Evangelion episode 4 bitchute full#
Evangelion episode 4 bitchute series#

That sense of isolation, and the claustrophobia and paralysis it induces, are central to the emotional states of Evangelion вЂ™s characters. Many of these shots capture moments of descent - Rei and Asuka in the elevator, Misato and Ritsuko taking the escalator down to NERV headquarters, Shinji and Kaworu falling toward Central Dogma. When Rei and Asuka are in the elevator, they, too, are trapped, forced to share space until it becomes unbearable. In the shot of Misato being interrogated by SEELE, sheвЂ™s held captive by both her superiors and the camera, trapped motionless under the spotlight until the scene cuts away. Many of the long, static shots in Evangelion - essentially, single drawings with voiceover - are, accordingly, used not just to fill airtime, but to say something about whatвЂ™s happening on the show. But when dealt with effectively, these limitations say something about what the medium does at its best. In anime, production issues often necessitate reusing animation, whether thatвЂ™s in the form of extended powerup sequences on Dragon Ball Z or full-blown recap episodes, which reuse material to catch the viewer up on stuff theyвЂ™ve already watched.

Evangelion episode 4 bitchute full#

This isnвЂ™t a full explanation for why so much television thrives on sustained character study (i.e., stories that often happen on the level of the face), but it is certainly a big part of the story, and part of what enables creators to understand what works and doesnвЂ™t work within their chosen medium. Consider the necessity of frequent close-ups in live action TV, which are often required because theyвЂ™re easier to shoot on a faster timetable. This isnвЂ™t a bad thing - in fact itвЂ™s often, if not always, what defines great works of art.

Lost In The Sauce (LCL)ДЄny cultural production has to work around some degree of limitation. Beyond the ever-present pressure to meet deadlines in animation, there were AnnoвЂ™s own neuroses, as well as the 1995 gas attack on the Tokyo subway, which forced Gainax to scrap some planned material. That makes sense - the production of Evangelion was notoriously fraught, with the studio running low on money to pay animators and time to finish the episodes on schedule, a crunch that only got worse toward the end.

Evangelion episode 4 bitchute series#

Notably, all three of these shots come from the last third of the series (episodes 17, 22, and 24 respectively). And in perhaps the most infamous case, one of the last episodes features a shot of Shinji holding Kaworu in the enormous hand of EVA-01, working through his new friendвЂ™s request - to be killed. Another episode spends several minutes holding on Rei and Asuka awkwardly ignoring each other in an elevator. But over the course of the month or so I spent watching the series, one thing I had not known struck me repeatedly: Evangelion is full of long, static shots that are functionally single cels of animation.Д¬onsider a few examples: One episode opens with a shot of Misato, rendered as a silhouette illuminated by spotlights, being interrogated by the faceless council of SEELE. I knew a few things about Evangelion when the series began streaming on Netflix earlier this summer: I knew the broad outlines of the showвЂ™s plot, I knew a few of the themes that seemed to resonate with its fans, I knew that the ending was, to put it lightly, controversial.

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ItвЂ™s also a stylistic decision made of necessity, because there just wasnвЂ™t enough money or time to show everything else. But these outbursts are few and far between compared to moments of silence, contemplation, and simple day-to-day interaction between the characters.Д®vangelion вЂ™s sense of quiet unrest threatening to consume an otherwise lively setting is thematically resonant: The robot fighting is, in many ways, a Trojan Horse, allowing Studio Gainax and series creator Hideaki Anno to explore the way his broken characters think about their lives, their choices, and their relationships with others. And sure, one of the charactersВ (probably Asuka) might yell at someone, exploding in a fit of pique. Sure, the series occasionally erupts into a massive, city-leveling fight. For a show about angst-ridden, volatile teenagers piloting enormous cyborgs through a series of cataclysmic battles, Neon Genesis Evangelion is remarkably calm.