And so two years fly by, delivering Evangelion 2.0 to the polarized masses. Is it the final nail in an enduring cultural milestone’s coffin? Could these new films in fact be anime’s equivalent of the Star Wars prequels? Or perhaps even the heralding of a more complete version of a legendary “incomplete” series? Well it depends on what you as a viewer want out of EVA. In most respects it is very much a Summer Blockbuster version of Anno‘s classic, with leans more toward the elastic weirdness of Tsurumaki‘s stylings. This might be the foremost clue for those keeping score with GAINAX over the last several years. And if one is familiar, then it may be more apparent of what type of sequel this is. Continuing off of the previous film which was a streamlined, “pumped” version of the tv series’ first six episodes, 2.0 dares to dash away expectations and offer eye-bursting spectacle instead of pointed human drama. Part Gurren Lagaan/Diebuster, part Michael Bay headache-fest, and part Anno music video, the film is akin to a regrettable trip to the candy store. (To partially quote Dr. Evil – “An Evil Candy Store?” Err..yeah.) One may get the feeling of satisfaction, but is left with merely a promise and a nagging toothache.
Raki finds Rei Ayanami at an abandoned station, with texts explaining and highlighting stuff plus strange imageries with sappy piano music playing in the background to heighten the mood.
The director for Pani Poni Dash and Zetsubo Sensei is assisting this time and I frowned as I looked at some of the image switches and wondered about their meanings.
Confused? So was I.