Join Date: Nov 2007
I am stealing this from evageeks, but I think many here would find it interesting.
Newtype USA August 2007 wrote:
The Power of a Name
*Image of Eva-00 with the shield while Operation Yashima is being prepared*
Eva-00: Piloted by the "first child" (Rei Ayanami), Unit 00 heads into batle to do its part in Operation Yashima, a huge battle plan that calls for the involvement of every city in Japan. An all-new color scheme adds to the iconic robot's appeal.
What's in a name
The Japanese titles for the four movies in the new Evangelion series have finally been announced--Jo, Ha, Kyu, and ?. The first three titles refer to a narrative structure that is considered to have been perfected about seven hundred years ago, giving the new Eva movies a sense of solemn maturity and suggesting that they'll have a more traditional format than what we see with the last batch of feature films ten years ago.
Jo, ha, and kyu are similar to Western storytelling concepts of setup, climax, and conclusion, but with slightly different emphasis. Jo, the title of the first movie, means "prologue", what happens before the real story begins. In the martial art iaido, jo is used to describe the time between when the swordsman first becomes aware that an attack is coming and when they actually draw their weapons. For many types of performance art (like Noh drama), the jo segment serves as a cheerful and festive introduction to the characters and situation. Since Operation Yashima--a famous battle from the original Evangelion series--will happen in Jo, it's most likely that it'll be portrayed with more flash and spectacle than gritty realism.
One other interesting thing about jo is that it's pacing is often unnaturally slow, creating tension similar to that of a door creaking open ever...so....slowly...in a horror film. Ha, then, can be considered the moment when the monster waiting behind the door suddenly leaps out at the protagonist. It's when the story really begins. The literal meaning of ha is "destruction" --swift, violent action that rips apart everything that came before. In iaido, it's when the sword is drawn and battle commences; in Noh, it's when the story picks the pace and the humanistic side of the tale is revealed.
Kyu usually means "urgent" or "emergency", but "ultimate" might be a better translation here. It's the finishing blow, a sharp, quick action followed by a moment of absolute stillness. In Noh, it's when the true face of the villain is finally revealed and the hero triumphs over him--the denouncement, in other words.
Normally, kyu marks the end of the story--so what's the deal with the fourth movie, enigmatically named Evangelion: ?. No one's talking, and given the mysteries surrounding previous Eva incarnations, we'll probably just have to wait and see.
If the new movies do follow the traditional jo/ha/kyu setup, the first movie will probably be a sort of slice-of-life narrative introducing us to the characters and setting. Then something will change unexpectedly in movie number two, forcing the characters to alter their course of action, and everything will come to a head in the third movie. Your guess is as good as ours for what will come after that, but we're sure that it'll shock and amaze us as only Evangelion can.
A new beginning
One of them created the original Eva TV series. The other was in the audience when it first aired. Together, they're creating a new Eva for future generations.
Shinji Higuchi holds a special position in the hearts of Evangelion fans. Not only did he storyboard two episodes and write the scripts for two more, he's also one of director Hideaki Anno's best friends, not to mention the namesake of protagonist Shinji Ikari. So it's no surprise to see him involved in the new Evangelion movies--which were as big of a shock to him as anyone else. "I couldn't believe that Anno was going back into directing anime," he says, "but I knew that if he did, it'd be something huge, so I'm very excited about the project."
Higuchi has been part of the Eva staff since the concept first took form back in 1995. "It was right after I finished Gamera: Guardian of the Universe, so I went straight from there to working on the Eva storyboards," he says. "When we finished Episode 1, it was so high-tension that it felt more like a climax than an opening episode. I think I even said as much to the staff. I was talking as if I hadn't been there from the beginning; that was how amazing it was to me. But even so, I was shocked and bemused when the show received so much acclaim."
After the TV series, Higuchi storyboarded the sequel movie The End of Evangelion in 1997. It was the end of an era for both the staff and legions of Eva fans around the world. "At the time, I was also working on Mamoru Oshii's G.R.M The Record of Garm War, a film project that was going nowhere [and wound up never being released]. I got over my frustration by pouring it all into The End of Evangelion. [Denno Coil director] Mitsuo Iso was in charge of the key animation for the section I was in charge of, so I was pleasantly surprised by the quality of our final product."
That was ten years ago, and now Higuchi is storyboarding yet another Evangelion movie, this one directed by Kazuya Tsurumaki and Masayuki, under the supervision of general director Hideaki Anno. But his old comrades are being very close-lipped about the project--even to him. "I didn't actually realize this until you asked, but they really haven't told me anything at all!" Higuchi admits. "Actually, they've never told me anything, I had my first experience with the stress of never being told anything when I worked with them on the TV series 12 years ago. It's amazing that it all pulled together so well, actually."
There have been lots of changes in Higuchi's life since then, and he's even directed his own live-action movies--Lorelai and Nihon Chinbotsu. But he's still passionate about Evangelion: "All I have to say is that I can do things now I couldn't have before, and I'll be giving it my best as it currently stands."
Operation Yashima in Jo, the first of the new movies, ought to be the perfect place for Higuchi to show off his new talents, especially considering his spectacular success with the scenes of mass devastation in Nihon Chinbotsu. He wouldn't tell us much about it, but he did reveal that he's "paying more attention to the fact that there are real people living throughout Tokyo-3 during the story. All I can say is that there's no doubt that it will be incredible." For the rest, we'll just have to wait and see.
Shinji Higuichi: Born 1965. Over the years, Higuchi has become famous for his special effects work on the Gamera series and numerous other live-action superhero and monster shows. He's also directed the hit films Lorelai and Nihon Chinbotsu. Now he's doing storyboards for the new Eva movie Jo.
*Image spread on both pages (67 and 66), Japanese poster of Jo*
Who could this shadowy figure be?! Reddish body, eerie antennae, a round head... The Petite Eva series is a collection of toys showing super-deformed school-kid versions of the Eva characters, but this particular product is still shrouded in mystery. Who could this "secret character" be? There will be nine figures in total, including the secret character, Unit 01 dressed in a school uniform, and a set of Rei Ayanami triplets.
Who is this?!
*Lower left of page 67: Somewhat shaded Puchi Eva JA-ko figure and animated Puchi Eva RiAO/Middle child Rei*
The figures were designed by manga artist Ryusuke Hanamoto of Moeyon Gakuen, and the package by Hideki Satomi of Yotsuba Studio.
One of the highlights of Jo will be Operation Yashima, first chronicled in Episode 6 of the TV series. The Evangelion units were helpless before the new Angel that appeared in the sky over Tokyo-3--the Angel's powerful long-distance attacks kept the units from getting close enough to damage it. So NERV, the organization behind the Eva robots, came up with a plan that would allow the units to attack from outside the Angel's range--using a weapon powered by all the electricity in Japan. The operation, named after a famous story about an impossible shot made with a bow and arrow, was calculated to have only an 8.7% change of success. (The images below are taken from the original TV show.)
*Shinji and Rei side by side before Yashima*
Shinji and Rei before embarking on their mission. Shinji was terrified of dying, but Rei didn't seem to care at all.
*Rei standing against the moon*
After Shinji and Rei agree to combine forces, Rei's stance shows her powerful determination.
*Eva-01 firing the Rifle during Operation Yashima*
The time has come to fire. If they miss, then all is lost.
*Cables with smoke coming from them*
The cables pulling electricity from across Japan start smoking from the energy running through them.
*Upper right page (67): Screenshots from PS2 Battle Orchestra*
Shin-Seiki Evangelion: Battle Orchestra for PS2
All of our favorite protagonists and antagonists are back in the new melee adventure. Expect lots of hand-to-hand combat, guns and special attacks like the Lance of Longinus. Up to four characters and their mecha can fight at once, and the better their synch ratio is, the more cool abilities they'll gain. There are also amusing cut scenes that will pop up from time to time during the battle. Who will survive this wild battle royale?
*Asuka talking to Misato*
There's lots of interpersonal drama in Story mode! The numerous endings keep it from getting old.
*An explosion in the middle with Eva-01 and Eva-00 duking it out*
Pull off cool special attacks by getting your team (any combination of Eva units and Angels) to work well together.
*cover art of the game with yellow Eva-00, along with Eva-02 and Eva-01*
On sale now in Japan from Broccoli
"I remember thinking that Anno had to be one scary bastard"
When Evangelion first came out, Tomoki Kyoda was just a member of the audience. Now he and many others from his generation are part of the staff bringing it back to life. But he's no newbie to the anime industry. Kyoda already has an impressive list of credentials under his belt, including the RahXephon movie and the recent Eureka Seven TV series.
"The Eva TV show was just interesting, pure and simple," Kyoda comments, "although I did have some problems with it because I started watching at Episode 8! I felt like it was a compilation of everything Anno had done before that point. In particular, I loved the abbreviated structure of each episode, which gave it this wonderful sense of depth. It seemed like a year-long series had been compressed into a half-year of episodes, which was incredible. Admittedly, I didn't believe that it would actually end after half a year once Gendo talked about it being "the beginning" in Episode 19!"
By the time the movie came out in '97, Kyoda was just a step away from the anime industry. "Around that time, I was working in GAINAX's game division," he says. "My first thought after seeing the film was that it was really a gift for fans. All those things that couldn't be shown in the TV series were offered up for the audience. I was delighted with it, but I guess the rest of the world didn't share my opinion."
Going from fan to creator was a big change, and each project he's been involved in since has changed him a little more. As a result, he hesitated when he was asked to join the staff of the new Eva films. "To be honest, when they asked me, I fully intended to turn them down," he reveals. "But then I read the script [of the first movie] and the summary of what was on tap for afterward, and some of Anno's sheer determination rubbed off on me. I remember thinking that if he was really going to go through with this, he had to be one scary bastard. Personally, I'm very impressed, but I have to wonder how much of the audience (or staff, for that matter) will actually understand what he's trying to do here. He's trying to cross a very rickety bridge, and I respect him because of it. It's a big risk. His example has given me courage."
As far as the films go, Kyoda isn't willing to say much. "If I say anything specific, it'll spoil the movie, so I'm keeping my mouth shut. But I will say that we're not just remaking the pictures and dialogue. We're remaking the very reason why it became such a hit. That's the risk Anno's taking, and that's what makes it so fascinating. It's why I intend to see it through to the end."
Tomoki Kyoda: Born 1970. Kyoda is best known for directing the RahXephon movie and the Eureka Seven TV series. He also did the storyboards and sequence direction on the opening to Seirei no Moribito. Now he's doing storyboards for the new Eva movie Jo.
Originally Posted by fertygo
Ah I can't see it anymore
I think that was the point. It says
Sorry, but you are looking for something that isn't here.