fiction.wikisort.org - Character

Search / Calendar

Rei Ayanami (Japanese: 綾波 レイ, Hepburn: Ayanami Rei) is a fictional character from the anime Neon Genesis Evangelion, created by Gainax. She is the First Child and pilot of a giant mecha named Evangelion Unit 00. At the beginning of the series, Rei is an enigmatic figure whose unusual behavior astonishes her peers. As the series progresses, she becomes more involved with the people around her, particularly her classmate and fellow Eva pilot, Shinji Ikari. Rei appears in the franchise's animated feature films and related media, video games, the original net animation Petit Eva: Evangelion@School, the Rebuild of Evangelion films, and the manga adaptation by Yoshiyuki Sadamoto.

Rei Ayanami
Neon Genesis Evangelion character
Rei with her Eva-00 (in the background) as a child (left), as a pilot (center) and as a student (right)
First appearanceNeon Genesis Evangelion chapter 2: "Reunion" (1995)
Created byGainax
Voiced byJapanese
Megumi Hayashibara
English
Amanda Winn-Lee (ADV dub and Rebuild series; Prime Video dub)
Brina Palencia (Rebuild series; Funimation dub)
Ryan Bartley (Netflix dub)
In-universe information
Full nameRei Ayanami
SpeciesHuman clone
GenderFemale
TitleFirst Child
Age14[1][2]
Eye colorRed
Notable relativesGendo Ikari (legal guardian)
Yui Ikari (Biological source)
Lilith (Biological Source)
Shinji Ikari (son of Yui)

Hideaki Anno, director of the animated series, conceived her as a representation of his unconscious. He was also influenced by his readings on psychology, in particular on Freudian psychoanalysis, taking inspiration from Freud's theories on the Oedipus complex. Other influences for its creation include earlier works by Gainax staff members, such as Aoki Uru, and Paul Gallico's The Snow Goose. Rei is voiced by Megumi Hayashibara in Japanese, and by Amanda Winn-Lee, Brina Palencia and Ryan Bartley in English.

Rei has been well received by critics and in reviews. She has maintained a high ranking in every popularity poll of the series and has also appeared in polls to decide the most popular anime characters in Japan. Reviewers have praised Rei's mysterious aura and her role in the story. Merchandising based on her has also been released, particularly action figures, which became popular. Critics linked her success to a series of moe traits that proved popular with anime fans, influencing the creation of subsequent female anime characters.


Conception


Rei was originally conceived with both dark hair and eyes; blue hair and bandages were later considered by Sadamoto

Design


According to the Neon Genesis Evangelion: The Unofficial Guide by writers Kazuhisa Fujie and Martin Foster, director Hideaki Anno instructed Yoshiyuki Sadamoto on Rei's character design saying, "Whatever else, she needs to be painted in as a bitterly unhappy young girl with little sense of presence."[3] The band Kinniku Shōjo Tai's theme song Doko e demo ikeru kitte and its line "hotai de masshiro na shojo" (lit. "the white girl with bandages") inspired Sadamoto to draw Rei.[4] The same band produced a song named Fumimi no kodomo (福耳の子供), in which a female monologue is audible, and Sadamoto tried to portray a girl with a similar voice.[5] Ukina, a character from Sadamoto's previous work Koto, served as Rei's model, giving her "shaggy, bobbed, wolf-like hair".[6] Another source of inspiration was The Snow Goose, a novella written by Paul Gallico; the story describes a painting portraying the protagonist, a thin and pale girl in an empty room, and the artist tried to create a character similar to her.[5]

Anno required a "gloomy",[7] "cool character with short hair", so Sadamoto designed Rei originally as a brunette with dark eyes; however, it was necessary to distinguish her from the other female protagonist Asuka Langley Soryu, so he designed her with eye and hair colors opposite to Asuka's.[8] He also published a drawing of a dark-haired character named Yui Ichijō among Rei's designs in one of his artbooks, without specifying whether it is an early conception of Yui Ikari or not.[9] While Asuka was conceived as "an idol-like figure" in Neon Genesis Evangelion and a symbol of "heterosexual desire", Sadamoto designed Rei as a motherhood symbol,[10] thinking of her as "the Yin opposed to Asuka".[11] Anno also suggested that Rei's eye color be red, a feature he believed would give her more personality and distinguish her design from those of the other characters.[6] Her hair color changed to blue, similarly to the main character from Aoki Uru, the movie sequel to The Wings of Honneamise (1987) which was never made.[5] Sadamoto also gave her black stockings, inspired by a women's handball team he saw playing when he was in middle school.[12] Black allowed him to differentiate her from the characters of the series released in the same period and go against their trend.[13]


Development


I don't really understand [Rei]. The truth is, I have no emotional attachment to her at all. [...] At the end [of the sixth episode], when Rei says, “I don't know what kind of expression I should have at a time like this,” and Shinji says, “I think you should smile,” and Rei smiles. [...] When I thought about it afterwards, I cursed. I thought, in short, that if she has [already] communicated with Shinji there, then isn't she over with? At that moment, Rei, for me, was finished, all at once.

–Hideaki Anno[14]

Like other Evangelion characters, Ayanami's surname comes from a Japanese World War II naval vessel, the Fubuki-class destroyer Ayanami.[15] Her first name comes from the character Rei Hino of the anime and manga series Sailor Moon. This was done to get one of Sailor Moon's directors, Kunihiko Ikuhara, to work on Evangelion.[16] Written in kanji, Rei () can mean "zero", "null". The character Rei () also means "custom", "routine".[17] According to writer Patrick Drazen, her name can be a pun on her Evangelion 00,[18] while for critic Hiroki Azuma it may have been influenced by a character named Zero, the protagonist of the novel Ai to gensō no fascism, written by Ryū Murakami.[19] Anno also took inspiration from Sigmund Freud's psychoanalytic concept of Oedipus complex for her role. He conceived the Evangelion and Rei as a palliative mother figures for Shinji; Rei was also conceived as emotionally close to Shinji's father, Gendo, creating a multi-layered Oedipus complex.[20] In a discarded draft of the character background, she was thus a more sensual character than her final version; character designer Sadamoto, however, unlike the more frank and explicit Hideaki Anno, decided to give her a much more "enigmatic" and bland eros.[21]

During Evangelion's production and first broadcast, Anno encountered difficulties writing the character, not feeling "particularly interested" or relating to her, but he thought of her as a representation of his unconscious mind,[14][22] conceiving Rei as "the unconscious Shinji".[23] In the fifth episode ("Rei I"), explicitly dedicated to her character, Rei speaks seven lines and fifty-two words, while in the sixth she has twenty-five lines.[24] Not feeling particularly close to her, the director for a long time forgot to explore Rei's personality, ignoring it or giving it marginal space. In the eighth episode ("Asuka Strikes!"), for example, she does not appear in any scene, while in the seventh ("A Human Work") he remembered her adding a scene with Rei.[14] As with other Evangelion characters, he transposed aspects of his life into her character, including the choice to not eat meat and maintain a vegetarian diet.[25][26] At the beginning of the production he also stated that he did not know what would happen to Rei or to the other characters, "because I don't know where life is taking the staff".[27]

Her history has eventually undergone changes. According to Sadamoto and assistant director Kazuya Tsurumaki, she was originally conceived as an alien entity, but staff later went on to make her at least genetically human. They described Rei as a girl who has both the human genes of Yui Ikari and the genes of the first Angel Adam [sic]; Tsurumaki also associated her condition to a Devilman, a hybrid presented in the manga Devilman by Go Nagai.[28] Moreover, in the twenty-first episode, the first Rei clone, killed by Naoko Akagi in the final version of the script, would eventually survive after being strangled and having lost consciousness momentarily, awakening in an empty command room without Dr. Akagi,[29] while the death of her second clone was planned by Anno since the beginning.[30] During the production of the fourteenth episode, the director decided to focus on her and "explore her emotion", adding a monologue of Rei. When he was working on the monologue, he wanted to develop her in a "schizophrenic" direction and wondered how to portray a kind of madness. He was loaned a magazine-like book entitled Bessatsu Takarajima (別冊宝島) on mental illness that contained a poem by someone who suffered from a mental disorder, and that triggered his imagination.[31] Moreover, during the production, Ikuhara, annoyed by the idealized image and the fetishism that some fans built around the character, proposed to Anno to "betray" fans and show her as a real girl who gets married and "gets pregnant in the last episode", but Anno rejected the suggestion.[32] Furthermore, in the original finale wanted by Anno, the giant Rei added in the film The End of Evangelion (1997) was not foreseen, since it was conceived at a later time.[33] Anno himself declared he considered her character "already finished" in the episode six smile scene, since "she and Shinji completely 'communicated' there".[14]


Voice


Megumi Hayashibara voiced Rei in all her appearances in the original series, as well as the later films, spin-offs, video games and the new Rebuild of Evangelion. In 1995, Hayashibara said she was somewhat "surprised" by her role and her laconic character saying, "I have to challenge something new."[34] Hayashibara also attended auditions for Asuka and Misato Katsuragi,[35] but after hearing her performance in an OVA named Chigatsu ni wa Christmas (一月にはChristmas) Anno felt her voice more suited to Rei.[36] She noticed that before Neon Genesis Evangelion there were few taciturn and cold characters to deal with, so, in the absence of examples to imitate, she tried to characterize her "as best I could".[37] During the dub sessions, Hideaki Anno instructed and guided her, advising her to read her lines in the flattest tone possible: "When the director explained her character to me, he said, 'It's not that Rei doesn't have any feelings, it's just that she doesn't understand'."[38] According to Hayashibara, since Rei "doesn't know emotion, there's no difference between what she says and feels". At first glance, her "great beauty" comes from "this surface, not without depth, but with the absence of its necessity". She added, "Rei's beauty comes from the truth that she has feelings", and "when I found the warmth below the coldness in her words, I synchronized with Rei for the first time".[38]

Amanda Winn-Lee (left) voiced Rei Ayanami in the original dub of the original series as well as the Amazon dub of Rebuild and Brina Palencia (right) voiced Rei Ayanami in the Funimation dub of Rebuild of Evangelion.[39]

Voicing the mahjong game Shinseiki Evangelion: Eva to Yukaina Nakamatach (新世紀エヴァンゲリオンエヴァと愉快な仲間たち, lit.'Neon Genesis Evangelion: Eva and Good Friends'), she stated that she understood the difference between "lack of intonation" and "absence of emotion" in words. She linked the lack of intonation as a sign of "self-confidence"; an insecure or bad faith person, in her opinion, would tend to emphasize words, while Rei is completely honest and only tells the truth.[40] The voice actress also reprised the role for the Rebuild. While filming for the third film in the saga, Evangelion: 3.0 You Can (Not) Redo (2012), she worked on parts that weren't fully animated, so she had to ask the director what was happening in the scenes. Hayashibara stated she had to do "countless takes" for Rei's short lines and find the right nuance the staff wanted. She had to dub her as she was indifferent and be careful in conveying her character's feelings of happiness "without overdoing it".[41]

Regarding the final instalment, Evangelion: 3.0+1.0 Thrice Upon a Time (2021), a difficult part for her was showing another Rei clone who is slowly growing up; when she tried to be pure she was criticized, and when she tried to be less emotional she was criticized anyway. Anno tried to make the characters younger and with fuller emotions, so it was difficult for the voice actress to get the nuances the director wanted.[42] With Rei's role, Hayashibara's popularity as a voice actor grew, and she became an icon of anime fandom.[43][44] Shunsuke Nozawa, assistant professor at Hokkaido University, noted how in the 1990s there was an explosion of interest in Japanese voice actors, believing the figure of Hayashibara to be at the center of this change, thanks to the "enormous, societal-level fascination" exerted by Ayanami. Hayashibara thus began to be interviewed about the series and to be regularly invited on television as a celebrity.[45]

Amanda Winn-Lee voices Rei in English in the original series and in the Amazon dubs of the Rebuild of Evangelion films.[39] According to Winn-Lee, despite the cold and detached appearance, there is still "a small spark of humanity" in Rei, "clouded by this huge sense of negative self-worth and the realization that she is expendable".[46] She also stated: "She knows she's expendable, but the thing is, she's still human."[47] In the Funimation dub of the Rebuild of Evangelion films, her role is entrusted to Brina Palencia, while in the Netflix dub she is voiced by Ryan Bartley.[39][48]


Appearances



Neon Genesis Evangelion


Rei Ayanami's birth date is never specified in the original series.[49][50] All data about Rei's past are unknown or erased; her age (14 in 2015[1][2]) is the only known fact. Officially, Rei is chosen by an organization called the Marduk Institute[51] as the First Child and pilot of Eva Unit-00 to defeat creatures named Angels for the special agency Nerv, under the command of Gendo Ikari.[2] She moves to the first municipal middle school of the new city of Tokyo-3, and Gendo becomes her legal guardian.[52] Through the course of the series, Rei, who is originally completely submissive to the will of Gendo, becomes friends with fellow Eva pilot and classmate Shinji Ikari, changing attitude.[53] She also begins to become more aware of her own identity and desires.[54][55]

In the battle with the Angel Armisael, Rei decides to sacrifice herself alongside Eva Unit-00 to save Shinji and destroy the enemy. After her apparent death, Dr. Ritsuko Akagi reveals she was born in Laboratory for Artificial Evolution's third branch, a place located under the lake Ashino and Hakone city.[56] Her body with albino-like traits was created in absolute secrecy from the salvaged remains of Yui Ikari,[57] a brilliant researcher who lost her life in a testing experiment by Evangelion Unit 01. Ritsuko also reveals that in the deepest level of Nerv's headquarters many Rei clones are kept, so that when one Rei dies, she can be replaced. When a clone is activated from a level named Terminal Dogma, although she remains characteristically distinct from all former incarnations, she is endowed with the soul of Lilith, the second Angel.[58] Her memory is eventually saved in an object similar to a spinal column placed in the Central Dogma of the Nerv, the Dummy Plug Plant.[59] In 2010, Gendo brought her first clone (Rei I) to the Gehirn base, the predecessor of Nerv and responsible for the development and construction of the first Evangelion units, introducing her as the daughter an acquaintance had entrusted to him.[60] This first Rei was killed by Dr. Naoko Akagi, colleague and secret lover of Gendō.[61] During her visit to Gehirn, Rei I got lost in the laboratory control room and met Naoko, calling her an "old hag", as if to provoke her. She then revealed that it was Gendo who called Naoko that. Naoko suddenly recognized Yui's facial features in the little girl's face and, in an outburst of violence, she strangled and killed her, after which she committed suicide.[62]

After her sacrifice, Rei II is replaced by a third and final clone. All the other bodies in Terminal Dogma are later destroyed by Ritsuko.[63] Thanks to her close relationship with Shinji, the last Rei decides to rebel against Gendo's will. Rei III thus acts as the main catalyst behind an apocalyptic event named Third Impact. She merges with Lilith, letting Shinji freely decide the course of Instrumentality, during which all of mankind unites into one collective consciousness.[64][1] A giant white and naked Rei emerges into open space during the process, holding Shinji's Eva-01, and, when Shinji rejects Instrumentality, this figure decomposes. After Shinji rematerializes, he briefly sees a version of Rei watching over him from a distance before vanishing.[65]


Rebuild of Evangelion


Rei returns as a primary character in Rebuild of Evangelion and appears in the first installment of the saga, Evangelion: 1.0 You Are (Not) Alone (2007). Her character remains virtually identical to the anime, acting as a pilot of Evangelion Unit-00 and helping Shinji defeat Angel Ramiel.[66] Writer Thomas LaMarre noted that the Rebuild make the relationship between Shinji and Rei a more central element to the story, increasing and improving the scenes depicting them.[67] In the second movie, Evangelion: 2.0 You Can (Not) Advance (2009), her character develops and her relationship with Shinji is shown much more openly than in the original series. In a departure from her original traits, she attempts to host a dinner party for her fellow pilots.[68][69] Anno first thought to use this idea for the fourth episode of the original anime, but the proposal was shelved during the production of the series.[70] During the climax, Angel Zeruel devours Rei and Unit-00. When Unit-01 goes out of control, Shinji forces his way into the Angel pulling her out, and the two embrace each other;[71] at the end of the fight, they are both trapped within Unit-01 as the action triggers the Third Impact.[72] During the feature film, it is also suggested that Gendō and Fuyutsuki plan to bring Shinji and Rei together;[73] for assistant director, Tsurumaki, questioned about this, Anno "didn't think very deeply" about it, while for the final scene there was probably the idea of "bringing the two boys together" on the part of the director.[74]

In the third installment Evangelion: 3.0 You Can (Not) Redo (2012) set fourteen years later, the same Rei does not appear; a different clone is introduced instead, who acts differently than the other Rei, maintaining a cold and silent demeanor.[75] In Evangelion: 3.0+1.0 Thrice Upon a Time (2021), the last film of the saga, Rei's new clone, named Ayanami (Tentative Name), heads together with Shinji and Asuka Shikinami to a small town called Village 3, inhabited by survivors of the various Impacts that occurred and isolated from the outside world, almost uninhabitable. Here Rei interacts with the adult Toji Suzuhara and Hikari Horaki, old schoolmates of the previous clone, with the children and women of Village 3, helping them to work in the fields; with time the new Ayanami begins to develop her individuality, gradually discovering the world around her and learning to socialize with the inhabitants. After some time, however, Rei (Tentative Name), whose real name turns out to be Ayanami-Type No.006, is unable to maintain her form without the continuous contact with the Evangelion's LCL liquid and dies in front of Shinji. During the Instrumentality, Shinji meets again the Rei of fourteen years before, who remained inside the Eva-01. The old Rei, with visibly long hair, argues with her companion, who decides to live in a world without Evangelions and give the world a new birth, Neon Genesis. Rei and Shinji then say goodbye to each other for the last time, shaking hands and smiling.[76]


In other media


In the official Neon Genesis Evangelion manga, by Yoshiyuki Sadamoto, further differences are evident in the characterization of Rei. In the manga, she is generally more empathetic and open to human contact compared to her animated counterpart. In the comic, moreover, the character has more space than Asuka, who in the anime, under the influence of Hideaki Anno, has a predominant role. Compared to the classic series, Sadamoto tried to tread his hand on her relationship with Shinji, particularly insisting on the symbology of the touch of the hands and the theme of motherhood, inspired by Kazuo Umezu's The Drifting Classroom.[77][78] As in the series, she at first considers herself empty and useless, created solely for piloting the Evangelion under Ikari's orders; Shinji's touch changes his attitude. In a scene from the fifth volume of the manga where they are both at Rei's house, Rei gets burned while preparing tea with Shinji and their hands touch for a moment. Taking advantage of the opportunity, Rei invites Shinji to speak to his father and open up to him; in another chapter, thinking back to that moment, she wonders if her hands will one day be able to touch Shinji again.[79] During the clash with the Angel Armisael, Rei becomes increasingly aware of her feelings of sadness and affection towards Shinji,[80] towards whom she demonstrates a certain romantic interest.[81] Sadamoto himself described Shinji and Rei's feelings as mutual love.[78]

In a scene from the last episode of the animated series, an alternate reality is presented with a different story than the previous episodes; Rei is presented as a girl who has just moved into the class of Asuka and Shinji, with a radically different personality: cheerful, distracted and irascible.[82][83] An outgoing Rei is featured in some Neon Genesis Evangelion spin-offs, such as Neon Genesis Evangelion: Angelic Days, set in the alternate reality of the last episode.[84][85] In the original web anime series Petit Eva: Evangelion@School, a parody of the original animated series, three Ayanami sisters are presented, one is diligent and introverted;[86] another sport oriented and extroverted;[87] and another is a four-year-old girl with a passion for soft toys.[88] In Neon Genesis Evangelion: Anima, set three years after End of Evangelion in an alternate scenario, several Rei appears; Rei Troi, pilot of an Eva named Evangelion Unit-02 Type II Allegorica,[89] Rei Quatre, Rei Cinq and the seven-year-old version Rei Six, all of them pilots of Evangelion-0.0 units.[90] In Neon Genesis Evangelion: Campus Apocalypse, Rei shares a mysterious connection with Kaworu that triggers Shinji's attention.[91] She is also present in Neon Genesis Evangelion: Legend of the Piko Piko Middle School Students.[92] In a simulation game entitled Neon Genesis Evangelion: Ayanami Raising Project, the player takes on the task of looking after Rei. She is also available as a romantic option in Neon Genesis Evangelion: Girlfriend of Steel 2nd,[93][94] Neon Genesis Evangelion 2,[95] Neon Genesis Evangelion: Shinji Ikari Raising Project[96][97][98] and its manga adaptation, wherein she is a distant cousin of Shinji.[99] In addition to games based on the original series, Rei has appeared in media not related to the Evangelion franchise, such as Monster Strike,[100] Super Robot Wars,[101] Tales of Zestiria,[102] Puzzle & Dragons,[103] Keri hime sweets, Summons Board,[104][105] Puyopuyo!! Quest,[106] Line Rangers,[107] Unison,[108] MapleStory,[109][110] Valkyrie Connect,[111][112] Ragnarok Online,[113][114] The Battle Cats[115] and in an official Shinkansen Henkei Robo Shinkalion crossover episode.[116]


Characterization and themes


Rei-chan is very popular. I think that she's very quiet and doesn't wish to talk very much, and doesn't complain. In Japan, I suppose that girls like that are very much desired. [...] She was created solely for the purpose of being an Eva's pilot and I'm not quite sure if she's happy.

Hideaki Anno[117]

Rei Ayanami is a taciturn girl[118] who limits relations as much as possible and mechanically executes any order given to her, even if particularly cruel.[119] She is introverted,[120][121] socially detached and laconic.[122] Sociologist Satomi Ishikawa noticed that in a scene from the sixth episode of the series ("Rei II") her companion Shinji asks her the reason that pushes her to want to pilot Evangelion 00; Rei replies saying she finds her only "bond" with other people in this, thus demonstrating that she is committed to the struggle against the Angels "as if it were the only reason why she exists".[123][124] Throughout the series she proves to be indifferent to life and engages herself in drastic acts that could cost her life. Writer Justin Wu (The Artifice) noticed that, unlike other characters from the series, she does not care if she dies, and embraces death "as if death is the only way to prove that she has lived".[122] For the critic Gerald Alva Miller, despite her cold attitude, Rei experiences feelings of alienation and existential angst.[125] Gualtiero Cannarsi, who cured the Italian adaptation for the series, similarly described Rei as a girl "unaware of the most basic rules of life and hygiene", as she has had no one to teach them to her, resulting in her being disinterested in them. Her attitude is reflected in her apartment, where hygiene is neglected. In one episode Ritsuko Akagi says, like Commander Ikari, she "is not very adept at living".[126] Scattered on the floor of her apartment are scientific texts on biological interactions and genetics written in Latin alphabet in the original series,[127] and The Happy Prince and Other Tales in the Rebuild of Evangelion series.[128] Critic Susan J. Napier also noticed that, in the last two episodes, she confesses to wanting to die and "go back to nothing".[129] According to Evangelion character designer Yoshiyuki Sadamoto, she is "translucent", like a shadow or "the air": "The kind of girl you can't touch. The girl you long for, but there is nothing about her that you can grab a hold onto."[6] He also interpreted Asuka and Rei as "strong characters, in their own separate ways".[130] Furthermore, Hayashibara described her as an "ethereal character", since: "Her emotions are like waves, so if I was off by even one millimeter it would affect her character, and I'd have to redo it".[41]

Rei Ayanami was variously compared to the Shinto goddess Amaterasu (left) or the Christian figure of Mary, mother of Jesus Christ (right)

During a show a little girl asked Hideaki Anno what Rei likes, and he replied that he never thought about it.[131] According to him, she does not appreciate her own life, hurts herself and feels she does not need friends, being aware of the fact that "there'll be another to replace her": "Her presence, her existence—ostensible existence—is ephemeral. She's a very sad girl. She only has the barest minimum of what she needs to have." Anno also understands the Japanese national attraction to characters like Rei as the product of a stunted imaginative landscape born of Japan's defeat in the Second World War, because "since that time, the education we received is not one that creates adults".[132] The architect Kaichiro Morikawa compared the face of the first Rei, usually presented in a distorted and deformed way, to the installations of Tony Oursler, also comparing her bedroom to Gottfried Helnwein's photographs.[133] Writer Claudio Cordella associated her personality to that of the female characters portrayed by the painter Edward Burne-Jones, and her gaze to the "fixed and lifeless eyes" of the Olympia from The Tales of Hoffmann.[134] Takekuma Kentaro also linked the image of Rei in bandages to the photos of Romain Slocombe, while Sadamoto compared her to the works of mangaka Sensha Yoshida.[135] In an interview with Anno, Japanese writer and academic Ōizumi Mitsunari likened the figure of Rei to the girls committed to the Japanese sect Aum Shinrikyō, which carried out the Tokyo subway sarin attack in 1995, as "completely dependent on their guru", Shōkō Asahara.[14] The book Schizo Evangelion, edited by him, describes her as "a sacrifice offered to all the Japanese mama's boys and sadists" and in a series of dichotomies, such as opium and euphoria, Satan and God, "the infinite power of Eros" and "the blinding power of Thanatos at the same time", "a sarin prepared by Gendo Ikari for his plan to destroy humanity", the "keyhole of Pandora's box" and the Great Bad Mother trying to take in her son.[136]

For the scholar Hiroki Azuma, Rei Ayanami introduces a "new type of solitude". Before her, anime characters were divided between sociable girls, with expensive clothes and cosmetics, technological gadgets and often engaged in prostitution activities named kogal, and otaku, isolated characters, with rooms full of "computer software" and magazines. Rei, according to Azuma, transcends the two stereotypes; he likened her room to Satyam, scientific laboratories of Aum Shinrikyō.[137] Critic Krystian Woznicki also compared her to Pinocchio in the film 964 Pinocchio (1991), but "Rei's character is quite realistic, whereas Pinocchio is completely removed from reality".[19] Japanese critic Tamaki Saitō described her as "the culmination of the pygmalionism that began with Nanako SOS",[138] while Kenneth Lee noted a similarity in her path of self-awareness with Pinocchio and Key from Key the Metal Idol.[139] Furthermore, writer Tamaki Saito reported that Ami Mizuno from Pretty Guardian Sailor Moon has been interpreted as "the prototype" of Rei.[140]

Critics linked her silent and inexpressive personality to alexithymia or a schizoid personality disorder.[141][142] An official Death and Rebirth booklet describes her as "an expressionless noh mask" and "a girl who does not dream",[143] while the book Schizo Evangelion as "a dreamless mind, completely separated from Jung's collective unconscious".[136] According to Yoshiyuki Sadamoto, Rei is capable of feeling emotions and feelings but has expressive and communicative difficulties.[144] From the first episodes of the series, Shinji tries to connect with her; however, Rei is unable to parse the meaning of his words and actions adequately. Although the two pilots occasionally converse with each other, they cannot communicate on an emotional level and do not understand their feelings.[145] However, facing a crying Shinji, who is glad that she is alive after a big fight in the sixth episode, she smiles,[146] marking one of her most significant moments of character development.[122][147] After this, both their words and actions move to a place of mutual understanding.[143] For critic Manabu Tsuribe, with her smile in the sixth episode Neon Genesis Evangelion reaches its climax, and "as a story of 'growth and independence of a boy' — like a Bildungsroman — ended there once. Evangelion as a story has stopped there".[148] In the last episodes of the series this Rei dies and is replaced by another clone, who acts like a stranger to Shinji.[143] Anno compared the story after her smile scene, in which there is a step back in interpersonal communication, to Hideki Gō, a character from the Return of Ultraman series; Gō seems to get closer to other people and his colleagues from the Monster Attack Team, but "then next week things begin again from [a position of] estrangement". He also added: "At that point something emerges of my mistrust or fear of communication with others".[14]

Academic Frenchy Lunning described Rei as Shinji's anima.[149] In one of the first scenes of the Evangelion anime, Shinji sees a ghost of Rei Ayanami in a deserted city near Tokyo-3. The Rei visible in the sequence is not the real Rei; the appearance has been connected to the scenario of the film The End of Evangelion, released in 1997 as a conclusion to the classic series.[150] During the film, all forms of life come together in one being during the Instrumentality; human beings, shortly before dying, see Rei's ghosts appear, guiding them in the process as "messengers of redemption".[151] According to Yūichirō Oguro, editor of some of the contents of the Japanese home video editions of Evangelion, the Rei's ghost Shinji sees on the avenue is "the existence that gazes upon man", and the scene symbolizes that "Shinji is protected by his mother since the beginning of the series".[152][153] For screenwriter Yōji Enokido, she produces in young men a feeling of distance "as though they were still half in the womb".[154] Patrick Drazen and Dani Cavallaro noticed that, like other Neon Genesis Evangelion characters who have traits of some deities of Shinto mythology, Rei has affinities with the goddess of the Sun, Amaterasu, who is reborn at every dawn. They also compared the show's two other protagonists, Shinji and Asuka, with Susanoo and Ama-no-Uzume, respectively; Shinji, like Susanoo, has clumsily social manners and unsociable behavior, while Asuka, like Uzume, is ebullient and flaunts her body.[155][156] According to Italian scholar Fabio Bartoli, her three incarnations could be linked to the three evolutionary stages of the soul postulated by the Jewish Qabbalah—Nephesh (the mere animal vitality), Ruach (the normal human soul) and Neshamah (the elevated spirit, after the connection between man and God).[157] Her image is often flanked by that of the Moon, a celestial body associated with motherhood, pallor, passivity and femininity. Japanese engineer Yumiko Yano noticed a hieratic and unattainable aura in Rei Ayanami, comparing her to the Virgin Mary.[158] Yano also has associated her figure with the fragile and chaste women portrayed in fin de siècle art, particularly popular among the works of Symbolists painters.[159] For Kazuya Tsurumaki, Shinji feels a sexual and incestuous desire for her, while Kentaro Takekuma described her as an "eternal virgin".[160]


Cultural impact



Popularity


When Rei Ayanami first appeared, the self-esteem of the Japanese population was at an all-time low, as the economic bubble had just burst. The empathy towards Ayanami, a wounded girl who climbs onto an artificial humanoid and silently fights her enemies, is rooted in that particular era. A figure is a modern idol that embodies unconscious faiths. Although the economy recovered, maybe Japanese people still have a hollow in their heart.

Nihon Keizai Shimbun[161]

Reception to Rei's character has been positive.[162][163] From 1995, she became the subject of homages from the Neon Genesis Evangelion fandom, including fan fiction,[164] fan art and dōjinshi, proving popular.[164][165] Writer Patrick W. Galbraith described her as "the single most popular and influential character in the history of otaku anime".[166] She also ranked highly in popularity surveys.[167][168][169][170][171][172] Immediately after Evangelion's first airing concluded, the 1996 and 1997 Anime Grand Prix survey by Animage magazine elected Rei best female character of the moment.[173][174] In 1998, when Revival of Evangelion was released, she ranked fifth as the most popular Evangelion female character.[175] Rei also appeared in the monthly surveys of the magazine, remeaning in the top ten in 1997[176][177][178][179] and 1998[180][181] and in the top twenty in the 1999 polls.[182][183][184] In 2002 TV Asahi ranked her 36th among the 100 most loved characters in anime history.[185] TV Asahi later published the results of polls on anime's greatest scenes; all the Evangelion scenes which ranked in the lists were related to the character.[186][187][188][189]

Rei Ayanami also won first place in Newtype magazine popularity charts.[190][191][192] In July 2005, for example, she emerged tenth,[193] and the magazine itself wrote that: "Her many charms and mysteries continue to shine and captivate fans even now, ten years after the broadcast".[194] In August and September 2009, after the release of Evangelion 2.0: You Can (Not) Advance, she ranked in fourth and second place.[195][196] In October, she took third place, becoming the most popular Evangelion female character.[197] Rei was also voted the most popular female anime character from the 1990s in a Newtype poll in March 2010.[198] In 2015, almost twenty years after its debut, she conquered the first place among the female characters favored by fans, thus beating all the heroines of the anime of the season, while in 2018 Rebuild Rei was included among the best thirty characters of the previous decade.[199][200] In 2013 the NHK Shibuya Anime Land radio show ranked her among the ten top anime heroines of all time.[201]

For Oricon News, Rei's character has become Evangelion's emblem.[202] She also ranked in Evangelion popularity polls, usually in the top three.[203][204] A column in the September 2007 issue of the Nihon Keizai Shimbun newspaper said, on the occasion of Evangelion 1.0 theatrical release, that there were over one million dedicated Rei fans in Japan and that, "This bandaged Goddess is an icon of Japanese anime."[161] She also had a place in Mania Entertainment's ten iconic anime heroines list written by Thomas Zoth, who commented on the large amount of merchandise based on her: "Shops in Akihabara struggled to keep Rei Ayanami figurines and toys in stock. ... Many critics also credit Ayanami for starting the moe boom in anime, with its reliance on weak, vulnerable characters that the audience would desire to protect".[205] In March and April 2021, after release of the final Rebuild film, she finished eighth and sixth most popular female character in a Newtype poll,[206] and sixth and second place in May and June.[207]


Critical reception


Rei has been well received by critics. Japanese cultural critic Hiroki Azuma described Rei Ayanami as "an extremely impressive character", praising the performance of Megumi Hayashibara and its psychological realism, since "Rei's solitude is grounded in a completely tactile substantiality which gives us extremely realistic images of the discommunication that children of the present face".[137] Newtype praised the fifth and the sixth episode, describing the drawings of the scene in which she smiles at Gendo ("Rei I") as "excellent", and the scene where she greets Shinji before the battle against the Angel Ramiel ("Rei II") as "impressive".[208] In February 1996, Animedia magazine ranked her smile scene from the sixth episode among the most memorable anime moments of the month.[209] Justin Wu (The Artifice) also praised the scene, describing it as a "powerful" and "iconic moment", since it is "the first time she has deliberately shown an emotion, and one of the handful of times she has done so throughout the whole series".[122] WatchMojo described it as a "touching" moment; it also found Rei "an undeniable glimmer of light" among the dark tones of the series, as "her progressive relationship with Shinji demonstrated just how much charm she had hidden beneath that cold shell".[210][211]

A fan cosplaying Rei in her pilot suit
A fan cosplaying Rei in her pilot suit

Screen Rant[212][213] and Comic Book Resources[214] praised her development and the various revelations about her identity, placing her among the best characters in the series. Science-Fiction Weekly's Tasha Robinson expressed appreciation for the character's conclusion.[215] Comic Book Resources' Luke Penn positively received the differences introduced in Sadamoto's manga and the increased space dedicated to her.[216] IGN ranked her tenth on its list of the top twenty-five anime characters of all time. Writer Chris Mackenzie described Rei as "a hugely influential character concept", adding she was different from similar characters, since: "The difference between Rei and so many almost-Reis is that there might be something behind the façade."[217]

Other critics expressed a negative opinion of the character. The Anime-planet.com site, while appreciating some interesting revelations about her past and still considering her "by far the most interesting character", was critical that her character had not been "explored as much as she should have been".[218] Animecritics.com wrote, "[Rei] has absolutely no personality to speak of, and she remains an enigma for most of the series. Part of the intrigue in the series is discovering the secrets she holds."[219] THEM Anime Reviews' Raphael See criticized the characterization of the whole Evangelion cast for being "cliche", saying he did not understand the reasons for her great popularity.[220] Anime News Network's Kenneth Lee considered her character arc a wasted opportunity, as he considered that "a 'dummy shell,' gaining a soul could had an entire series devoted to it".[139] Comic Book Resources' Anthony Gramuglia praised her character design but criticized her lack of development, especially in the 1997 cinematic finale.[221]

While reviewing the Rebuild of Evangelion films, writers from Anime News Network commented on Rei. On Evangelion 1.0, Carlo Santos noticed that Rei's personality is the same as in the TV series, and "those who hated the original Evangelion for its highly dysfunctional characters still won't find anything to like in this version", while Justin Sevakis praised her response to Shinji's kindness in Evangelion 2.0.[222][223] UK Anime described Rebuild's Rei as a more human character who is easier to empathize with.[224] The Fandom Post appreciated the fact that she becomes progressively more independent from Gendo,[225] while Mark Sombillo (Anime News Network) wrote: "Her personality and plight form much more of the core motivation of the story and despite her still tryingly hesitant attempts at communication, there's genuine warmth beneath her actions and it's hard not to be won over by her".[226]

Her role in the last installment of the saga, Evangelion 3.0+1.0, received a particularly positive reception from critics and reviewers, especially for its optimistic view.[227][228][229] Critics praised her journey and campy scenes in the first part of the film as "immersive"[230] and "moving".[231] Crunchyroll's Daryl Harding described them as "one of the nicest parts of the film".[232] The Otaku Revolution website positively compared Rebuild's Rei with the one of the television series, also praising the warmth of her actions and her growth path: "She's allowed to be more animated, even as she is alien, a wonderful dichotomy that makes her part of the story irresistible".[233] Geek Ireland praised how Thrice Upon a Time gives a sense of conclusion to Rei, Shinji, and the other characters,[234] while Paste magazine lauded the fact that the movie shows Rei and the other pilots outside the militarized and violent context of the battles.[235] According to Gizmodo, she has "the most complete journey" among those presented by 3.0+1.0,[236] while Otaku Voice wrote that: "Watching Rei discover the real world through her childlike eyes of wonder is one of the greatest pleasures of the film".[237] Otaquest's Chris Cimi similarly praised her character development, saying that her actions "make for something different and warm", but "still Evangelion".[238]


Merchandise


Wrapped Aonami Line train with Rei in Nagoya
Wrapped Aonami Line train with Rei in Nagoya

Thomas Zoth (Mania.com) wrote, "Rei Ayanami proved such a popular character that she started a merchandising boom".[205] Her image was used in a wide range of products, including toys,[239] t-shirts,[240] action figures,[241][242] musical instruments,[243] life-size statues,[244][245] makeup,[246] accessories[122] and reproductions of her clothing.[247][248] On March 30, 2001, King Records launched an album entitled Evangelion: The Birthday of Rei Ayanami.[249] In 2012, a team built an 18-metre (59 ft) tall figure of the character outside of the NTV Tower in the Shiodome area of Tokyo as part of the Shiohaku Expo 2012 summer amusement event.[250] The following year, a reproduction of the girl's bedroom was built, and a life-size model was exhibited at the Eva Expo in Shanghai.[251] In 2020, Honda used Rei and other characters from the series for a number of commercials, which aired on the occasion of a collaboration between Evangelion and Honda Civic.[252]

In 2007 her costumes ranked first among the best selling cosplay costumes of the year by the company Cospa.[247] Rei Ayanami's action figures also enjoyed success.[253][254] Writer Thomas LaMarre wrote that Sadamoto's design for the character became "the sensation of the series", selling "an unprecedented number of figurines" and spurring expensive speculation about her character in the press and the world of anime criticism.[253] The high sales of Ayanami merchandise have been described by scholar Patrick Galbraith as a turning point for the Japanese market, helping to expand the figures and fanzines sector, with "entire fanzine conventions .... committed to the series and its characters".[255][256] According to one estimate, plastic models before Evangelion sold about three thousand units, but Rei's figures managed to reach ten times that amount, and for Galbraith "the series overlapped with a boom in figurines of anime characters and the spread of the Internet, making otaku consumption and community more conspicuous".[257] Newtype USA magazine similarly wrote that: "Hordes of otaku flooded Akihabara in search of the enigmatic Rei Ayanami, and companies realized for the first time that catering to the geek crowd could be very profitable. ... Akihabara itself has transformed from an 'electric town' famous for household appliances to the geek paradise it is today".[258]

In 2005, to celebrate the tenth anniversary of the first airing of Evangelion, mangaka Mine Yoshizaki designed several action figures of the Angels with anthropomorphic appearances; among the various models, he devised a figure of the Angel Lilith inspired by Rei's character design.[259] According to Japanese writer Kazuhisa Fujie, despite models and toys in the series being a commercial failure at first, Rei's action figures immediately became so popular that they exceeded Evangelion's unit sales, thus creating the first and perhaps the only case of a robotic anime "where reproductions of the human characters outsold those of the robots".[260] Furthermore, books and magazines portraying her on the cover were successful. She also appeared on the cover of an issue of Rolling Stone's Japanese edition, among others.[261] An artbook about her named Evangelion Photograph - Rei (REI-レイ- 新世紀エヴァンゲリオン文庫写真集) was published in 1997.[262] According to Fujie, sales of Rei-themed merchandise led Japanese media to call her "the girl who manipulates magazine sales at will", "the fastest route to the sold-out sign" and "the Premium Girl".[61]


Legacy


When referring to a ‘mysterious character’ in the pre-Evangelion era, it was usually about someone with a twisted and often tragic past that would be slowly revealed as the plot progressed. What is mysterious about Rei is that she has no past. ... Before Evangelion, anime merchandises were not considered a big market for producers to profit on. However, it changed when Evangelion came out. Rei expands the market, and Gainax capitalizes on that. ... Evangelion is a very doujin-friendly series, for many scenes are not explained in details that fans can create their own versions of what the scenes entail. Rei's mysteriousness definitely helps in this aspect, as she allows fans to write about many ‘what-if’ scenarios, especially her relationships with other characters. .... Furthermore, Rei is a common character used in hentai doujin.

–Justin Wu (The Artifice)[122]

Rei Ayanami had a significant influence on Japanese animation and subsequent fictional characters,[263][264] with heroines created after the great success of Evangelion sharing her traits.[205][265] Critics regarded Rei and her success as the beginning of the moe phenomenon,[205] with the creation of characters according to definite stereotyped features easily recognizable and consumable by the Japanese otaku audience. In the late 1990s, characters bearing a close resemblance to Rei have been produced and consumed on a massive scale in comics, anime and novelizations, both in the commercial market and the fanzine market.[266]

According to Japanese scholar Hiroki Azuma, this output is not linked to a direct Evangelion influence, since "the emergence of Ayanami Rei did not influence many authors so much as change the rules of the moe-elements sustaining otaku culture".[266] As a result, even authors who were not deliberately thinking of Evangelion began to produce characters resembling Rei, using newly registered moe-elements, such as a quiet personality, blue hair, white skin, mysterious power and an absence of emotions.[122][266] For Azuma, moreover, the twenty-sixth episode, in which an alternative reality with Rei running with a slice of bread in her mouth is shown, constitutes a turning point within the otaku culture. The scene, according to him, represents the point where the era of great stories ends and that of moe characters begins; from that point on, therefore, the emotional response to the protagonists would become more important than the plot of the series.[267] He also regarded Ruriko Tsukishima from Shizuku as being directly influenced by Rei, and Ruri Hoshino of Martian Successor Nadesico as a combination of both.[268][269]

Critics compared other characters to her, including Miharu in Gasaraki,[270][271] Vanilla H in Galaxy Angel,[272] Maya in Geobreeders,[273] Neya in Infinite Ryvius,[274] Aruto Kirihara in Kagihime Monogatari Eikyū Alice Rondo,[275] Riza Hawkeye in Fullmetal Alchemist, Dorothy R. Wayneright in The Big O,[276] Anthy Himemiya in Revolutionary Girl Utena,[138] Chise in Saikano,[277] Yuzuriha Inori in Guilty Crown,[278] Miyu in My-HiME,[279] Ai in Zaion: I Wish You Were Here,[280] Diya in Butterfly Soup,[281] Yashiro Kasumi in Muv-Luv[282] and the female cyborgs in Gunslinger Girl.[17] Serial Experiments Lain's Lain Iwakura was also associated with the character;[283][284] Lain's main screenwriter Chiaki J. Konaka stated he was not influenced from Evangelion and, while appreciating their characteristics, he said he did not see similarities between the two characters.[285] Eureka from Eureka Seven has similarly been compared to Rei Ayanami,[286] causing dissatisfaction in series screenwriter Dai Satō.[287] Rurouni Kenshin's author Nobuhiro Watsuki compared Yukishiro Tomoe to Rei. He said Yukishiro became an Ayanami lookalike, with the only unique feature being her black pupils. The author originally conceived her as a "cool beauty", but, once she revealed her true feelings in the end, she became a different character.[288]

Justin Wu (The Artifice) regards Rei as the prototypical mukuchi (無口, "mouthless", "silent"), a term used by anime fans to describe reticent and emotionless characters, usually with a monotone voice who speak to-the-point, and avoid unnecessary conversations. This moe element, which gained wide popularity only after Rei's success, can be found in numerous subsequent female characters, including Eva in Black Cat, Ai Enma in Hell Girl and Yuki Nagato in Haruhi Suzumiya.[122] The character is also credited to have popularized the kuudere stereotype, a term for male or female characters who hide their true feelings behind a melancholic and cold facade.[289][290] According to Kaichiro Morikawa, a Japanese architect and academic, characters with physical defects before Evangelion and Rei Ayanami were rare, such as Char Aznable in Mobile Suit Gundam, who has a scar on his forehead, and Princess Kushana in Nausicaä of the Valley of the Wind.[291] Justin Wu also noticed that, after the success of the series, the bandages gained great popularity, becoming the trademark of the character and a common feature in cosplays.[122]

Japanese band Rey derived its name from her.[292] Singer and guitarist Motoo Fujiwara wrote the lyrics of the song "Arue" taking inspiration from Rei, with the English title "R.A." inspired by the initial letters of her name.[293] Ging Nang Boyz album Door features a song named "Ano ko wa Ayanami Rei ga suki" (あの娘は綾波レイが好き, Lit. "That girl likes Rei Ayanami"). According to the Japanese site Animentalism, the track "Ray" by rock band Luna Sea, published in the single In Silence and composed by Sugizo, could be a tribute to Rei Ayanami.[294] Artists have produced fan art about her, including Okama, Huke, Hiroya Oku[295] and Arina Tanemura.[296] Celebrities paid tribute to Rei cosplaying her, including Shoko Nakagawa,[297] Natsuki Katō,[298] Miu Nakamura,[299][300] Yuuri Morishita,[301] Umika Kawashima,[302] Rio Uchida,[303] Kokoro Shinozaki[304] and Shōma Uno.[305] During Victoria's Secret Fashion Show 2012 English model Jourdan Dunn wore a dress similar to the character's plugsuit; Gainax only learned about the outfit from the Internet and was perplexed by the situation.[306] Saekano: How to Raise a Boring Girlfriend contains a reference to the character.[307] Rei's image appeared on a shirt of a character from the Veronica's Closet series.[308] Further references have been identified in other Japanese animated series, including Joshiraku, Wotakoi: Love Is Hard for Otaku, Gurren Lagann, and Nisemonogatari, in which her line from the sixth episode "You won't die, because I'll protect you" is parodied.[309] According to Vogue, her plugsuit also inspired a piece of clothing for the spring 2016 line by the fashion house Louis Vuitton.[310]


See also



References


  1. Porori 2010, pp. 10–11.
  2. Evangelion Chronicle (in Japanese). Vol. 2. Sony Magazines. pp. 5–8.
  3. Fujie & Foster 2004, pp. 97–98.
  4. "Conférence Yoshiyuki Sadamoto - Japan Expo 2008". Gainax.fr (in French). Archived from the original on 11 July 2011. Retrieved 5 July 2014.
  5. Sanenari 1997, pp. 164–165.
  6. Sadamoto, Yoshiyuki (2012). "My Thoughts at the Moment". Neon Genesis Evangelion 3-in-1 Edition. Vol. 1. Viz Media. pp. 346–348. ISBN 978-1-4215-5079-4.
  7. Tei, Andrew (22 June 2003). "Fanime Con 2003 (Sadamoto panel)". Anime on DVD. Archived from the original on 15 August 2004. Retrieved 27 July 2021.
  8. "Milano Manga Festival: Reportage dei Sadamoto Days". Animeclick.it (in Italian). 11 July 2013. Archived from the original on 12 July 2014. Retrieved 5 July 2014.
  9. Der Mond: The Art of Yoshiyuki Sadamoto. Viz Media. 2001. pp. 72, 116. ISBN 1-56931-546-9.
  10. "貞本義行インタビュー". Newtype Magazine (in Japanese). Kadokawa Shoten. December 1997.
  11. Interview with Sadamoto in Der Mond: The Art of Yoshiyuki Sadamoto – Deluxe Edition. Kadokawa Shoten. 1999. ISBN 4-04-853031-3.
  12. Yoshiyuki Sadamoto's comment in 林原めぐみ. 明日があるさ〜SWEET TIME EXPRESS〜 文库版 (in Japanese). Kadokawa Shoten. 2002. ISBN 978-4044445027.
  13. "Mr. Sadamoto Yoshituki - Interview". Archived from the original on 4 March 2012. Retrieved 12 March 2021.
  14. Takekuma 1997, pp. 93–96.
  15. Fujie & Foster 2004, p. 121.
  16. Hideaki Anno (2 November 2000). "Essay". Gainax.co.jp (in Japanese). Gainax. Archived from the original on 20 February 2007. Retrieved 5 July 2014.
  17. Ghilardi, Marcello (2010). Filosofia nei manga: Estetica e immaginario nel Giappone contemporaneo (in Italian). Mimesis Edizioni. pp. 119–120. ISBN 978-88-5750-237-3.
  18. Drazen 2014, p. 294.
  19. Krystian Woznicki (September 1991). "Towards a cartography of Japanese anime – Anno Hideaki's Evangelion Interview with Azuma Hiroki". Blimp Filmmagazine. Tokuma Shoten.
  20. Sanenari 1997, p. 86.
  21. Kazuya Tsurumaki. "Scene 3" (in Japanese). Archived from the original on 5 June 2004. Retrieved 29 April 2020.
  22. 庵野秀明×上野峻哉の対談. Newtype Magazine (in Japanese). Kadokawa Shoten. November 1996.
  23. "庵野秀明" (in Japanese). Archived from the original on 23 February 2010. Retrieved 3 February 2021.
  24. Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 3. Dynamic Italia. pp. 32–33.
  25. Neon Genesis Evangelion Film Book (in Japanese). Vol. 4. Kadokawa Shoten. p. 59.
  26. Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 6. Dynamic Italia. pp. 32, 41.
  27. Sadamoto, Yoshiyuki (December 1998) [1995]. "What were we trying to make here?". Neon Genesis Evangelion, Vol. 1. Essay by Hideaki Anno; translated by Mari Morimoto, English adaptation by Fred Burke. San Francisco: VIZ Media LLC. pp. 170–171. ISBN 1-56931-294-X.
  28. Sanenari 1997, pp. 179–180.
  29. "Episode: 21 - He was aware he was still a child". Evangelion Original III. Fujimi Shobo. 1996. ISBN 4-8291-7323-8.
  30. Takekuma 1997, pp. 97–100.
  31. "庵野 秀明 - Part II". Zankoku na tenshi no you ni. Magazine Magazine. 1997. ISBN 4-906011-25-X.
  32. "Interview with Hideaki Anno". Monthly Anime Style (in Japanese). Good Smile Company. April 2000.
  33. "庵野秀明" (in Japanese). Archived from the original on 2 January 2021. Retrieved 14 April 2021. Originally, I had planned that the television version of episode 26 would end up being like [it was]. [...] I didn't expect at the time that Ayanami would become enormous, though. I felt, well, if we're going to do it let's make her the size of the planet.
  34. "林原めぐみの東京ブギーナイト - 1995.03.25". Archived from the original on 13 November 2012. Retrieved 20 April 2020.
  35. "Neon Genesis Evangelion at 25: an oral history of the legendary anime". 30 April 2021. Archived from the original on 3 May 2021. Retrieved 3 May 2021.
  36. 林原めぐみのHeartful Station (in Japanese). 16 May 2004.
  37. Makoto Fukuda (1 July 2011). "Choice Voice / Megumi Hayashibara now part of anime history". Yomiuri Shimbun. Archived from the original on 7 July 2011. Retrieved 20 April 2020.
  38. Megumi Hayashibara (2012). "The voices in your head that you pass without hearing". Neon Genesis Evangelion 3-in-1 Edition. Vol. 1. Viz Media. pp. 516–517. ISBN 978-1-4215-5079-4.
  39. "Rei Ayanami". Archived from the original on 1 May 2020. Retrieved 20 April 2020.
  40. "綾波レイ" (in Japanese). Archived from the original on 27 December 2001. Retrieved 20 April 2020.
  41. ヱヴァンゲリヲン新劇場版:Q 記録集 (in Japanese). 17 November 2012. pp. 50–52.
  42. "Megumi Hayashibara as Rei Ayanami (tentative name)/Rei Ayanami". Evangelion 3.0+1.0 Theatrical Pamphlet (in Japanese). Japan. 2021. pp. 22–24. ASIN B08Y85RJ9Q.
  43. "Profile: Hayashibara Megumi". Archived from the original on 28 June 2013. Retrieved 20 April 2020.
  44. "特集:ヱヴァ、新生 新劇場版、庵野は何を目指すのか?" (in Japanese). 6 August 2007. Archived from the original on 7 July 2009. Retrieved 3 March 2014.
  45. Shunsuke Nozawa (21 April 2020). "Effacement". Archived from the original on 7 October 2021. Retrieved 2 November 2021.
  46. Roderick Lee. "Meet the voice of AD Vision Amanda Winn". Archived from the original on 10 January 2006. Retrieved 25 April 2020.
  47. "Otakon Highlights - Evangelion Voice Actors". 7 August 1998. Archived from the original on 17 June 2008. Retrieved 25 April 2020.
  48. Matt Patches (21 June 2019). "Netflix's Neon Genesis Evangelion debuts English re-dub". Polygon. Archived from the original on 20 July 2019. Retrieved 29 October 2020.
  49. "Evangelion Characters" (in Japanese). Gainax. Archived from the original on 18 September 2015. Retrieved 20 April 2020.
  50. "Evangelion - Personaggi" (in Italian). Archived from the original on 9 December 2008. Retrieved 20 April 2020.
  51. "Evangelion Characters" (in Japanese). Kadokawa Shoten. Archived from the original on 27 October 2017. Retrieved 20 April 2020.
  52. Poggio, Alessandra (2008). Neon Genesis Evangelion Encyclopedia (in Italian). Dynit. p. 77.
  53. Card H-5, Neon Genesis Evangelion: The Card Game, Bandai (1998).
  54. Porori 2010, p. 86.
  55. Porori 2010, p. 7.
  56. Porori 2010, p. 77.
  57. From the Glossary chapter of the official Japanese End of Evangelion pamphlet, also known as Red Cross Book.
  58. The End of Evangelion Theatrical Pamphlet (in Japanese). Gainax. 1997.
  59. Takekuma 1997, pp. 176–177.
  60. Gainax, ed. (1997). Death & Rebirth Program Book (in Japanese) (Special ed.). p. 40.
  61. Fujie & Foster 2004, p. 39.
  62. Neon Genesis Evangelion Film Book (in Japanese). Vol. 8. Kadokawa Shoten. pp. 35–36.
  63. Neon Genesis Evangelion Film Book (in Japanese). Vol. 9. Kadokawa Shoten. pp. 36–38.
  64. Porori 2010, p. 100.
  65. Hideaki Anno, Kazuya Tsurumaki, Masayuki (directors) (1997). Neon Genesis Evangelion: The End of Evangelion (Film). Studio Gainax.
  66. Hideaki Anno, Kazuya Tsurumaki, Masayuki (directors) (2007). Evangelion: 1.0 You Are (Not) Alone (Film). Studio Khara.
  67. LaMarre, Thomas (2010). "The Rebuild of Anime". In Lunning, Frenchy (ed.). Mechademia 5: Fanthropologies. Minneapolis: University of Minnesota Press. p. 351. ISBN 978-0-8166-7387-2.
  68. Theron, Martin (31 March 2011). "Evangelion: 2.0 You Can Not Advance". Anime News Network. Archived from the original on 15 June 2018. Retrieved 12 September 2020.
  69. Jitendar Canth (11 June 2011). "Review for Evangelion: 2.22 You Can (Not) Advance". Myreviewer.com. Archived from the original on 2 August 2018. Retrieved 18 April 2020.
  70. Khara 2010, 庵野 秀明 interview.
  71. Evangelion Chronicle (in Japanese). Vol. 32. Sony Magazines. pp. 3–4.
  72. Hideaki Anno, Kazuya Tsurumaki, Masayuki (directors) (2009). Evangelion: 2.0 You Can (Not) Advance (Film). Studio Khara.
  73. Malone, Paul M. (2010). "Cruel Angels? Cruel Fathers!". In Lunning, Frenchy (ed.). Mechademia 5: Fanthropologies. Minneapolis: University of Minnesota Press. p. 346. ISBN 978-0-8166-7387-2.
  74. Khara 2010, 鶴巻 和哉 interview.
  75. Hideaki Anno, Kazuya Tsurumaki, Masayuki (directors) (2012). Evangelion: 3.0 You Can (Not) Redo (Film). Studio Khara.
  76. Evangelion: 3.0+1.0 Thrice Upon a Time (Film). Studio Khara. 2021.
  77. "MMF: Intervista a Yoshiyuki Sadamoto" (in Italian). Archived from the original on 24 October 2017. Retrieved 12 September 2020.
  78. "貞本 義行". CUT (in Japanese). Rockin'On. December 2014. pp. 54–59.
  79. Yoshiyuki Sadamoto (31 March 2011). 新世紀エヴァンゲリオン 公式ガイドブック (in Japanese). Kadokawa Shoten. pp. 90–91. ISBN 978-4-04-715671-5.
  80. Enrico Fornaroli (2012). "Chronicles". Evangelion (in Italian). Vol. 25. Panini Comics. p. 2.
  81. Gramuglia, Anthony (29 April 2020). "The Best Version of Evangelion's Story Isn't Animated". CBR. Archived from the original on 6 May 2020. Retrieved 17 November 2013.
  82. Miller, Gerald Alva Jr. (2012). Exploring the Limits of the Human Through Science Fiction. Palgrave Macmillan. pp. 87–88. ISBN 978-1-137-26285-1.
  83. Azuma 2009, p. 38.
  84. "Neon Genesis Evangelion Iron Maiden 2nd" (in Japanese). Archived from the original on 3 February 2014. Retrieved 12 September 2020.
  85. "Neon Genesis Evangelion's Happier Reality is Explored in Angelic Days". Screen Rant. 3 April 2021. Archived from the original on 16 May 2021. Retrieved 3 May 2021.
  86. Evangelion Chronicle (in Japanese). Vol. 34. Sony Magazines. pp. 21–22.
  87. "Petit Eva" (in Japanese). Archived from the original on 14 July 2013. Retrieved 12 September 2020.
  88. "Newtype USA". Vol. 6, no. 6. June 2007. p. 67. {{cite magazine}}: Cite magazine requires |magazine= (help)
  89. Yamashita 2010, p. 12.
  90. Yamashita 2010, pp. 33–34.
  91. Mingming. "Neon Genesis Evangelion: Campus Apocalypse Volume 2 :: Profile :: Dark Horse Comics". www.darkhorse.com. Archived from the original on 26 February 2021. Retrieved 27 February 2021.
  92. Kawata, Yushi (10 May 2017). "Neon Genesis Evangelion: Legend of the Piko Piko Middle School Students Volume 1". www.darkhorse.com. Dark Horse Comics. Archived from the original on 26 February 2021. Retrieved 27 February 2021.
  93. "鋼鉄のガールフレンド 2nd" (in Japanese). Gainax. Archived from the original on 3 February 2014. Retrieved 2 February 2021.
  94. 新世紀エヴァンゲリオン鋼鉄のガールフレンド2nd公式ビジュアルブック (in Japanese). Kadokawa Shoten. February 2005. pp. 53, 82. ISBN 4-04-707175-7.
  95. Shinseiki evuangerion 2 kōryaku gaido (in Japanese). Tōkyō: Kadokawa Shoten. 2003. ISBN 4-04-707137-4. OCLC 675386912. Archived from the original on 24 March 2021. Retrieved 27 February 2021.
  96. "碇シンジ育成計画" (in Japanese). Archived from the original on 21 November 2015. Retrieved 2 February 2021.
  97. "碇シンジ育成計画 -Game" (in Japanese). Archived from the original on 8 October 2007. Retrieved 2 February 2021.
  98. "碇シンジ育成計画 - Story" (in Japanese). Archived from the original on 8 October 2007. Retrieved 2 February 2021.
  99. Takahashi, Osamu (8 July 2009). "Neon Genesis Evangelion: The Shinji Ikari Raising Project Volume 1". www.darkhorse.com. Archived from the original on 5 July 2017. Retrieved 27 February 2021.
  100. "【モンスト】「エヴァンゲリオン」コラボ第3弾が開催!限定ガチャや「葛城ミサト」も新登場" (in Japanese). 5 October 2017. Archived from the original on 12 June 2018. Retrieved 15 April 2018.
  101. "Import Review: Super Robot Wars V". 26 April 2018. Archived from the original on 22 August 2018. Retrieved 4 June 2018.
  102. ""Evangelion" Costume Set for "Tales of Zestiria" Offered in America and Europe". 12 November 2015. Archived from the original on 12 June 2018. Retrieved 7 June 2018.
  103. "Neon Genesis Evangelion Revisits Puzzle & Dragons". 17 November 2015. Archived from the original on 12 June 2018. Retrieved 7 June 2018.
  104. "『ケリ姫スイーツ』と『エヴァンゲリオン』コラボが復活!「第13号機 疑似シン化」などの新キャラクターが登場" (in Japanese). 25 November 2016. Archived from the original on 9 December 2017. Retrieved 9 July 2017.
  105. "『サモンズボード』に使徒、再び!『エヴァンゲリオン』コラボ情報まとめ" (in Japanese). 19 October 2016. Archived from the original on 9 December 2017. Retrieved 9 July 2017.
  106. "セガゲームス、『ぷよぷよ!!クエスト』で「エヴァンゲリオン」コラボを開始! 「葛城ミサト」役・三石琴乃さんナレーションのテレビCMも放映中" (in Japanese). 10 August 2018. Archived from the original on 11 September 2018. Retrieved 12 September 2018.
  107. "使徒來襲!《LINE Rangers》與新世紀福音戰士特別合作". ETtoday遊戲雲 (in Chinese (Taiwan)). 18 December 2015. Archived from the original on 26 September 2018. Retrieved 25 September 2020.
  108. "召喚系手機 RPG《UNISON 聯盟》X「福音戰士」合作今日開跑" (in Chinese (Taiwan)). 29 September 2016. Archived from the original on 21 December 2021. Retrieved 12 October 2020.
  109. "《新楓之谷》X《福音戰士》跨界活動即日啟動!乘坐帥氣「初號機」操縱威力驚人「陽電子炮」" (in Chinese (Taiwan)). 遊戲基地 gamebase. 1 March 2018. Archived from the original on 25 September 2020. Retrieved 25 September 2020.
  110. Jessica (1 March 2018). "《新楓之谷》X《福音戰士》跨界合作即日啟動 於任務中乘坐「初號機」操縱「陽電子炮」" (in Chinese (Taiwan)). Archived from the original on 21 December 2021. Retrieved 8 October 2020.
  111. Edward (7 May 2018). "《神域召喚》x《福音戰士新劇場版》合作聯動全面展開 零、明日香及真嗣於遊戲現身" (in Chinese (Taiwan)). Archived from the original on 12 July 2020. Retrieved 25 September 2020.
  112. 餅乾 (7 March 2019). "《神域召喚》x《新世紀福音戰士》合作再臨,和少年少女們拯救世界" (in Traditional Chinese). 4Gamers 官方網站. Archived from the original on 25 September 2020. Retrieved 13 October 2020.
  113. "不能逃避!《RO仙境傳說:守護永恆的愛》x 《新世紀福音戰士》" (in Chinese (Taiwan)). udn遊戲角落. 31 January 2019. Archived from the original on 3 February 2019. Retrieved 25 September 2020.
  114. 樓菀玲 (10 February 2019). "手遊《仙境傳說》與《福音戰士》合作 碇真嗣、綾波零全出列" (in Traditional Chinese). ETtoday遊戲雲. Archived from the original on 25 September 2020. Retrieved 13 October 2020.
  115. "《貓咪大戰爭》x《新世紀福音戰士》合作回來啦!追加全新要素再次出擊" (in Chinese (Taiwan)). 遊戲基地 gamebase. 18 July 2019. Archived from the original on 26 September 2020. Retrieved 13 October 2020.
  116. "Rei, Asuka VAs Confirmed, Angel-Themed Villain Revealed for Shinkalion's Giant Eva Episode". animenewsnetwork.com. 9 August 2018. Archived from the original on 6 May 2020. Retrieved 19 April 2020.
  117. Miyako Graham, ed. (1996). "Anecdotes from Mr. Hideaki Anno". Protoculture Addicts. No. 43. pp. 40–41.
  118. Evangelion Chronicle (in Japanese). Vol. 42. Sony Magazines. p. 30.
  119. "Art File - Profile 03". Evangelion Collection (in Italian). Vol. 2. Panini Comics. 2008. p. 168. ISBN 978-88-6346-283-8.
  120. Mike Crandol (11 June 2002). "Understanding Evangelion". Anime News Network. Archived from the original on 18 May 2019. Retrieved 25 April 2020.
  121. "Newtype Evangelion Article". Archived from the original on 15 December 2000. Retrieved 14 April 2021.
  122. Justin Wu (11 July 2013). "Neon Genesis Evangelion: The Legacy of Rei Ayanami". The Artifice. Archived from the original on 18 March 2016. Retrieved 17 April 2020.
  123. Ishikawa, Satomi (2007). Seeking the Self: Individualism and Popular Culture in Japan. Peter Lang. p. 75. ISBN 978-3-03910-874-9.
  124. Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. p. 34.
  125. Miller, Gerald Alva Jr. (2012). Exploring the Limits of the Human Through Science Fiction. Palgrave Macmillan. p. 85. ISBN 978-1-137-26285-1.
  126. Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 3. Dynamic Italia. p. 27.
  127. Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 5. Dynamic Italia. p. 18.
  128. ヱヴァンゲリヲン新劇場版:序 全記録全集ビジュアルストーリー版・設定 資料版 (in Japanese). Khara. 2008. p. 321.
  129. Napier 2002, pp. 426–427.
  130. "Yoshiyuki Sadamoto Young Ace interview". Archived from the original on 25 November 2009. Retrieved 30 April 2020.
  131. Sevakis, Justin (3 May 2007). "Hideaki Anno Talks to Kids". Anime News Network. Archived from the original on 29 July 2013. Retrieved 12 March 2021.
  132. David Samuels (1 May 2007). "Let's Die Together". The Atlantic Monthly. Archived from the original on 31 March 2015. Retrieved 25 April 2020.
  133. Morikawa 1997, p. 27.
  134. Cordella, Claudio (2020). "Cyborg e altri simulacri". Il volto di Ayanami. Simulacri e macchine pensanti tra Oriente e Occidente (in Italian). Delos Digital. ISBN 9788825412178.
  135. Sanenari 1997, pp. 170–172.
  136. Sanenari 1997, pp. 184–190.
  137. Azuma, Hiroki. "Animé or Something Like it: Neon Genesis Evangelion". NTT InterCommunication Center. Archived from the original on 8 August 2012. Retrieved 13 August 2012.
  138. Saito & Azuma 2011, p. 125.
  139. Kenneth, Lee (9 September 1998). "The Thin Veneer Known as "Evangelion"". Anime News Network. Archived from the original on 24 July 2017. Retrieved 27 February 2021.
  140. Saito & Azuma 2011, p. 122.
  141. Clements & McCarthy 2006, p. 185.
  142. Mizobe, Koji (2011). "新世紀エヴァンゲリオンにみる思春期課題と精神障害" (PDF). 地域支援心理研究センター紀要 (in Japanese). 追手門学院大学 (8). Archived (PDF) from the original on 17 August 2018. Retrieved 24 February 2021.
  143. "Children". Death & Rebirth Program Book (Special Edition) (in Japanese). GAINAX. 1997. Archived from the original on 8 August 2020. Retrieved 25 April 2020.
  144. Sadamoto, Yoshiyuki (2012). "Commentary to the third Eva volume". Neon Genesis Evangelion 3-in-1 Edition. Vol. 1. Viz Media. p. 515. ISBN 978-1-4215-5079-4.
  145. Gualtiero Cannarsi. Evangelion Encyclopedia (in Italian). Vol. 3. Dynamic Italia. p. 35.
  146. Evangelion Chronicle (in Japanese). Vol. 43. Sony Magazines. p. 11.
  147. Neon Genesis Evangelion Film Book (in Japanese). Vol. 2. Kadokawa Shoten. p. 66.
  148. Tsuribe, Manabu (February 1999). "Prison of Self-Consciousness: an Essay on Evangelion". www001.upp.so-net.ne.jp. Archived from the original on 21 July 2017. Retrieved 23 August 2017.
  149. Lunning, Frenchy (2007). "Between the Child and the Mecha". Mechademia. University of Minnesota Press. 2 (10): 231. doi:10.1353/mec.0.0022. ISSN 2152-6648. S2CID 121085299.
  150. Ballús, Andreu; Torrents, Alba G. (2014). "Evangelion as Second Impact: Forever Changing That Which Never Was". Mechademia: Second Arc. University of Minnesota Press. 9: 283–293. doi:10.1353/mec.2014.0014. S2CID 121277600.
  151. Evangelion Carddass Masters G: P-R1.
  152. Platinum Booklet. Vol. 1. ADV. 2004.
  153. Oguro, Yūichirō (18 May 2006). "第34回 エヴァ雑記「第壱話 使徒、襲来」". Style.fm (in Japanese). Archived from the original on 25 December 2019. Retrieved 17 April 2020.
  154. Khara 2010, 榎戸 洋司 interview.
  155. Drazen 2014, pp. 298–299.
  156. Cavallaro, Dani (2007). Anime Intersections. Tradition and Innovation in Theme and Technique. McFarland & Company. p. 58. ISBN 978-0-7864-3234-9.
  157. Bartoli, Fabio (2008). "Neon Genesis Evangelion e la Kabbalah: dal Tempo di dolore al Tempo Benedetto" (PDF). Antrocom (in Italian). 4 (1): 29–30. Archived (PDF) from the original on 22 April 2018. Retrieved 18 April 2020.
  158. Morikawa 1997, p. 98.
  159. Morikawa 1997, pp. 101–102.
  160. Sanenari 1997, pp. 177–179.
  161. "春秋 (In Japanese)". Archived from the original on 3 September 2007. Retrieved 20 July 2011.
  162. Struckmann, Chris (2018). "Neon Genesis Evangelion". Anime Impact: The Movies and Shows that Changed the World of Japanese Animation. Mango Media. ISBN 9781633537330.
  163. "Anime AICN by Scott Green: Sexy Voice and Robo, Toei Releases, and Comicon Manga!". Legacy.aintitcool.com. Ain't It Cool News. 24 July 2005. Archived from the original on 14 April 2021. Retrieved 15 April 2021.
  164. "Anime Fandom: Dealing In The Grey Areas". GameAxis Unwired. No. 49. SPH Magazines. October 2007. p. 80. ISSN 0219-872X.
  165. "Neon Genesis Evangelion: Ayanami Raising Project". June 2002. Archived from the original on 19 July 2011. Retrieved 20 April 2020.
  166. Galbraith, Patrick W. (31 October 2009). "Moe - Exploring Virtual Potential in Post-Millennial Japan". Archived from the original on 21 October 2014. Retrieved 15 April 2021.
  167. "1996年08月号ベスト10" (in Japanese). Archived from the original on 25 October 2010. Retrieved 18 April 2020.
  168. "1998年07月号ベスト10" (in Japanese). Archived from the original on 25 October 2010. Retrieved 18 April 2020.
  169. "Which Anime Character Do You Wish You Could Be Friends With?". 28 February 2007. Archived from the original on 2 August 2020. Retrieved 15 March 2020.
  170. "平成アニメ史上最も強くて美しいヒロインは?" (in Japanese). Archived from the original on 11 October 2020. Retrieved 7 October 2020.
  171. "日本を代表するキャラクターランキング 21位から29位" (in Japanese). 28 January 2018. Archived from the original on 11 October 2020. Retrieved 7 October 2020.
  172. "男性が好きなアニメの「青髪の美少女」ランキング 1位から10位" (in Japanese). 19 January 2013. Archived from the original on 11 October 2020. Retrieved 7 October 2020.
  173. "第18回アニメグランプリ[1996年5月号]". Tokuma Shoten. Archived from the original on 19 October 2010.
  174. "第19回アニメグランプリ[1997年6月号]". Tokuma Shoten. Archived from the original on 19 October 2010.
  175. "第20回アニメグランプリ[1998年6月号]". Tokuma Shoten. Archived from the original on 19 October 2010.
  176. "Animage" (in Japanese). Tokuma Shoten. March 1997. p. 232. {{cite magazine}}: Cite magazine requires |magazine= (help)
  177. "BEST 10". Animage (in Japanese). Tokuma Shoten. August 1997.
  178. "Top 10". Animage (in Japanese). Tokuma Shoten. September 1997.
  179. "Best 100". Animage (in Japanese). Tokuma Shoten. November 1997.
  180. "明けましてパクト100". Animage (in Japanese). Tokuma Shoten. February 1998.
  181. "Animage" (in Japanese). Tokuma Shoten. August 1998. p. 228. {{cite magazine}}: Cite magazine requires |magazine= (help)
  182. "あいましてベスト100". Animage (in Japanese). Tokuma Shoten. February 1999.
  183. "Animage" (in Japanese). Tokuma Shoten. July 1999. p. 221. {{cite magazine}}: Cite magazine requires |magazine= (help)
  184. "CHARACTER BEST 100". Animage (in Japanese). Tokuma Shoten. October 1999.
  185. "アニメキャラクターベスト100" (in Japanese). TV Asahi. Archived from the original on 27 September 2004. Retrieved 20 April 2020.
  186. "涙と感動のアニメ最強名場面ベスト100" (in Japanese). TV Asahi. Archived from the original on 10 October 2004. Retrieved 20 September 2013.
  187. "史上最強のTV名場面ベスト100 ~もう一度見たい!" (in Japanese). TV Asahi. Archived from the original on 13 April 2016. Retrieved 20 April 2020.
  188. "アニメ最強名場面ベスト100~幻の第1話&感動の最終回SP~" (in Japanese). TV Asahi. Archived from the original on 10 April 2016. Retrieved 20 April 2020.
  189. "最終回を越える感動シーン部門" (in Japanese). TV Asahi. Archived from the original on 4 March 2016. Retrieved 20 April 2020.
  190. "NT RANKING". Newtype (in Japanese). Kadokawa Shoten. May 2005. p. 182.
  191. "人気キャラクター女性 年間 TOP10". Newtype (in Japanese). Kadokawa Shoten. January 2009. p. 203.
  192. "Ranking". Newtype (in Japanese). Kadokawa Shoten. March 2019.
  193. "NT RANKING". Newtype (in Japanese). Kadokawa Shoten. July 2005. p. 170.
  194. "The Stars". Newtype (in Japanese). Kadokawa Shoten. July 2005. p. 107.
  195. "MONTHLY LINE UP". Newtype (in Japanese). Kadokawa Shoten. August 2009. p. 172.
  196. "MONTHLY LINE UP". Newtype (in Japanese). Kadokawa Shoten. September 2009. p. 148.
  197. "MONTHLY LINE UP". Newtype (in Japanese). Kadokawa Shoten. October 2009. p. 136.
  198. "新世紀エヴァンゲリオン". Newtype (in Japanese). Kadokawa Shoten. March 2010. pp. 24–25.
  199. "Rei Ayanami Kills "Fate/stay night" Servants in Latest "Newtype" Character Rankings". 12 January 2015. Archived from the original on 19 July 2020. Retrieved 28 January 2021.
  200. "The Top 30 Anime Ladies of the 2010s Chosen by NewType". Goboiano. 11 June 2018. Archived from the original on 15 June 2018. Retrieved 28 January 2021.{{cite web}}: CS1 maint: unfit URL (link)
  201. "NHK's Top Anime Heroine Vote Results Announced". 2 January 2013. Archived from the original on 12 March 2020. Retrieved 20 April 2020.
  202. "『ヱヴァ』綾波レイ、初インタビュー受けるもつれない態度". Oricon. Archived from the original on 13 May 2012. Retrieved 20 April 2020.
  203. "女子が好きな『新世紀エヴァンゲリオン』キャラクターTOP3/ 1位はなんとあの脇役!" (in Japanese). 24 July 2019. Archived from the original on 30 September 2019. Retrieved 30 September 2019.
  204. "Ranking" (in Japanese). Archived from the original on 4 August 2020. Retrieved 13 September 2020.
  205. Zoth, Thomas (19 January 2010). "10 Iconic Anime Heroines". Mania Entertainment. Archived from the original on 22 January 2010. Retrieved 22 January 2010.
  206. "Ranking". Newtype (in Japanese). Kadokawa Shoten. April 2021.
  207. "Ranking". Newtype (in Japanese). Kadokawa Shoten. July 2021. p. 114.
  208. Newtype Complete 新世紀エヴァンゲリオン (in Japanese). Kadokawa Shoten. 2005. pp. 24–25.
  209. "今月の名場". Animedia (in Japanese). February 1996.
  210. Sammut, Mark. "Top 10 Neon Genesis Evangelion Moments". WatchMojo. Archived from the original on 29 September 2020. Retrieved 24 March 2021.
  211. "Top 10 Cutest Girls in Anime". WatchMojo. Archived from the original on 27 November 2020. Retrieved 24 March 2021.
  212. Shaddock, Chris (19 January 2021). "Neon Genesis Evangelion: Best & Worst Characters, Ranked". Screen Rant. Archived from the original on 1 February 2021. Retrieved 28 January 2021.
  213. Mitra, Ritwik (16 January 2021). "Neon Genesis Evangelion: The Main Characters, Ranked From Worst To Best By Character Arc". Screen Rant. Archived from the original on 7 February 2021. Retrieved 28 January 2021.
  214. Ajay Aravind (2 December 2020). "Neon Genesis Evangelion: Every Main Character, Ranked By Likability". Comic Book Resources. Archived from the original on 21 January 2021. Retrieved 28 January 2021.
  215. Robinson, Tasha (21 September 1998). "Neon Genesis Evangelion 0:11-0:13". Sci-Fy Weekly. Archived from the original on 4 March 2009. Retrieved 14 April 2021.
  216. Penn, Luke (15 October 2020). "Neon Genesis Evangelion: 10 Differences Between The Anime & Manga". Archived from the original on 28 January 2021. Retrieved 28 January 2021.
  217. "Top 25 Anime Characters of All Time". IGN. 20 October 2009. Archived from the original on 22 August 2011. Retrieved 22 October 2009.
  218. "Neon Genesis Evangelion Review". 11 December 2007. Archived from the original on 28 September 2013. Retrieved 20 April 2020.
  219. "Neon Genesis Evangelion Review". Archived from the original on 4 October 2013. Retrieved 20 April 2020.
  220. Raphael See. "Neon Genesis Evangelion". T.H.E.M. Anime. Archived from the original on 20 February 2012. Retrieved 9 February 2014.
  221. Gramuglia, Anthony (2 November 2020). "Rei Vs. Asuka - Who Is Evangelion's Best Girl?". Archived from the original on 19 November 2020. Retrieved 28 January 2021.
  222. Santos, Carlo (9 July 2009). "Evangelion: 1.0.1 You Are Not Alone (dub version)". Anime News Network. Archived from the original on 27 April 2019. Retrieved 2 December 2009.
  223. Sevakis, Justin (24 November 2009). "Evangelion: 2.0 You Can Not Advance". Anime News Network. Archived from the original on 25 October 2018. Retrieved 2 December 2009.
  224. A. H. (11 June 2011). "Evangelion 2.22: You Can (Not) Advance". UK Anime Network. Archived from the original on 3 April 2015. Retrieved 20 October 2021.
  225. Morton, Bryan (12 August 2011). "Evangelion 2.22: You Can (Not) Advance UK Anime Blu-ray Review". The Fandom Post. Archived from the original on 23 March 2012. Retrieved 20 October 2021.
  226. Sombillo, Mark (7 June 2011). "Evangelion: 2.22 - You Can (Not) Advance". Anime News Network. Archived from the original on 15 March 2018. Retrieved 20 October 2021.
  227. Motamayor, Rafael (16 August 2021). "'Evangelion: 3.0+1.0 Thrice Upon a Time' Review: Hideaki Anno's Iconic Anime Finally Gets a Proper Ending". IndieWire. Indie Wire. Archived from the original on 21 November 2021. Retrieved 27 November 2021.
  228. McLain, Kyle (14 August 2021). "Evangelion: 3.0+1.0 Thrice Upon a Time Review". Ign.com. IGN. Archived from the original on 29 March 2021. Retrieved 27 November 2021.
  229. "This Week in Anime". Animenewsnetwork.com. Anime News Network. 17 August 2021. Archived from the original on 21 October 2021. Retrieved 27 November 2021.
  230. Johnson, Allyson (8 September 2021). "Evangelion 3.0+1.0 Thrice Upon a Time review: The iconic series from Hideaki Anno ends with tears, atonement, forgiveness, and hope". THeyoungfolks.com. The Young Fols. Archived from the original on 4 November 2021. Retrieved 27 November 2021.
  231. Adlakha, Siddhant (31 July 2021). "The final Evangelion movie brings the series to a powerful close". Polygon.com. Polygon. Archived from the original on 5 October 2021. Retrieved 27 November 2021.
  232. Harding, Daryl (7 April 2021). "Spoiler-Filled Review: Talking About That Evangelion 3.0+1.0 Ending". Crunchyroll.com. Crunchyroll. Archived from the original on 22 August 2021. Retrieved 27 November 2021.
  233. "Rebuild of Evangelion 3.0+1.0: Thrice Upon a Time". Otakurevolution.com. Otaku Revolution. 14 August 2021. Archived from the original on 15 August 2021. Retrieved 27 November 2021.
  234. Nugent, Baz (19 August 2021). "REVIEW: Evangelion 3.0 + 1.0: Thrice Upon a Time". Geekireland.com. Geek Ireland. Archived from the original on 20 August 2021. Retrieved 27 November 2021.
  235. McAndrews, Mary Beth (17 August 2021). "Evangelion 3.0+1.0: Thrice Upon a Time Chases the Perfect Ending". Paste Magazine. Archived from the original on 2 December 2021. Retrieved 2 December 2021.
  236. Whitbrook, James (18 September 2021). "Evangelion 3.0+1.0 Wouldn't Work Without Its Quiet, Contemplative Opening". Gizmodo.com. Gizmodo. Archived from the original on 6 November 2021. Retrieved 27 November 2021.
  237. Kelly, A. Dean (16 August 2021). "Evangelion 3.0+1.0 Review". Otakuvoice.com. Otaku Voice. Archived from the original on 27 November 2021. Retrieved 27 November 2021.
  238. Cimi, Chris (9 March 2021). "Evangelion 3.0+1.0 Review (SPOILERS): Hideaki Anno's Vision (Finally) Fulfilled". Otaquest.com. Otaquest. Archived from the original on 12 August 2021. Retrieved 27 November 2021.
  239. Aoyama, Takako; Akashita, Tomoko (2003). Anime Poster Art: Japan's Movie House Masterpieces. DH Publishing Inc. p. 63. ISBN 0-9723124-4-7.
  240. "大好評の"EVA×HELLO KITTY"シリーズに新作Tシャツが登場!". Gainax.co.jp (in Japanese). Gainax. Archived from the original on 19 January 2014. Retrieved 12 April 2020.
  241. "Organic Hobby, Inc Releases the First Character/Figure as a Part of Kaiyodo's "FRAÜLEIN REVOLTECH", "Rei Ayanami"". Anime News Network. 12 November 2007. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  242. Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. pp. 35–36.
  243. Hodgkins, Crystalyn (8 December 2009). "2 Eva Fender Guitars Auctioned for 17 Million Yen". Anime News Network. Archived from the original on 12 April 2020. Retrieved 13 April 2020.
  244. Macias, Patrick; Machiyama, Tomohiro (2004). Cruising the Anime City: An Otaku Guide to Neo Tokyo. Stone Bridge Press. p. 48. ISBN 1-880656-88-4.
  245. "等身大フィギュア『レイ』、『アスカ』、『カヲル』受付開始!". Gainax.co.jp (in Japanese). Gainax. Archived from the original on 25 November 2015. Retrieved 12 April 2020.
  246. "Evangelion Lipstick Ad Releases Key Animation Frames". 24 February 2021. Archived from the original on 1 March 2021. Retrieved 12 March 2021.
  247. "コスプレランキング:綾波レイの第三新東京市立第壱中制服がダントツ クラナド、シャナが続く コスパ". Mainichi.jp (in Japanese). Mainichi Shimbun. 3 January 2008. Archived from the original on 6 January 2008. Retrieved 12 April 2020.
  248. "Custom-Fitted Evangelion Plugsuits for Sale". Anime News Network. 9 August 2010. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  249. The Essential Evangelion Chronicle: Side A. Glénat Editions. 2009. p. 110. ISBN 978-2-7234-7120-6.
  250. Sherman, Jennifer (18 July 2012). "Gundam-Sized Blow-Up Rei Figure From Evangelion Photographed in Tokyo". Anime News Network. Archived from the original on 12 April 2020. Retrieved 13 April 2020.
  251. "China's Largest Evangelion Expo to be Held in Shanghai". Anime News Network. 30 September 2013. Archived from the original on 7 December 2018. Retrieved 21 February 2014.
  252. "Honda Officially Launches 'Evangelion' x Civic Campaign". hypebeast.com. April 2020. Archived from the original on 10 August 2020. Retrieved 11 October 2020.
  253. Lamarre, Thomas (2009). The Anime Machine: A Media Theory of Animation. Minneapolis: University of Minnesota Press. p. 205. ISBN 978-0-8166-5155-9.
  254. Ashcraft, Brian (11 April 2011). "Another Rei Ayanami Figure For the Pile". Kotaku.com. Kotaku. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  255. Patrick W. Galbraith (2019). "Moe: An Affective Response to Fictional Characters". Otaku and the Struggle for Imagination in Japan. Duke University Press. ISBN 9781478007012.
  256. Patrick W. Galbraith (11 April 2020). "Moe". Archived from the original on 19 October 2021. Retrieved 2 November 2021.
  257. Galbraith, Patrick W. (2010). "Akihabara: Conditioning a Public "Otaku" Image". Mechademia. University of Minnesota Press. 5: 215–216.
  258. "An instrument of change". Newtype USA: 31. December 2006.
  259. Macdonald, Christopher (1 November 2005). "Lilith Angel Announced". Anime News Network. Archived from the original on 12 April 2020. Retrieved 13 April 2020.
  260. Fujie & Foster 2004, p. 98.
  261. "Evangelion on Cover of Rolling Stone Mag…in Japan". Anime News Network. 11 August 2007. Archived from the original on 8 May 2019. Retrieved 12 April 2020.
  262. "REI-レイ- 新世紀エヴァンゲリオン文庫写真集" (in Japanese). Kadokawa Shoten. Archived from the original on 14 November 2020. Retrieved 13 October 2020.
  263. Adriano Valente (14 July 2019). "Evangelion: 10 Things You Didn't Know About Rei". Archived from the original on 15 July 2019. Retrieved 15 September 2020.
  264. Timothy Donohoo (13 April 2021). "How Is Evangelion So Marketable?". Comic Book Resources. Archived from the original on 14 June 2021. Retrieved 14 June 2021.
  265. Paul Perdijk (18 April 2020). "Database Consumption". Archived from the original on 19 October 2021. Retrieved 2 November 2021.
  266. Azuma 2009, pp. 51–52.
  267. "The Animalization of Otaku Culture". Mechademia. Vol. 2. University of Minnesota Press. 2007. p. 182. ISBN 978-0-8166-5266-2.
  268. Azuma 2009, pp. 49–50.
  269. Bertschy, Zac. "Dai-Guard DVD 1: Hostile Takeover". Anime News Network. Archived from the original on 26 May 2019. Retrieved 15 April 2020.
  270. Clements & McCarthy 2006, p. 221.
  271. Rider, Maria M. "Gasaraki". Ex.org. EX Magazine. Archived from the original on 6 June 2011. Retrieved 15 April 2021.
  272. Theron, Martin (4 October 2008). "Galaxy Angel AA DVD 1-4 - Anime Legends Complete Collection". Anime News Network. Archived from the original on 13 April 2020. Retrieved 15 April 2020.
  273. Ross, Carlos. "Geobreeders". T.H.E.M. Anime Reviews. Archived from the original on 14 April 2021. Retrieved 14 April 2021.
  274. Clements & McCarthy 2006, p. 301.
  275. Godek, Jake L. "Kagihime Monogatari - Eikyuu Alice Rondo". Themanime.org. Archived from the original on 8 July 2019. Retrieved 15 April 2020.
  276. Drazen 2014, p. 297.
  277. Clements, Jonathan (2009). Schoolgirl Milky Crisis: Adventures in the Anime and Manga Trade. Titan Books. p. 299. ISBN 9781848560833.
  278. Kimlinger, Carl (16 November 2011). "Review - Guilty Crown". Anime News Network. Archived from the original on 14 November 2019. Retrieved 1 December 2013.
  279. Theron Martin (7 June 2006). "My-HiMe DVD 2". Anime News Network. Archived from the original on 14 November 2019. Retrieved 16 October 2013.
  280. Bertschy, Zac (23 January 2004). "i wish you were here". Anime News Network. Archived from the original on 12 October 2013. Retrieved 16 October 2013.
  281. "Asian/American Gaming". Verge: Studies in Global Asias. University of Minnesota Press. 7 (2): 31.
  282. Lukas R.A. Wilde (January 2019). "Recontexualizing Characters. Media Convergence and Pre-/Meta-Narrative Character Circulation" (PDF). Image (29): 47–48. Archived (PDF) from the original on 23 December 2021. Retrieved 23 December 2021.
  283. Napier 2002, p. 433.
  284. Camp, Julie; Davis (2007). Anime Classics Zettai!: 100 Must-See Japanese Animation Masterpieces. Stone Bridge Press, Inc. p. 338. ISBN 978-1-933330-22-8.
  285. "Serial Experiments Lain". HK Magazine. Hong Kong: Asia City Publishing (14). April 2000. in "HK Interview". Chiaki J. Konaka. Archived from the original on 24 November 2010. Retrieved 25 September 2010. and "HK Interview". Chiaki J. Konaka. Archived from the original on 1 November 2010. Retrieved 25 September 2010.
  286. Cavallaro, Dani (2009). The art of Studio Gainax: experimentation, style and innovation at the leading edge of anime. McFarland & Co. p. 218. ISBN 978-0-7864-3376-6.
  287. "Storywriter Sato Dai is frustrated with Japanese anime". Otaku2.com. 24 July 2010. Archived from the original on 27 July 2010. Retrieved 28 March 2020.
  288. Watsuki, Nobuhiro. "The Secret Life of Characters (41) Yukishiro (Himura) Tomoe," Rurouni Kenshin Volume 21. Viz Media. 46.
  289. "10 Best Kuudere Characters In Anime, Ranked". 5 December 2019. Archived from the original on 17 December 2019. Retrieved 13 September 2020.
  290. Robert Hutton (5 September 2021). "How Neon Genesis Evangelion Changed Anime Forever". Screen Rant. Archived from the original on 19 December 2021. Retrieved 2 November 2021.
  291. Morikawa 1997, p. 21.
  292. "イケメンアニソンバンドがメジャーデビュー". Oricon.co.jp. Archived from the original on 23 February 2014. Retrieved 20 September 2013.
  293. "バンプ・藤原基央が自身バンド以外初となる歌手・榎本くるみをプロデュース" (in Japanese). Oricon News. Archived from the original on 13 April 2020. Retrieved 15 April 2020.
  294. "綾波レイがかわいい!男を虜にする魔性の魅力を心理学的に考察!". Animentalism.com (in Japanese). Animentalist. 12 January 2021. Archived from the original on 15 April 2021. Retrieved 15 April 2021.
  295. Sadamoto, Yoshiyuki (2011). 新世紀エヴァンゲリオン 公式ガイドブック. Kadokawa Shoten. pp. 137, 144–145. ISBN 978-4-04-715671-5.
  296. Green, Scott (19 August 2014). ""Evangelion: Death & Rebirth" Broadcast Inspires Arina Tanemura's Rei and Asuka Sketches". Crunchyroll. Archived from the original on 19 September 2020. Retrieved 15 April 2020.
  297. "Interview: Otaku Artist Shoko Nakagawa [1/2]". Otakumode.com. 9 April 2014. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  298. "加藤夏希:「エヴァンゲリオン」の綾波レイに 「クロニクル」PRで". Mainichi.jp (in Japanese). Mainichi Shimbun. 28 June 2006. Archived from the original on 11 May 2008. Retrieved 12 April 2020.
  299. Evangelion Chronicle (in Japanese). Vol. 38. Sony Magazines. p. 28.
  300. Loo, Egan (27 June 2009). "3rd Evangelion Remake Film to be Titled Q quickening (Updated)". Anime News Network. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  301. "森下悠里、自慢の"G乳ハミ出し"で完璧ボディー大胆露出". Sanspo.com (in Japanese). 26 May 2008. Archived from the original on 16 June 2008. Retrieved 12 April 2020.
  302. "9nine Idol Group Members Cosplay as Evangelion's Rei, Asuka". Anime News Network. 24 July 2012. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  303. "内田理央「エヴァ」綾波レイコスプレに挑戦". News.nicovideo.jp. 30 September 2019. Archived from the original on 1 October 2019. Retrieved 12 April 2020.
  304. "美ボディくっきり!コスプレイヤー篠崎こころが『エヴァ』綾波レイのプラグスーツコスプレ披露【写真37枚】". News.mynavi.jp. 4 September 2019. Archived from the original on 5 December 2019. Retrieved 12 April 2020.
  305. "真凜はジョジョ仗助、宇野はエヴァ綾波 続編コスプレにネット騒然「衝撃隠せません」". The-ans.jp. 4 August 2019. Archived from the original on 10 December 2019. Retrieved 12 April 2020.
  306. Hodgkins, Crystalyn (16 November 2012). "J-Cast: Gainax Not Contacted About Victoria Secret's Evangelion Lookalike". Anime News Network. Archived from the original on 12 April 2020. Retrieved 12 April 2020.
  307. "Translation Notes". How to Raise a Boring Girlfriend. Vol. 2. Yen Press. 2006. ISBN 9780316310796.
  308. Japan Edge: The Insider's Guide to Japanese Pop Subculture (PDF). Viz Media. 1999. p. 23. ISBN 156931-345-8. Archived (PDF) from the original on 21 November 2019. Retrieved 12 March 2021.
  309. Delos Trinos, Angelo (16 September 2021). "10 Anime That Referenced Neon Genesis Evangelion". Comic Book Resources. Archived from the original on 25 September 2021. Retrieved 20 October 2021.
  310. Kim, Monica (8 October 2015). "The Secret Anime Muses Behind Louis Vuitton's New Collection: From Sailor Moon to Evangelion". Vogue. Archived from the original on 26 December 2019. Retrieved 15 April 2020.



Bibliography



На других языках


- [en] Rei Ayanami

[fr] Rei Ayanami

Rei Ayanami est l'un des personnages principaux de la série d'animation japonaise Neon Genesis Evangelion, de son film conclusif The End of Evangelion et de la tétralogie cinématographique Rebuild of Evangelion. Elle apparaît également dans les nombreuses adaptations en manga et jeu vidéo que la série a connu depuis sa création en 1995.

[it] Rei Ayanami

Rei Ayanami (綾波 レイ Ayanami Rei?) è uno dei protagonisti della serie animata giapponese Neon Genesis Evangelion, sceneggiata e diretta da Hideaki Anno, e dell'omonimo manga scritto e disegnato da Yoshiyuki Sadamoto. Il personaggio compare nelle opere tratte dalla serie animata, in manga spin-off, videogiochi, visual novel, nell'ONA Petit Eva - Evangelion@School e nella tetralogia cinematografica Rebuild of Evangelion. Nella versione originale è interpretata dalla doppiatrice Megumi Hayashibara[1][2]. Nell'adattamento italiano il suo ruolo è stato affidato a Valentina Mari nel doppiaggio originale[3] e a Lucrezia Marricchi nel ridoppiaggio di Netflix[4]

[ru] Рей Аянами

Рей Аянами (яп. 綾波レイ Аянами Рэй) — один из центральных персонажей аниме-сериала и манги «Евангелион», вышедших в 1995 году. Также появляется в аниме, манге и играх, созданных по мотивам оригинального произведения, сюжет которых не связан прямо с оригинальной работой. Четырнадцатилетняя девочка. Первая из Детей, способных управлять боевыми биороботами «Евангелионами» (сокращённо — «Евами»), сделанными организацией Gehirn и используемыми её преемником Nerv для защиты от таинственных созданий — Ангелов. Рей также называют «Первое Дитя» (англ. First Children) (в Rebuild of Evangelion — «Первая Девочка» (яп. 第1の少女 дай ити но сё:дзё)). Её озвучивает одна из самых популярных на момент выхода сериала сэйю, Мэгуми Хаясибара[3]. В 1995 году Хаясибара заняла второе место в гран-при журнала Animage (первое место заняла сэйю Синдзи Икари, Мэгуми Огата)[4]. В 1996 году, после завершения сериала, Хаясибара поднялась до первого места (второе место — сэйю Синдзи)[5], а также получила награду Animation Kobe[6].



Текст в блоке "Читать" взят с сайта "Википедия" и доступен по лицензии Creative Commons Attribution-ShareAlike; в отдельных случаях могут действовать дополнительные условия.

Другой контент может иметь иную лицензию. Перед использованием материалов сайта WikiSort.org внимательно изучите правила лицензирования конкретных элементов наполнения сайта.

2019-2024
WikiSort.org - проект по пересортировке и дополнению контента Википедии