ayanami--was enough to make him decide he would not run away from this challenge and agrees to engage the enemy at hand. Piloting the Eva Unit One without any training what so ever, Shinji confronts the Angel. With the fate of the world resting on his shoulders, how will the 14 year old boy Shinji fight? And what is truth behind "The Human Instrumentality Project," an operation somehow related to the "Second Impact." Gend? Ikari, a man who holds many answers to these questions, watches silently and attentively as his son fights a desperate battle… ●Analysis Neon Genesis Evangelion has earned a gross revenue of over 150 billion yen (approximately 1.4 billion US dollars) and even 12 years after its initial launch, the series remains very popular. In fact, Evangelion is a true behemoth of a franchise that continues to lure in new fans to this day! Evangelion first came into being as a 26 episode television series that was broadcast nationally on the TV Tokyo network starting from October of 1995. A 14 year old boy rides on a huge humanoid robot--an Evangelion--to fight against numerous hostile elements that attack in succession. The series first started off following many of the well-established genre conventions common in a Japanese giant robot animation series. But it did not take long before audiences took notice at certain peculiarities and started making noise. The work featured a tremendous amount of information packed inside and it boasted high production values regarding its visuals. The actions of numerous shadowy characters and organizations working behind the scenes are hinted about as the story progresses. The story itself features curious intrigues and conspiracies, all the while it slowly becomes apparent that an unimaginable truth lies at heart of the Evangelion itself. The combination of the wealth of intricate details featured in the presentation of the narrative and the complex plot structure that incorporates layers upon layers of mysteries belies all efforts on the part of the audience in predicting the outcome and presents an alluring enigmatic worldview. This was a series were the audience felt like they were part of the developing narrative. Evangelion is an addictive and thrilling work that captivates all those who come into contact with it! But the Evangelion's virtues are not limited to its plot and worldview--First and foremost the series features a wonderful assortment of characters and mechanical hardware. The extremely accomplished design works adorning the series alone captivated many people. All these forces are at the heart of the unrelenting popularity of Eva. Shinji Ikari, a 14 year old boy, is the main protagonist in this series. Marked by an introspective personality and pronounced in his fear of interacting with others, Shinji is an embodiment of the contemporary post-modern individual characterized as being over stressed from near-constant exposure to the information age. There then are the two heroines situated in his close proximity. White and red, stasis and flux---the contrasting personalities and mood that Rei Ayanami and Asuka radiate are representative symbols that many people immediate associate with the Eva franchise. The character designs produced by Yoshiyuki Sadamoto (author of the comic book adaptation of the same series) has had a profound impact on character designs in subsequent animation series that have followed Evangelion. Evangelion--commonly shortened as Eva--is a humanoid weapons system that can be equipped with a wide array of projectile firing ordnance as well as numerous edged weapons and other types of arms and devices. A prominent aspect of the Eva is not only their uniqueness, but the variety among Eva's themselves--There is the Unit One, the Unit Zero, the Unit Two, and more, and each one is instantly recognizable. As the description "artificial humanoid" implies, deep down inside Eva's are not some simple mechanical machinery… Evangelion is noteworthy as a entertainment package that is both extremely expansive and intricate, while at the same time, remains easily accessible and entertaining for casual viewers. The body of work originating from the Evangelion franchise expands far beyond the realms commonly associated to animation works. Embraced by academics and numerous artists active in the contemporary art scene, went on to become a social phenomenon. The alternate cultural periodical Quick Japan ran successive feature articles on Evangelion and while the cover of Studio Voice magazine was adorned by material related to Eva as well. A listing of all the books and publications that featured Evangelion prominently would be a tome all on its own. Without question this was a body of work that captivated an entire nation and beyond. The vast marketing potential of the franchise lured numerous business periodicals to focus on the series and extensive analysis has been conducted on the aggregate economic impact Evangelion has had, providing more credence that this was a series left an imprint on society as a whole. In March of 1996, the TV series concluded in a manner that broke all norms of what is expected from how a television animation series is supposed to end. In response to overwhelming enthusiasm for a follow-up, a separate epilogue chapter was produced as a feature film in 1997. Advance tickets with special bonus items for the film sold out in the blink of the eye, and the opening of the film was accompanied by long lines of eager fans camping out in front of theaters the night before the release--A phenomenon reminiscent of the carnival like popularity that accompanied the release of the original Space Cruiser Yamato [a.k.a. Star Blazers] and Mobile Suit Gundam. One could make the argument Evangelion was instrumental in bringing about the 3rd Anime Boom in Japan. The associative sponsorship system, where production is supported by a committee of sponsors over a given title, is an integral element common in most late night animation shows in Japan today. This system was another innovation pioneered by Evangelion. The intense vibrant source that created so much is about to re-invent itself anew. The entire world is taking notice at the Evangelion New Theatrical Release--And everybody wants to know what shape will the new Eva take on? ● Production Notes■New Visuals Made Possible with the Rebuild Initiative.
Director in Chief Hideaki Anno and the creative staff of the new film made the unprecedented proclamation that this film production was going to be a rebuild--a notion unheard of in the world of film production. Usually a film adaptation of a TV animation series would entail magnifying the original 16mm film and doing retouches to improve the quality in a piecemeal manner. But a technique like that would allow the audience to notice the degradation in the quality and could be a detrimental in preserving that distinct quality unique to Evangelion. This new theatrical release of Evangelion will be a visual presentation that challenges the global audience anew. Any common tested and tried production method would be inappropriate. The conclusion reached was that of the rebuild concept--Inheriting the very essence of Eva and reconstruct the work in a visual presentation adapted for the new era. ■Neither a Complete New Incarnation nor a Faithful Recreation, but a Coalase toward a New Eva World. The opening chapter cannot be completely new… And yet, it would be better if it could be new… The concept of the rebuild was the answer to resolve the contradiction of making a film "new and not new at the same time," but the path chosen meant it would be a torturous one that the creative team would be forced to navigate through. First, cutting edge technology was employed to the utmost possible in order to put together a high quality visual presentation that would match the needs of the large panoramic widescreen dimensions of contemporary movie houses. The aim was that film-goers not familiar with Eva would take the film to be a new work created in 2007, while at the same time faithful fans from the original series would wholeheartedly affirm that the film experience that they are enjoying is undoubtedly Eva through and through. The secret to the success in meeting these rigorous demands was the concept of "deconstruction and reconstruction." "Deconstruction" entailed breaking apart and isolating various elements in Eva's original material. Not only was the core plot elements of the original Eva TV series broken down, but the visual aspects underwent the same process as well. Key animation sheets preserved for over 10 years and frame layouts (effectively the blue prints of a visuals of a given shot) was gathered together at the studio. The staff poured over these building blocks and decisions were made regarding what kind of treatment each would get. In same cases the framing was altered to befit the vista aspect ratio of the screen and numerous frame layouts were redone to improve the visual qualities of the mise-en-scene. Animation directors carefully examined the key animation sheets and made various adjustments and added numerous subtle touches. The visual profile of a character was redone, delicate touches in shading were added, adjustments necessitated by specific directorial decisions were made, and increased details were added to the mechanical hardware depicted. Combined together, all these steps improved the visual fidelity of the film by leaps and bounds. Even the backgrounds were redone in order to cram additional visual information into a given shot, or better hues could add to the lighting, or the contrasts in illumination levels could be relayed even more dramatically. Since it became possible to alter numerous aspects of the narrative from its original form, the Eva's themselves went through quite a make over. Numerous new details in their designs were added, new weapon systems were created, and the coloring was altered significantly. All these changes combine together to present an image of an Eva that is both stunning and fresh. ■The Human Handiwork Takes Full Advantage of Digital Technology, Beconing New Excitement from Audiences Today in the world of animation production, computers hold a prominent role--All productions steps from coloring, filming, and beyond take place within the digital domain. At the same time, graphical elements themselves have become more refined and complex owing thanks to the combination of 2D hand drawn animation and computer generated graphics, some of which are created in 3D. The Eva rebuild took into account how the production scene had changed since Eva first came into being, and proceeded to employ the best possible combination of technologies depending on the needs of each shot. The Angels were depicted in part with 3D computer graphics. Undoubtedly their visual fidelity and authenticity increased dramatically thanks to this. The manifestation of supernatural powers dominate the silver screen and overwhelm the senses of the audience with an immediacy that must be seen to be believed. Various details in the presentation of numerous computer monitors and intricate components of military ordnance filled high-rises were made possible by the power of 3D graphics. The visual qualities of the film enriched the depth and breadth of the worldview captured on screen. One of the most effective techniques employed in the Eva rebuild was the digital photography and the composite nonlinear editing process. Spatial depth, atmosphere, immediacy, plus subtle and delicate emotional themes are communicated to the audience via intuitive sensibilities infused in the audio visual medium--All these are qualities Eva is second to none. Much of these film techniques are dependent on the photography production process. The digital production process allows for real-time confirmation and verification of various effects added onto the film, enabling what used to be a precarious hit or miss process during the days of analog film production to be much more effectively managed through constant adjustment and alternation. Now subtle nuances can be relayed to the audience through continual nonlinear editing and tweaking. The Eva rebuild has liberated the true nature of Eva that was previously hampered by the limitations in the production process of yesteryears. Like the Unit One rampaging after breaking loose from its restraining gear, the new Eva film--a film everybody was familiar with, but was somehow alien at the same time--is about to unleash it fury that will leave audiences surprised and overwhelmed. Lastly but not in the least, the Eva rebuild highly values the handmade approach that was at the heart of Eva. The digital tools are merely the brushes and paints specifically chosen to make the film better--These tools are guided by the human mind and hand. This handiwork is instrumental in guiding the audience through an inexplicable thrilling experience appropriate for a new storytelling in the new era. ● StaffOriginal Concept, Screenplay, Director in Chief : Hideaki Anno Born 1960 and raised in Yamaguchi Prefecture. Film director. Anno was enthusiastically involved in the production of amateur films from his days in high school. He participated as an animator in numerous commercial projects such as Nausicaa of the Valley of Wind. In 1984, he helped found the animation production studio Gainax--a group that rose from the independent film group Daicon Film--together with individuals that he had met while enrolled in Osaka University of Arts. In 2006, he established a completely new film planning and production company Khara. Anno is currently involved in the production of Evangelion New Theatrical Release series. Filmography Animation
Live Action
Official Website: http://www.gainax.co.jp Director : Masayuki Born 1961 and raised in Nagano Prefecture. Animation director and animator. After garnering experience in numerous TV animation projects, Masayuki started taking part in Gainax projects starting from Royal Space Force: The Wings of Honneamise, a theatrical film released in 1987 and quickly moved on to assume the role of episode director and director of animation in Nadia: The Secret of Blue Water. Masayuki's role in the TV series and social phenomenon Neon Genesis Evangelion was that of deputy director, a position he held together with Kazuya Tsurumaki. The responsibilities entrusted in his care within the Eva TV series was wide and varied. Recently Masayuki has been active in the live action projects that Hideaki Anno has directed. His works include Sasuga no Sarutobi (TV / Key Animator), Robby the Rascal (TV / Key Animator), Ranpo (TV / Key Animation Supervisor, Key Animator), Evangelion: Death (Film / Director), Gunbuster 2 (OVA / OP Animation Director, Storyboard, Key Animator) and more. For live action, there are Love & Pop (Film / Assistant Director), Ryusei-Kacho (Short Film / Animation Assistant Director, Storyboard), Cutie Honey (Film / Assistant Director), etc Director : Kazuya Tsurumaki Born 1966 and raised in Niigata Prefecture. Animation director and animator. After resigning from Studio Giants, Tsurumaki joined Gainax starting from the 1990 TV series Nadia: The Secret of Blue Water. The first instance where he assumed the role of episode director was in the Nadia Freebie Showcase that was included as a special feature in the LD box release of the same series. In 1994 he assumed the role of director the first time with the Gunbuster New Science Lecture Course that was included the Gunbuster Welcome Home LD box set as a special feature segment. His works include Neon Genesis Evangelion (Assistant Director), Evangelion: Rebirth (Film / Director, Animation Director), The End of Evangelion: Air (Film / Director, Animation Director), FLCL (OVA / Original Concept, Director), Gunbuster 2 (OVA / Original Concept, Director) and more. Additional Storyboard Artist : Shinji Higuchi Born 1965 and raised in Tokyo Metropolis. Film director and special effects director. Higuchi was involved in Gainax from the very beginning in 1984. He assumed the role of an assistant director in Royal Space Force: The Wings of Honneamise. In Gunbuster, he provided storyboards and production designs. In Nadia: The Secret of Blue Water he both authored storyboards and assumed the role of director for the island story arc in the series. Higuchi participated in the 1990's Gamera monster action film series as a special effects director. His contributions made it possible for Gamera: Giant Monster Midair Showdown to win the Japanese Academy Special Award in 1995. He took on the responsibilities of director in Lorelei in 2005 and the following year he directed the epic Japan Sinks written by the Japanese science fiction author Sakyo Komatsu, turning it into a blockbuster film that earned 5 billion yen at the box office. He has also contributed storyboards to numerous projects, both live action film and animation, such as the film Neon Genesis Evangelion : The End of Evangelion. Main Character Design: Yoshiyuki Sadamoto Born 1962 in Yamaguchi Prefecture, Japan. Animator / Character Designer / Key Animation Supervisor After graduating Tokyo Zokei University, he became an animator, and also worked actively as a character designer and key animation supervisor. His main titles are Royal Space Force: The Wings of Honneamise (Animation Film), Gunbuster (OVA), Nadia: The Secret of Blue Water (TV Animation), Neon Genesis Evangelion (TV Animation and Film), FLCL (OVA), Gunbuster 2 (OVA), The Girl Who Leapt Through Time (Animation Film), etc. His comic Neon Genesis Evangelion were published serially in a monthly magazine, Shonen Ace, from Feburary 1995. Currently works for GAINAX. Main Mechanic Design: Ikuto Yamashita Born 1965 in Gifu Prefecture, Japan. Manga Artist / Designer Graduated Nagoya University of Arts. As a mechanic designer, he took part in GAINAX titles such as Gunbuster, Nadia: The Secret of Blue Water, and Neon Genesis Evangelion. For OVA titles, there are Blue Submarine No. 6 and Yukikaze. His main comic title is Dark Whisper. Additional Storyboard Artist : Tomoki Kyoda Born 1970 and raised in Osaka Prefecture. Animation director and animator. Kyoda first started out as a graphics artist, but moved into the animation industry and marked his directorial debut with feature film RahXephon : Pluralitas Concentio. He moved on to direct the TV animation series Eureka Seven, a work that won best animated TV series at the 5th Annual Tokyo Anime Fair. He has also participated in animation projects such as Earth Defense Family and Fullmetal Alchemist. Music : Shiro Sagisu Born 1957 and raised in Tokyo Metropolis. Composer and arranger. A talented musician and artist with a wide repertoire made most famous for providing compositions for Misia, Ken Hirai, Chemistry, Smap, Neon Genesis Evangelion, and Cassern. Sagisu is widely recognized as one of the most notable composer and arranger Japan has to offer. He started off as a member of the fusion music band T-Square in 1978, but later on withdrew from the group and started his solo career. Sagisu was active as a composer and arranger during the 1980's when idol music stars were all the rage in Japan, providing music for singers such as Kyoko Koizumi, Akina Nakamori, Hideki Saijyo, Toshihiko Tahara and groups such as the Shibugaki Tai. He also provided score for anime, TV drama projects, and feature films--Abunai Deka (Dangerous Detectives) and Kimagure Orange Road are two projects he was involved that are particularly well known. He has also taken on some unique undertakings, such as providing the music The Theme of Telephone Shocking for the TV program Waratte Iitomo (Laugh it Up.) His participation in the Evangelion project provided him with an opportunity to showcase his talents in composing full orchestral pieces. The score was so wildly popular that the public enthusiasm for the music itself could be considered a social phenomenon. Not only has he participated in the works of Misia and Aco, but has excelled in the field of R&B music as well. In 1999, Sagisu released Shiro's Songbook, a solo album that embodied his 20 year long musical career. His unique musical approach of combining classical, gospel, R&B, and Hip Hop musical genres together has lead him to win high acclaim and has become the central theme in his musical career. In 2004 he provided the score for the film Casshern and garnered much attention for his rich and deep illustrative powers exhibited through his music. ● Featured Characters ●Shinji Ikari The 14 year old boy and central protagonist in this work. Shinji is the pilot to Evangelion Unit One marked by a introspective personality and hopes to be valued by those around him through his efforts at fighting the Angels. (Voiced by Megumi Ogata.) ●Rei Ayanami A young girl who rarely shows her emotions, Rei's statements are usually short and abrupt. She has undergone extensive training as the pilot for the Eva Unit Zero. All records of her past have been erased and she gives off the impression of being artificial somehow. (Voiced by Megumi Hayashibara.) ●Misato Katsuragi The operations chief of Nerv. To a certain degree, Misato plays the part of Shinji's parental guardian. While she usually puts on an optimist persona, it is a small part of her personality. (Voiced by Kotono Mitsuishi.) ●Ritsuko Akagi (Voiced by Yuriko Yamaguchi.) The director of Eva development and maintenance. Ritsuko's personality of placing high emphasis on rationality and efficiency reflects her career as a scientist. Due to their respective roles, there are time when Ritsuko and Misato might be in conflict over a given issue. ●Gend? Ikari The supreme commander of special governmental agency Nerv. Gend? is in fact Shinji's father, but the extremes to which he places importance on accomplishing the mission causes him to come across as being cruel and distant. (Voiced by Fumihiko Tachiki.) ●K?zou Fuyutsuski Deputy commander of Nerv. As Gend?'s confidant, Fuyutsuki's relationship to Gend? is on equal terms. (Voiced by Motomu Kiyokawa.) ●T?ji Suzuhara Shinji's classmate in Tokyo 3's Junior High School No.1. They both are in Class A, 8th Grade. A boy with a strong sense of right and wrong that initially steered him to despise Shinji, over the course of time of watching Shinji fight desperate battles against the Angels, T?ji comes to see Shinji as a true friend. (Voiced by Tomokazu Seki.) ●Kensuke Aihara Shinji's classmate in school. T?ji's best friend and mil-tech geek. He knows a lot of the going-on's at Nerv thanks to the fact that his father is employed there. (Voiced by Tetsuya Iwanaga.) ●Hikari Horaki The class president of Shinji's class. A girl forthright and honest to a fault, her stickler personality leads her to often chide upon T?ji and his friends. (Voiced by Jyunko Iwao.) ●Nerv A special governmental agency directly subordinate to the United Nations. Their primary mission is to keep Evangelions ready in order to defeat the Angels. The headquarters is located in Tokyo 3 with Gend? Ikari at the helm as its commander. The organization has numerous branch offices around the world. ●Seele The secret organization that administers and commands over the Nerv behind the scenes. The group clandestinely manipulates the world's economic system as well as its political institutions, including the United Nations. ●Tokyo 3 (Three) The main backdrop in the world of Evangelion, this city--busy with continual construction and expansion--is located on the shores of Lake Ashinoko. While the city is touted as being the future capital of Japan, in reality this is a facade maintained for a city whose real purpose is to be a fortified metropolis that would act as the vanguard against the assaulting Angels. Nerv headquarters is located in a underground cavern located below Tokyo 3. ●Angels The generalized term employed to describe hostile life forms that attack upon Nerv headquarters located in Japan. Their fighting capabilities and origins are all shrouded in mystery. Angels are equipped with a unique defense mechanism called the AT Field, a force field like barrier that cannot be penetrated by conventional ordnance. Only the Evangelions, equipped the AT Field, can neutralize the Angels' AT Field and effectively strike against them. ●Human Instrumentality Project A mysterious project being pushed through by Seele. It appears the project is not directly tied to the needs related to defeating the Angels, and in fact the project has something to do with accelerating the transition of humanity toward a new evolutionary phase… ● Evangelion Large humanoid weapons systems that humanity poured tremendous resources into realizing, the Eva's are the only effective defensive means against the attacking Angels. The official designation of the Eva's is "Multipurpose Humanoid Decisive Combat Weapons System Artificial Human Evangelion." Eva's are comprised of a organic humanoid frame covered in armor. The name is based on the Greek word euangelion meaning gospel in English. Neon Genesis Evangelion Awards 2006Japan's Agency for Cultural Affairs Japan Media Arts Best 100: Best Animation 1997Japan's Agency for Cultural Affairs Media Arts Festival / Animation Division: Excellence Prize 1997The Science Fiction and Fantasy Writers of Japan 18th Nihon SF Taisho Award Total Sales of the Series: approx. $1.5 billion
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