Komm Susser Tod - catchsomeair.us
The End of Evangelion is a Japanese animated science fiction film written and directed by . In this continuity, Shinji does not exist and Asuka has a sexual relationship with Toji Suzuhara. .. Light and Sound ; ^ "[EoE] throws so much visual and narrative data at its audience, including titles zapping by at almost. If you are contemplating leaving a long-term relationship, there are ways to do this that could limit the damage. This post explores how you can determine if it is . End of Evangelion (EoE) can be split cleanly into 2 halves: the .. NERV, Second Impact and without any of his relationships with other people.
Shinji responds that maybe he could learn to love himself if she tried being nice to him, gets angry and smashes a chair, then wraps his hands around her neck and strangles her. Shinji, who has spent a large part of the series being passive and self-loathing, finally gets angry and blames Asuka and by proxy the other people in his life for his inability to get close to others.
Asuka and Rei respond, with some justification, that Shinji also has to take some blame; he avoids getting close to anyone because he fears being rejected and abandoned by them, as he was by his father. In the end, Shinji manages to get over his fear of rejection and chooses to reverse Instrumentality and go back to the world where people are separate and can choose to reject or abandon each other.
The card translation says that Shinji started to strangle Asuka because he wanted to confirm that rejection and denial exist once more. By going back to a world where rejection and denial exist, Shinji has admitted that he feared them, and faced that fear. He has confessed that Asuka's and Rei's accusations in the earlier scene were true, that he locked people out too tightly because he feared abandonment.
As Shinji strangles Asuka, she reaches up and caresses him, countering that although rejection and denial exist again, acceptance also exists again—people have the choice to accept others into their hearts, just as they have the choice to deny others. The proof being the other consciousness recognition. So the 2 consciousness' very much need each other. At this point I have only just notice that the physical actions of the Final Scene happen to match Hegel's work, albeit perfectly, and that the drama card and Hegel also happen match up.
I will use Eotv to further prove that this is more than just a similarity and to in fact try and prove that the Final Scene is Anno's animated and literal interpretation of Hegel's ideas on self-consciousness. So if you believe the drama card, this further supports that belief. One final I need you. The title obviously can be referring to multiple things at the same time but it also fits nicely with Hegel since he is all about self-consciousness recognizing and needing another self-consciousness to have any meaningful existence or to even exist in the first place.
I'll explain this further but basically I think that the end of episode 26,specificallyNot saying they are exactly the same event only that they are directly related. It could or could not be the same exact event. I'm gonna talk a bit about Instrumentality and the Eotv 26 as a whole first. Sorry if anything I say sounds off topic or redundant or obvious to you EVA experts but I wanna be clear and it is relevant.
Instrumentality is similar to the Buddist idea of oneness. The idea of leaving your identity behind and becoming one with everything; in instrumentality's case dropping your AT field and becoming one with everyone.
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Here I would allow myself some freedom of speculation in regard to Hegel's ideas and Buddism and Instrumentality and Evangelion since this is a show and not a strict philosophy book or some psychology textbook or religious text and as a viewer there are certain times I'm allowed to randomly speculate to a certain degree; this being one of them: In other words there is no experiential difference between being 1 single unaware consciousness or 1 super unaware consciousness made up of conglomerate of unaware consciousness Basically what instrumentality is as far as we can tell.
That being said I think Shinji, based off his rejection of instrumentality, would agree with Hegel. Now the question is why would Shinji agree. Well if we look at Hegel's ideas and then ask ourselves what is more alone then being a single unaware consciousness then we would realize that nothing is. In fact it would be the purist form of loneliness that could exist; anything less would basically equate to being non-existence and on a practical level it is the same as non-existence.
So the implication I'm making is that instrumentality is also a very lonely experience since it is practically the same experience as existing as 1 lonely consciousness despite being many consciousness'. It's as close to non-existence as we could get. So it can be true that instrumentality brings everyone together to a state of oneness but the claim that it fills the holes in people hearts by complementing each other is matter of perspective.
So basically what I'm trying to say is that Shinji realized what I imagine what Hegel would think about something like instrumentality. The very same alone that Shinji has been trying to avoid in the first place. Instrumentality is a super ironic option for Shinji from this point of view and not at all what he wants.
Now most of us would agree that episode 26 is Shinji in instrumentality at least up until the congratulations scene. And because of budget problems they went for the minimalist approach with the episode. But aside from the budget, that art could also be depicting Shinji's losing his identity due to instrumentality. The way the art is losing properties that identify what it is, is how Shinji is losing the things that give him individuality; his identity is losing its At Field like a drawing losing it's outline.
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I am going to accept that interpretation. If you thinks it's wrong, that is okay.
Everything before it is Shinji in the process of instrumentality and being "complemented". The image after is the beginning of Shinji exiting instrumentality. We know this because Shinji has a "feeling" experience and has regained his "outline" after the few short pure white frames.
He should absolutely not have an outline if he is truly "complemented". This moment of exiting instrumentality is analogous to the scene from EOE when Shinji says good bye to his mother and returns to real world; note the similarity in the art.
The mechanism by which he does this is through his consciousness' sheer will and no special power. Shinji is not like Neo from the matrix or a dream warrior from Nightmare on Elm Street: We know its will alone because the show outright says so.
The common confusion people have in understanding this is in the definition of this "will". I will go into what "will" is after I analyze the dialogue, since, it is a bit off topic but I'll say right now that Anno's use of the word is very close to becoming like philosophical jargon.
Lol it's NGE jargon. A world of nothing. A world with nobody in it. This is a world perfect freedom. Perfect Freedom, a world in which you have no restriction.
Is this really Freedom? This is what it is. However this world has nothing in it. Unless I do something. Right, unless you do or think of something. But I don't know what to do or think of. He has no self image to orient himself. This is why Shinji's consciousness in not true self-awareness yet despite already being in the process of leaving instrumentality. His consciousness is alone and not properly aware of it's surroundings. He is exactly like the non aware consciousness that Hegel talks about in his essay.
The few lines before and after this are also talking about the relationship between consciousness and objects separate from itself. Will expand on this below. There's nothing solid here. It is a world where there is no obstacles. This is a world where you can do anything you wish. And Yet, you are still afraid aren't you. Don't you know what it is that you want to do? What should I do? Let me give you a restriction. There, Now you have a top and a bottom. Shinji is being given objects; object being things that are separate from Shinji.
But for Hegel this is not enough and Shinji is about to realize it too. Hegel on the other hand believes that self-conscious was a thing that was actually generated through it's interactions with other things and not simply something that exists self-evidently.
But objects alone are not enough for this generating process; 'the other' is needed. So for example I think therefore I am according to Hegel does not prove self-awareness.
If that is hard to understand think of it like this. Shinji is currently literally experiencing the phenomenon of I think therefore I am and is still unable to identify himself as himself.
Komm Susser Tod
He observed that "Anno, like David Lynchpossesses a skill at framing his shots, and using the attendant color, to create visual compositions that stand out not only as beautiful in the story's context, but also as individual images, a painterly quality that he then applies back to the work.
When Anno frames an image, the power of that specific image becomes a tool that he can later refer back to for an instantaneous emotional and intellectual response. He was especially critical of the film's entire second half, saying: It goes beyond art film and beyond anime.
And in doing so, it goes beyond the audience's capability to understand and be entertained, which defeats the purpose of something labeled as art. We've seen it all before. What we haven't seen, however, is the way the film zaps back and forth through time, slams through narrative shifts and flashes explanatory text, in billboard-sized Chinese characters, at mind-bending speed.
It's a hyper-charged phantasmagoria that defies easy comprehension, while exerting a hypnotic fascination. Watching, one becomes part of the film's multimedia data stream. Shinseiki Evangelion is looking forward, toward an integration of all popular media - television, manga, movies, and video games - into new forms in which distinctions between real and virtual, viewer and viewed, man and machine, become blurred and finally cease to matter.
O Brave New World, that has such animation in it. Patrick Macias of TokyoScope ranked it one of his 10 greatest films,  and the best anime movie of the s;  CUT film magazine ranked it third on its list of the top 30 best anime films.