7/23/2019 Anime's Apocalypse - Neon Genesis Evangelion as Millennarian Mecha http://slidepdf.com/reader/full/animes-apocalypse-neon-genesis-evangelion-as-millennarian-mecha 1/11 Anime's Apocalypse: Neon Genesis Evangelionas Millennarian Mecha review essay by Mick Broderick Introduction: 1. From its startling opening credit sequence the 2!episode "# anime series Neon Genesis Evangelion $%&'() which *irst aired in +ctober 1,,- through to March 1,,) *oregrounds its overtly apocalyptic traectory and postmodern *orm. For many the series remains at the /enith o* 0apanese television animation and it is unlikely to be surpassed any time soon due to its staggeringly comple detail and tetuality its allegory) characterisation and design. 2. +* interest here is how the program melds the sensibilities o* post!war modern 0apan with a post! holocaust) science *iction *uture.314 5t combines ideas6ideals o* catastrophe) myth) mecha) agency) spectacle) kinesis) chaos and montage with a ubiquitous sense o* imminence) solitude) quiescence) introspection) prophecy) teleology and predeterminism. 7. 5t is hardly credible to do ustice to the Neon Genesis Evangelion proect) designed to broadcast its cumulative ten!and!a!hal* hours o* animation across a hal*!year o* screen programming) in the *ew pages o* analysis allotted here. 8ence) my *ocus is on privileging some o* the more enigmatic and subtetual lines o* narrative which broach the series9 concerns with the apocalyptic and its multi*aceted) cross!cultural mani*estations. Series Summary: . Neon Genesis Evangelion takes place) according to its creator) Anno 8ideaki) along the *ollowing schema: "he year: 2;1- A world where) *i*teen years be*ore) over hal* the human population perished. A world that has been miraculously revived: its economy) the production) circulation) consumption o* material goods) so that even the shelves o* convenience stores are *illed. A world where the people have gotten 3sic 4 used to the resurrection ! yet still *eel the end o* the world is destined to come. A world where the number o* children) the *uture leaders o* the world) is *ew. A world where 0apan saw the original "okyo destroyed) discarded and *orgotten) and built a new capital in %agano <re*ecture. "hey constructed a new capital) "okyo!2) then le*t it to be a decoy ! then constructed another new capital) "okyo!7) and tried to make it sa*e *rom attack. A world where some completely unknown enemy called the 9Angels9 comes to ravage the cities. "his is roughly the worldview *or %eon &enesis 'vangelion. "his is a worldview drenched in a vision o* pessimism. A worldview where the story starts only a*ter any traces o* optimism have been removed. And in that world) a 1!year!old boy shrinks *rom human contact. And he tries to live in a closed world where his behaviour dooms him) and he has abandoned the attempt to understand himsel*. A cowardly young man who *eels that his *ather has abandoned him) and so he has convinced himsel* that he is a completely unnecessary person) so much so that he cannot even commit suicide. 324 From this description) written in mid!1,,- be*ore the program went to air) it is clear that writer! director Anno had an apocalyptic world!view *or his mammoth anime undertaking. -. A catastrophic event occurs at the dawn o* the new millennium) a time o* prophetic rupture in =hristian mythology. And like >evelation9s upheavals) much o* the world is destroyed in the wars
Transcript
7/23/2019 Anime's Apocalypse - Neon Genesis Evangelion as Millennarian Mecha
1. From its startling opening credit sequence the 2!episode "# anime series Neon GenesisEvangelion $%&'() which *irst aired in +ctober 1,,- through to March 1,,) *oregrounds its overtlyapocalyptic traectory and postmodern *orm. For many the series remains at the /enith o* 0apanesetelevision animation and it is unlikely to be surpassed any time soon due to its staggeringly compledetail and tetuality its allegory) characterisation and design.
2. +* interest here is how the program melds the sensibilities o* post!war modern 0apan with a post!
holocaust) science *iction *uture.314 5t combines ideas6ideals o* catastrophe) myth) mecha) agency)spectacle) kinesis) chaos and montage with a ubiquitous sense o* imminence) solitude) quiescence)introspection) prophecy) teleology and predeterminism.
7. 5t is hardly credible to do ustice to the Neon Genesis Evangelion proect) designed to broadcast itscumulative ten!and!a!hal* hours o* animation across a hal*!year o* screen programming) in the *ewpages o* analysis allotted here. 8ence) my *ocus is on privileging some o* the more enigmatic andsubtetual lines o* narrative which broach the series9 concerns with the apocalyptic and itsmulti*aceted) cross!cultural mani*estations.
Series Summary:
. Neon Genesis Evangelion takes place) according to its creator) Anno 8ideaki) along the *ollowingschema:
"he year: 2;1- A world where) *i*teen years be*ore) over hal* the human population perished. A world that has been miraculously revived: its economy) the production) circulation) consumption o* material goods) sothat even the shelves o* convenience stores are *illed. A world where the people have gotten 3sic 4 used to the resurrection ! yet still *eel the end o* the world is destined to come. A world where the number o* children) the *uture leaders o* the world) is *ew. A world where 0apan saw the original "okyo destroyed) discarded and *orgotten) and built a new capital in %agano
<re*ecture. "hey constructed a new capital) "okyo!2) then le*t it to be a decoy ! then constructed another new capital)"okyo!7) and tried to make it sa*e *rom attack. A world where some completely unknown enemy called the 9Angels9 comes to ravage the cities."his is roughly the worldview *or %eon &enesis 'vangelion."his is a worldview drenched in a vision o* pessimism. A worldview where the story starts only a*ter any traces o* optimism have been removed. And in that world) a 1!year!old boy shrinks *rom human contact. And he tries to live in a closed world where his behaviour dooms him) and he has abandoned the attempt to understandhimsel*. A cowardly young man who *eels that his *ather has abandoned him) and so he has convinced himsel* that he is acompletely unnecessary person) so much so that he cannot even commit suicide.324
From this description) written in mid!1,,- be*ore the program went to air) it is clear that writer!
director Anno had an apocalyptic world!view *or his mammoth anime undertaking.
-. A catastrophic event occurs at the dawn o* the new millennium) a time o* prophetic rupture in=hristian mythology. And like >evelation9s upheavals) much o* the world is destroyed in the wars
*ollowing the cosmic cataclysm. But the apocalyptic) millennial and messianic traectory o* the seriesis dispersed across both macro and micro scenarios. As Anno9s prologue suggests) there is anotherbattle occurring one which parallels the global and cosmic con*licts) namely that o* the individualand the interpersonal) where a reluctant and unwitting messianic hero must choose betweenpreordained destiny and withdrawn sel*!interest.
. Anno9s description also embraces the intrinsically dualistic nature o* apocalyptic teleology?*romdestruction and chaos comes rebirth and renewal) but only through the conscious intervention and
agency o* a liberator) one who leads an elect *ew into a new realm) usually outside history andplace. 5ndeed) this "# series is overtly situated during the apocalypticinterregnum: the time in!between the penultimate and ultimate battles that decide humanity9s *inal outcome.
@. Neon Genesis Evangelion is di**icult to summarise in terms o* plot. 5ts modernist $andpostmodernist( narrative strategies deliberately disrupt conventional discourse and epectation bothin terms o* *orm and theme. o much so that the *inal two episodes $2- and 2( deconstruct theentire series) individual characters) human history and the animated6representational process toboot374 "his is no mean *eat.
C. At the risk o* alienating its audience) NGE layers its animation with vast amounts o* tet in0apanese) 'nglish and &erman o*ten making it impossible to read and decipher in 9real time9) henceit is sel*!conscious o* its potential cult status) requiring repeated viewings *rom video!tape and6orD#D releases to aid comprehension. imilarly) the disunctive nature o* the narrative) its temporaland spatial dislocations) the rapidity o* dialogue and eposition) and metaphoric6mythic allusions allnecessitate an understanding retrospectively at the series9 conclusion?a very apocalyptic narrativestructure. Eet this is not achieved via a per*unctory coda or gratuitous eposition in order to neatly9contain9 the tet. NGE concludes in a manner which is almost impossible to anticipate in aconventional cognitive linear *ashion. o) to 9make sense o* the ending9) in Frank ermode9s idealwe must embrace the discordant elements along the way.34 And) as %orthrop Frye has shown) byapplying a hermeneutical eegesis to the series) we can discover the typologies which eplain the*amiliar resonance with 0udeo!=hristian apocalyptic traditions.3-4
,. "he *ollowing summary is linear and historical) unlike the series.
Figure 1. econd impact at Antarctica
1;.
+n 17 eptember 2;;;) a mysterious event takes place at the Antarctic that instantly melts the polar cap and sends a devastating deluge across the globe which permanently shi*ts the 'arth9s ais. Aseries o* wars and nuclear strikes *ollow) in which hal* o* the planet9s population perish. "he Gnited
%ations adopts a cover story o* a giant meteor strike to eplain the event) when in *act it wastriggered somehow by human contact with the First Angel) named Adam) a giant o* light observed in Antarctica. "he disaster is called the econd 5mpact) the First being a cosmic impact over billionyears ago when terrestrial eecta was large enough to coalesce and *orm the Moon.
12. A *ew years earlier in the late 1,,;s) three brilliant scientists?arti*icial intelligence engineer) Dr Akage %aoko the ruthless soon!to!be =ommander o* the G%9s secret agency %'>#) 5kari$>okubungi( &endou and a pro*essor o* Arti*icial 'volution) who becomes &endou9s deputy at%'>#) Fuytsuki ou/ou?all based in 0apan) commence work *or the secret ''H' organisation)which operates *rom the mystical prophecies o* the Dead ea crolls predicting apocalyptic battlesto come. "heir secret task is to implement the 8uman =omplementation <rogram?a transhumanistproect to evolve homo sapiens into a super gestalt being by shedding human *orm and communingwith the cosmic divine. "he race is to achieve =omplementation be*ore other Angels appear todestroy humanity by their reuniting with Adam.
17. 5n order to complete this mission %'># is established to de*end humanity and battle the invading
Angels. At enormous cost $like an international Manhattan <roect( it is clandestinely located at thecentre o* the &eo!Front) a circular cavity beneath the sur*ace 9decoy9 city) the rebuilt %eo!"okyo!7.But %'># and its director 5kari &endou have a hidden agenda?to *acilitate this $r(evolutionary=omplementation.
Figure 3. "he rebuilt %eo!"okyo!7
1.
1-. At the time o* the millennium9s econd 5mpact a number o* special children are born) one o* whomis the son o* =ommander 5kari) named hini?the econd =hild. "he series depicts *ive childrenselected by the mysterious Marduk organisation to pilot a test range o* giant cyborgs) the
'vangelions $or '#A units(. Despite these other adolescents) it is ultimately the con*used andimmature hini upon whom the *ate o* the world depends. But his near autistic social andpsychological withdrawal *rom the world) *uelled by oedipal wrath against his *ather *or abandoninghim) leaves hini seemingly ill!equipped *or his messianic task.
7/23/2019 Anime's Apocalypse - Neon Genesis Evangelion as Millennarian Mecha
1@. Ihen hini is summoned to 0apan9s %'># headquarters he is immediately sent into combatagainst an approaching Angel $%o. 7: achiel( a*ter the G%9s de*ence *orces *ail to penetrate thebeing9s A" $Absolute "error( Field. "o everyone9s ama/ement hini melds instantly intosynchronicity with the cybernetic A5 system o* the '#A he pilots $"est type: Gnit!;1( which alsopossesses its own type o* protective A" Field.34 5n a colossal hand!to!hand battle above %eo!"okyo
7) inside his robot '#A) hini *inally de*eats the monstrous intruder) which sel*!destructs in anattempt to destroy them both.
1C. "he other teenage '#A pilots all attend hini9s school in %eo!"okyo 7. hini *eels some empathyand a growing a**ection *or the taciturn Ayanami >ei) the 9First =hild9?an inured girl!pilot o*'vangelion Gnit!;;) who both saves hini and is saved by him throughout the series. >ei is laterrevealed to be a mere clone) one o* hundreds created by hini9s *ather) yet a homunculus devoid o* a soul. "he "hird =hild) oryu Asuka Hangley) part!&erman part!0apanese) is *lown in *rom the G%'># centre) and shown to be a precocious) aggressive and over!con*ident enfant terrible who) likehini) has su**ered a traumatic childhood o* abandonment but compensates by an over!/ealouscompetitiveness. u/uhara "oui) the Fourth =hild) is at *irst a school bully who picks on hini but
later admires hini9s courage in piloting '#As and be*riends him. hini is tricked by his *ather intodestroying "oui9s '#A and brie*ly believes he has inadvertently killed his buddy. A*ter this incidenthini re*uses to work *or %'># or his *ather again.
1,. "hroughout the remainder o* the series) Angel a*ter Angel appear as yokai in astonishingly compleand incomprehensible *orm?*rom giant humanoids) insects and sea monsters) to geometricallyper*ect monoliths) to mani*estations o* pure light and energy) as well as intelligent sel*!replicatingnanobots and a quantum shadow $the Dirac ea(. 5neplicably) when an Angel sample is analysedby %'># scientists it appears ,,.C, per cent compatible with human D%A despite their technologyand abilities being regarded as alien. 5t also becomes clear that the Angels learn *rom each *ailedattack) changing shape and strategy to attain ultimate victory: the complete destruction o* humanity.
27. Finally) the last Angel $%o. 1@: "abris) aka %agisa aworu( appears disguised in human *orm)be*riending hini as the 9Fi*th =hild9 selected *or '#A piloting) but who quickly penetrates all %'>#barriers and sets about creating the "hird 5mpact by reuniting with Adam. Hike hini9s *irst alienadversary) this Angel prompts sel*!destruction) but with a di**erence. nowing that he can de*eathini and annihilate %'>#) surprisingly the Fi*th =hild allows hini6'#A Gnit!;2 to kill him) in orderto preserve the human species at the epense o* the Angelic messengers o* death.
Figure 11. Angel %o. 1@
2.
2-. 5n the last two episodes a*ter the destruction o* the Hast Angel) hini begins to lose his human *orm)becoming an abstract image and a disembodied voice) interacting with other characters *rom
the Evangelion series and regressing back into his childhood.3@4 8e is eplicitly presented thus bythe series as a case study in the overall evolutionary move toward the transhumanist5nstrumentality:
Ihere am 5JIhat the hell am 5J3speaking to himsel*4 o) you need the barrier o* the mind.IhatJ 5t9s me. "he shape that 5 show to others. "he symbol representing me. "his) and this) and this) all theseare representations o* me. %othing but the things that make others recognise me.Ihat am 5J 5s this meJ "he true meJ "he *alse meJ
2. 'ventually he learns to break *ree *rom his sel*!absorption) the anomie o* sel*!pity and hatred thathas prevented true interaction with *amily) *riends and colleagues. As his sel* interrogates theeperiential and imagined selves o* others $melding with others in a complementary9instrumentality9() he begins to construct an alternative 5kari hini) one whose shape retains the *orm
o* his previous sel* but with a con*idence and maturity previously absent. As he emerges *rom the
subconscious dialectical echanges with the community o* voices his psyche evokes as hisremembered companion) hini asserts:
5 hate mysel* ...But) 5 might be able to love mysel*.5 might be allowed to stay here.Ees. 5 am nothing but 5.5 am 5. 5 wish to be 5.5 want to stay here5 can stay here
At this point the other characters o* the series appear beside hini and encircle him. 'veryonebegins to applaud and oin in a uni*orm chorus o* 9=ongratulations9
2@. hini) now at one with himsel* and the universe) thanks those present) especially his parents and oins in the 9congratulations9 *or all the 9new children9) those humans now) like himsel*) returned tothe original state o* grace in union with divinity and cosmos.
Propetic !poca"ypse
2C. o) at the series9 conclusion there is another 9beginning9) in a truly apocalyptic turn. %ot only
doviewers witness the individual reborn into a world made new) but the entire human species isremade immortal) liberated *rom its biological and psychological constraints to embrace a return to'denic bliss.
2,. Ihen the televised series ended) controversy reigned over the production. Fans and critics alikewere o*ten hostile to the move away *rom the *uturist *antasy and mecha elements o* the earlyepisodes toward what they deemed sel*!indulgent psycho!babble.3C4 Eet the devolved anddeconstructive unravelling o* the central narrative and characters is entirely consistent with thetypological presentation o* the series and Anno9s articulation o* apocalypse as a 9rite o* passage9)not only *or the messianic hero) but *or humankind as well.3,4 8ence the personal adolescentmalaise haunting 5kari hini is the micro apocalypse symbolising the species9 desire to reunite with
the divine a*ter its *all *rom grace.
7;. "he series is replete with apocalyptic re*erences drawn directly *rom <ersian $Koroastra() 0ewish$abbal) "orah() =hristian $+ld and %ew "estaments( and &nostic $Apocrypha( sacred writings. "heallusions to this particular imagined apocalyptic schema) which is at once both linear and cyclical)are more than throwaway gestures to knowing *andom. "hese icons) nomenclatures and beings areiterated across the series in a manner that slowly unveils their mystical and secret semiotics. 0ust as0ewish numerological mysticism in*orms the Evangelionepistemology) so too do the poetics)typologies and dream!state transcendences o* =hristianity9s Book o* >evelation imbue the narrativeand action.
72. ome brie* eamples will demonstrate the intertetual sophistication o* the series9 apocalypticphilosophy. ''H' $*rom the &erman 9soul9() the secret organisation behind the creation o* %'>#)*or instance) has as its logo seven eyes arranged along the duplicate sides o* an inverted equilateraltriangle. Hike the shadowy television Millennium &roup in the =hris =arter X-iles spin!o**) the 12!
man organisation o* ''H' is said to operate clandestinely) basing its actions on the apocalypticprophecies contained in the Dead ea crolls. "his enigmatic seven!eyed iconography alsoappears when Misato atsuragi is shown 9Adam9) the giant upper torso o* a cruci*ied Angel *ound in Antarctica and kept in storage at "erminal Dogma) a high security subterranean vault below %'>#headquarters. "he *ace o* this Angel is shrouded with the same triangulated) multi!eyed logo6image."he Angel also has a large lance impaled in its chest) re*erred to as the pear o* Honginus$Honginus was the >oman soldier who pierced the abdomen o* the cruci*ied 0esus on the cross andwho later converted to =hristianity.31;4 "he name also obliquely re*ers to the pre!=hristian &reekphilosopher who *irst wrote about the aesthetic power o* the sublime(.3114 "he creature9sappearance is deeply unheimlich and oddly sublime in the Burkian sense) evoking terror and awe.3124 Hike atsuragi9s revelation) Adam symbolises the =hristian apocalyptic as revealed by 0ohn o*<atmos) where the mystical number seven repeatedly occurs as an apocalyptic leitmoti*. "he Hamb
o* &od) representing =hrist) appears in >evelation as a seven eyed!divinity. But this representationis itsel* an antitype *or the older 8ebrew deity) Eahweh) who is described in the +ld "estament and"orah as having seven eyes.3174
Figure 13. "he giant upper torso o* a cruci*ied Angel *ound in Antarctica
77.
7. 8owever) the audience is later in*ormed that this being is in *act Hilith $aka: 9Hillith9() the prototypical9mother9 o* humanity and *irst wi*e o* Adam. "he earlier secret revelation about Adam is in *act a
cover story) or *alse prophecy meant to protect the true location o* Adam. According to ancient8ebrew myth) Hilith is the *irst wi*e o* Adam) preceding 've) and *ormed by &od *rom *ilth andsediment) unlike Adam9s origins in dust.314 he abandons Adam and his prescriptive carnality)choosing to lay with demons) breeding multitudes o* 9Hilim9. 5t is this term that the Hast Angel)aworu) calls hini $and by association all o* humanity(. "he implication is that the Angels regardhumanity as the corrupted) mortal and *allen o**spring o* the Hilith. A*ter opening the high securityvault in "erminal Dogma called 8eaven9s Door) the Fi*th =hild6Final Angel is shocked to discover thetruth:
Adam) our mother being."hose born *rom Adam must return to Adam even by annihilating humanityJ%o 5t9s di**erent.
"his is Hilith.3"hen to hini4 5 see. 5 understand) Hilim.
o Anno9s proect is a postmodernist retelling o* the &enesis myth) as his series title implies?NeonGenesis Evangelion. 5t is a new myth o* origin) complete with its own deluge) Armageddon)apocalypse and transcendence.
7-. +ther instances o* messianic and millenarian moti*s are apparent. For eample) within %'>#) thearti*icial intelligence supercomputer which controls the de*ence systems is named the Magi?areligious term connoting homage at the arrival o* a messianic saviour. 5t is actually three separate
but interconnected systems $Melchior!1) Baltha/ar!2) and =aspar!7() named a*ter the three wisemen $or kings *rom the east( who come to bestow gi*ts in adoration o* the messiah9s birth.
Figure 14. Magi) the arti*icialintelligence supercomputer
Figure 15. Magi =omputer
7.
7@. "he prophetic pathway linking the series9 apocalyptic narrative *inds its iconic representation in the9ystema ephirotica9) seen during the opening credit sequence and displayed above =ommander5kari9s %'># o**ice. 5t depicts the 0ewish abbalistic rendering o* creation as an inverted tree o* li*eindicating the pathway o* the material world to the spiritual realm. Ihen contrasted with ''H'9sDead ea crolls9 prophecy these two con*licting charts to eternal enlightenment are evident.''H' works to the archaic plan o* apocalyptic prophecy) aiding and abetting its pre!ordainedagenda in order to wage a battle o* Armageddon with the invading Angels by creating its own *orce
o* terrestrial gods) the '#As. =ommander 5kari and his other two %'># conspirators $Akagi andFuyutski() under the accommodating guise o* %'># and its power*ul ''H' bene*actors) masks hisephirotic plan to use the organisation to engineer his own apocalyptic mode o* humantranscendence through =omplementation.
Figure 16. ystema ephirotica Figure 17. Dead ea crolls
7C.
7,. 5* all o* this sounds esoteric and irrelevant) particularly coming *rom a 0apanese mass6popular
culture product where one normally recognises mythic and religious undercurrents such as theanimism o* hinto and the sel*lessness o* Buddhism $all o* which is present in the series() thenconsider the *ollowing.31-4 "he history and origins o* 0apanese post!war anime are inetricablylinked with both secular and sacred renderings o* eschaton.314 "he two atomic bombs whichbrought a cataclysmic end to the <aci*ic Iar devastating the cities o* 8iroshima and %agasaki have
been employed as recurring moti*s throughout 0apan9s cinematic) televisual and original videoanimation *rom the late 1,-;s to the new century.31@4 "he rapid post!war industrialisation o* 0apan)its +ccupation!en*orced constitutional democracy) accelerated modernisation and 1,C;s economicascendancy have all contributed to the rise o* anime and manga's appeal) particularly to the shin !inrui ) or 0apanese &en!Lers 3new human beings4 and the nerdy outaku*an culture.31C4 Neon GenesisEvangelion seems to re!vision the radical and evolutionary trans*ormations o* 0apanese societyduring the past two generations) recasting contemporary ruptures in its narrative as historicalprediction the e" eventu prophecy ) as 0ohn 0. =ollins would have it) intrinsic to the 9apocalyptic
imagination9.31,4
;. >egardless o* creator Anno9s stated intentions and artistic agenda) Neon GenesisEvangelionachieves what all maor apocalyptic works invoke whether they be narrative) myth)prophecy) crusade or therapy?namely) a vision o* society radically trans*ormed *rom one o* chaoticand imminent demise towards the liberation *rom oppression o* an elect into a new realm o*perpetual peace and harmony. "hat NGE in particular) and !apanime in general) both render societaland individual rebirth through apocalyptic cataclysm) while maintaining their international appeal)suggests that Apocalypse?as a 9grand narrative o* legitimation9?still remains viable) visible andsuccess*ul in *inding mass audience) despite the premature obituaries pronounced by 1,C;spostmodernists.32;4
#ndnotes
314 +n these trends see Masao Miyoshi and 8.D. 8arootunian) $eds() #ostmodernism and $apan) Durham: DukeGniversity <ress) 1,C, "ony Barrell and >ick "anaka %igher than %eavan& $apan (ar and Everything ) trawberry 8ills:<rivate &uy 5nternational) 1,,-.
324 Anno 8ideaki) reprinted in Evangelion Manga accessed 2@ 0anuary) 2;;2) originally *rom $0uly 1@ 1,,-( )i* +omics.
374 tylistically the series9 precursor in the medium was <atrick Mc&oohan9s rich and comple *uturist!espionageseries ,he #risoner ) 5"=) 1,@.
34 Frank ermode) ,he ense of an Ending ) %ew Eork: +*ord Gniversity <ress) 1,@.
3-4 %orthrop Frye) ,he Great +ode& ,he .ible and /iterature) an Diego: 8arvest) 1,C2.
34 During the con*lict with the Final Angel) arowu tells hini that the oul is actually the source o* the 9A" Field9. 8e said)9Ees. Eou Hilims call it so. "he holy region that must not be invaded by anyone. "he light o* mind. Eou) Hilims) are aware o*that. Aware that the A.". Field is the wall o* mind that everyone has.9
3@4 "his sequence recalls the marvellous =huck 0ones cartoon 0uck Amok ) Iarner Brothers) 1,--) where the maincharacter9s universe and epistemology is deconstructed by the anonymous and ruthlessly manipulative animator $BugsBunny6=huck 0ones(.
3C4 Manabu "suribe) 9<rison 8ouse o* el* =onsciousness: an 'ssay on 'vangelion)9 in 1taku an*ine 1; $1,,,()accessed 2@ 0an) 2;;2.
3,4 "he linear historical movement o* the apocalyptic has been considered in this light by scholars. ee *or eampleMichael +rit/ 8ill) 0reaming the End of the (orld& Apocalypse as a 2ight of #assage) Dallas: pring <ublications) 1,,.
3114 /onginus on the ublime) trans. I. >hys >oberts) at #eitho's (eb) accessed 2@ 0anuary 2;;2. "he associationbetween the sublime and the human soul is more than coincidental since) as Honginus points out throughout his writing)9ublimity is the echo o* a great soul)9 =hapter ,) 9Honginus) +n the ublime9) tr. I. >hys >oberts) at <eitho9s Ieb) accessed 2@ 0anuary 2;;2.
3124 9Ihatever is *itted in any sort to ecite the ideas o* pain) and danger) that is to say) whatever is in any sort terrible) oris conversant about terrible obects) or operates in a manner analogous to terror) is a source o* the sublime that is) it isproductive o* the strongest emotion which the mind is capable o* *eeling9) *rom 'dmund Burke A #hilosophical 3n4uiry intothe 1rigin of our 3deas of the ublime and .eautiful ) second edition 1@-,) accessed 2@ 0anuary 2;;2.
3174 9abbalah and Modern Hi*e ! 0ews and %on!0ews) even 'yes and even 5s9) accessed 2@ 0an) 2;;2.
314 "his prNcis comes *rom >obert &raves and >aphael <atai) 9"he Hillith Myth)9 in ,he Gnosis Archive& Gnostic tudieson the (eb) accessed 2@ 0an) 2;;2. Hilith does o* course live on in a single prophetic and apocalyptic re*erence in 5saiah)
about the destruction o* nations $see 5saiah 7:1(.
Iild cats will meet hyenas therethe satyrs will call to each other there too will Hilith take cover seeking rest.
31-4 0apanese culture does have its eschatological mythologies) but as 0erome hapiro has argued) they are hardlyapocalyptic in the conventional 0udeo!=hristian sense o* the term. ee 0erome hapiro) 9Does 0apan have a Millenary5maginationJ9 5yoto 0aigaku 6g6ningengakubu 5iy6) $0uly 1,,(: 177!-.
314 ee <hilip Brophy) et al.) 5a.oom7 E"plosive Animation from America and $apan) ydney: Museum o* =ontemporary Art) 1,,. 5n his introduction to the ehibition anthology Brophy asserts) 9"he title AB++M >e*ers both to the childlikeinnocence revelling in cartoonish eplosions) and the ominous yet captivating a*termath o* nuclear devastation) whichsignposts the post!war sensibilities that have governed the modern and postmodern strands o* the medium)9 p. ,.
31@4 ee Mick Broderick $ed.() %ibakusha +inema& %iroshima Nagasaki and the Nuclear 3mage in $apanese ilm) Hondon:eagan <aul 5nternational) 1,, and in particular *or anime Freda Freiberg) 9Akira and the <ostnuclear ublime)9 inBroderick $ed.() %ibakusha +inema pp ,1!1;2 and Ben =raw*ord) 9'mperor "omato etchup: =artoon <roperties *rom0apan)9 in Broderick $ed.() %ibakusha +inema) pp @-!,;.
31C4 ee Ben =raw*ord) 9'mperor "omato etchup: =artoon <roperties *rom 0apan)9 in Broderick $ed.()%ibakusha +inema)p. @-.
31,4 0ohn 0. =ollins) ,he Apocalyptic 3magination& an 3ntroduction to the $ewish Matri" of +hristianity ) %ew Eork: =rossroad<ublishing) 1,C,.
32;4 For eample) see 0ean FranOois Hyotard ,he #ostmodern +ondition& A 2eport on 5nowledge) Manchester:Manchester Gniversity <ress) 1,@,) trans. 1,C and Fredric 0ameson 9<ostmodernism) or "he =ultural Hogic o* Hate=apitalism)9 in New /eft 2eview 1) $1,C(: -7!,2 and 9Foreword9 to ,he #ostmodern +ondition pp vii!i.
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