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Only three staff members from Gainax were working on the series at any given time, and the majority of the series' production was outsourced to Tatsunoko Production. [49] Starting with the sixteenth episode, the show changed drastically, discarding the grand narrative concerning salvation for a narrative focusing more closely on the individual characters. [50][51] This change coincided with Anno's development of an interest in psychology after a friend lent him a book on mental illness. [52] This focus culminated in the two final episodes which were filmed from a completely introspective perspective. [12] Necessity forced Anno to abandon the script of the twenty-fifth episode to work with a new one. [53] These episodes feature heavy use of abstract animation,[54] flashbacks,[55] simple line drawings, photographs[56] and fixed image scenes with voice-over dialogue. [57] Some critics speculated that these unconventional animation choices resulted from budget cuts,[58] but Toshio Okada stated that it wasn't only a problem of schedule or budget, since Anno "couldn't decide the ending until the time came. That's his style". [59] These two episodes sparked controversy and condemnation among fans and critics of the series. [60] In 1997, Hideaki Anno and Gainax released two animated feature films, providing another ending for the show, named Death & Rebirth and The End of Evangelion. [61] Themes[edit] Main article: Themes of Neon Genesis Evangelion The cross-shaped explosion caused by the destruction of the third Angel exemplifies the use of Christian imagery in Evangelion.

Agency for Cultural Affairs. Archived from the original on November 11, 2021. Retrieved November 11, 2021. ^ Miller, Evan (July 9, 2007). "Second Bleach Film's Title, Date Revealed". Anime News Network.

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Le final et tout ce que l'on pouvait espérer. J'ai une légère déception sur l'animation des personnages, un peu trop raide. Mais les graphismes (les décors) sont vraiment somptueux. On reconnaît bien là le style de Michel Ocelot. - Une princesse ne fait pas cela. theo V. Il aime pas les dessins Critical in the dark Tu va devoir t'y faire ! Critical in the dark et moi j'aime pas ton écriture moi! J'aime pas les dessins. Pierre C. Ouaip. Reichwein confronts the "foster parents" of Johan with the facts of his activities and warns them that their lives are in danger, but they refuse to believe him. Tenma sneaks into the library with the rifle the night before the book donation ceremony. 36"A Monster of Chaos"
Transliteration: "Konton no Kaibutsu" (Japanese: 混沌の怪物)Kōjirō TsuruokaKazuyuki FudeyasuDecember 22, 2004 (2004-12-22)February 15, 2010 Reichwein confronts Schuwald with evidence about Johan, but Schuwald refuses to take any action, already suspecting that Johan plans a take-over of his affairs. Later, Reichwein realizes that Schuwald is Johan's next target and Lunge suspects that Schuwald to be Tenma's next target, and both separately head to the library. Lotte confronts Nina at the train station about being the twin sister of Johan after reading the book that made Johan collapse. 37"A Monster Without a Name"
Transliteration: "Namae no Nai Kaibutsu" (Japanese: なまえのないかいぶつ)Atsushi TakahashiRyōsuke NakamuraJanuary 12, 2005 (2005-01-12)February 22, 2010 Nina reads the picture book, "A Nameless Monster", which triggers some memories and Nina tells Lotte that Johan is her brother.