Rei III

is the twenty-third episode of the Japanese anime television series ''Neon Genesis Evangelion'', created by Gainax. The episode was written by Hideaki Anno and Hiroshi Yamaguchi and directed by the animator Shōichi Masuo. In the episode, Rei Ayanami, the pilot of the giant mecha Evangelion Unit-00, is attacked by the sixteenth in a series of enemies of mankind called Angels, Armisael, and decides to commit suicide to defeat the enemy. Following her death, Shinji Ikari and Misato Katsuragi, the pilot of the Eva-01 and head of the strategy department of the military agency Nerv, discover thanks to Dr. Ritsuko Akagi that Rei is a series of replaceable clones.

The episode is characterised by dramatic tones, but still by a speed and dryness in the exposition of the series' mysteries. Critics also interpreted some images from the episode, including a nude scene involving Ritsuko and Rei's battle against Armisal, as sexual images of rape. "Rei III" contains cultural references to Christian iconography, quantum physics, the concept of death drive postulated by Sigmund Freud, and ''Sailor Moon'', among others.

"Rei III" was first broadcast on 6 March 1996 and drew a 6.9% audience share on Japanese television. The episode received an ambivalent reception from critics. Some of them praised Rei's true identity revelations and the action scenes; other reviewers criticized the revelations, the animation quality, and voice acting.

Plot

Asuka Langley Soryu, a pilot assigned to the giant mecha Evangelion Unit-02, sinks into clinical depression in the grip of an existential crisis. She leaves the home of Misato Katsuragi, her legal guardian, to go to the home of her friend Hikari Horaki. Asuka spends her days playing video games. Gendo Ikari, supreme commander of the special agency Nerv, is questioned by the secret sect Seele about the previous battle, in which he used a weapon called the Spear of Longinus against Seele's plans.

During Gendo's interview, the sixteenth in a series of enemies of mankind known as Angels, Armisael, is sighted. Rei Ayanami, pilot of the Evangelion Unit-00, confronts it in combat, but is violated by Armisael, who violates the Eva-00's body and sneaks into Rei's mind in the form of another self. Shinji Ikari, pilot of the Evangelion-01, goes out to rescue Rei, but is also attacked by Armisael. To kill Armisael, Rei decides to let herself explode with her Eva-00 with the Angel. After the fight, Misato tries to console despondent Shinji, who refuses her comfort.

Nerv warns Shinji that Rei has survived. Rei, however, proves unable to remember the fight, treating Shinji coldly and saying she is the third one. Ritsuko Akagi, head of Nerv's science department, is sent by Gendo to a Seele interrogation in place of Rei. Ritsuko, feeling betrayed, calls Shinji, Gendo's son accompanied with Misato Katsuragi, Shinji's guardian to explain several dark truths to Shinji and Misato about the Evangelions and Rei. They descend into the depths of the Nerv headquarters, discovering that Rei is a collection of clones with a soul that is activated from time to time and can be replaced. In her anger at Gendo out of resentment, Ritsuko destroys Rei's clones before breaking down in tears.

Production

Genesis and staff

In 1994, Gainax released an initial presentation for ''Neon Genesis Evangelion'' containing an initial synopsis of the twenty-third episode. In the original draft, the episode, initially titled , would have centred on a series of revelations of secrets about the Evangelions, true intentions of Gendo Ikari and Ritsuko Akagi and the Human Instrumentality, a project pursued by Gendo and other characters in the series to evolve humanity towards a new stage of evolution. In the following episode, , Rei's secrets would be revealed, and twelve powerful enemies called '' Apostolo'', later called Angels, would descend from the Moon. The proposal document also specified how Human Instrumentality was to free man from the curses and original sin that plague him, recreating a mentally and physically perfect being. According to ''Evangelion Chronicle'', an official encyclopaedia on the series, it is unclear whether or not such a perfect being in itself corresponds to Rei; Rei is, however, created during the preparation process for Human Instrumentality in the initial scenario, although this is not explicitly stated in the final version that was later aired.

From the earliest planning stages of the series, several mysteries about the figure of Rei were planned, but their nature changed in the course of the series. In the final version, no clear explanation is given as to the nature of the Instrumentality, but the nature of Rei and the Dummy Plug is nevertheless revealed. It was originally planned to make Rei a completely alien entity, but ''Evangelion'' staff later decided to make her at least genetically human. From the early stages, ''Neon Genesis Evangelion'' director Hideaki Anno also had the idea of presenting the death of a clone of Rei and replace her with a new Rei. The director himself compared the idea of a reset of Rei's character to a character from the ''Ultraman'' franchise, Hideki Gō; in the series ''The Return of Ultraman'' Hideki is portrayed as a character who at the end of each episode seems to change and become more connected to the members of his group, the Monster Attack Team, but with each new episode his character returns to where he started. The staff of ''Evangelion'', including assistant director Kazuya Tsurumaki, later expressed regrets about the choice to introduce a new Rei in the final episodes of the series, thinking that Rei III's character is not being explored as well as the other clones.

Hideaki Anno and Hiroshi Yamaguchi wrote the screenplay for the episode; Anno and Tsurumaki handled the storyboards. Shōichi Masuo took on the role of director assisted by Masahiko Otsuka and Ken Anso. Shunji Suzuki worked as chief animator and alongside Tsurumaki as character design assistant.

Development

As the setting for the battle against Armisael, Gainax chose a real place, the Ōwakudani Valley, already presented in the episode "Hedgehog's Dilemma". The authors' original plans called for the appearance of a ribbon-shaped enemy inspired by the Möbius strip, which later became the Angel Sahaquiel. According to Yoshiyuki Sadamoto, character designer of the series, the idea behind the Angel's design was to demonstrate how ''Evangelion'''s enemies could also have non-anthropomorphic forms. Due to the lack of resources, the proposal was later shelved; Sahaquiel's design was then modified and presented in the twelveth episode. The idea of the Möbius strip later partly flowed into the Angels Zeruel in "Introjection" and Armisael. The episode was originally supposed to be entitled "The Sickness Unto Hope, and"; the original title would have been a reference to the Japanese title of the sixteenth episode, The sickness unto death, and then..", which in turn is a reference to the essay of the same name by the existentialist philosopher Søren Kierkegaard.

"Rei III" and the last episodes of the series in general have very dark tones compared to the previous episodes. According to Japanese cultural critic Hiroki Azuma, the narrative is also much faster; Rei's battle, for example, lasts only a few minutes. Yūichirō Oguro, editor of the extra material from the various home video editions of the series, similarly pointed out that despite the various tragedies that happen to the characters, the narration of the episode is dry and without excessive drama, with a cold attitude. Moreover, during Ritsuko's scene in the Terminal Dogma, Ritsuko gives the viewer several viewers during the climax of the episode, but the information quickly follows one after the other, confusing the viewer. According to writer Emily Wati Muir, Rei's battle also has elements of several genres, fusing them: her robotic and military appearance and its connection to religion come from the mecha genre; however, the romance and her sacrifice come from the ''sekai-kei'' genre, a narrative genre in which character's emotion and action have strong consequences on the whole fictional universe.

"Rei III" and the other episodes of the second half of the series suffered considerable production problems. Due to continuous delays and a schedule that was getting closer and closer to its conclusion, "Rei III" and the following episodes were produced in a short time, resulting in a drop in the quality of the animation. After the conclusion of the first broadcast, therefore, Gainax remade the episodes involved from scratch, including "Rei III". Several sequences were redrawn and completely unedited sequences were added, to better connect with the ending and to clarify some unsolved mysteries. The extended version of the episodes, called director's cut or home video version, differs from the on-air version in several respects; Gainax first released the new footage in the movie '' Neon Genesis Evangelion: Death & Rebirth'' (1997) and later in the home 1998 ''Evangelion'' Laserdisc edition.

In the director's cut version of "Rei III", Gainax added the scene in which Gendo and Fuyutsuki discuss the death of Rei II in front of a capsule-shaped tank. The Armisael battle scene was expanded, adding a sequence in which a pile of flesh with the shapes of the Angels from previous episodes is formed from the body of Eva-00. In the director's cut version of the battle from Armisael a giant white Rei is also formed, similar to the one later visible in the movie ''The End of Evangelion'' (1997) during Human Instrumentality, while on Shinji's hand many small Rei are formed, which also represent a visual anticipation of the series finale. In the scene in which Ritsuko shows Rei's clones in the Terminal Dogma, several images of photographs and sketches are also shown in the director's cut version, showing the Second Impact and the events that took place during the creation of the Evangelion units. The images were removed in the later home video editions, including the '' Renewal of Evangelion'' edition (2003). The Japanese voice actors reinterpreted several scenes from scratch for the director's cut version. Kotono Mitsuishi, Misato Katsuragi's performer, gave a more mature setting of her character than in the television version. According to the official liner notes of the series, this change could be due to Mitsuishi's career; after ''Evangelion'' she went from comic roles like ''Sailor Moon'''s Usagi Tsukino to more serious and mature characters, such as in ''Sentimental Graffiti'' or ''Crayon Shin-chan''. Miki Nagasawa, voice actress of Maya Ibuki, also gave a more mature approach to her character. Megumi Hayashibara, voice actress of Rei, dubbed the scenes of Rei agonising during the battle again, giving a more resolute tone for Rei compared to the emotional voice from the television version.

Cultural references

In the first scene, coffee cans of UCC Coffee are framed, a real existing brand that has was already present in ''Gunbuster'', an earlier work by Anno and the Gainax studio. In the scene where Asuka plays video games in Hikari's house, Seca games are seen instead; the brand is a reference to Sega, one of ''Evangelion'''s main financiers. In "Rei III", various scientific concepts, such as cloning, and religious concepts are mentioned as well. From the Seele dialogues, it is revealed how the attacks of the Angels were prophesied in ancient documents called the Dead Sea Scrolls. Their names are revealed, all of which can be linked to angels from ancient Judeo-Christian angeological traditions, particularly the Book of Enoch. Seele also claims that eight Evangelion units have been completed and four more remain, making a total of twelve. This number is a reference to the twelve Apostles. According to French writer Virginie Nebbia, Armisael's form is a reference to the traditional Christian iconography of angels; whereas the previous Angel, Arael, represented the luminescent wings of the Christian angels, Armisael represents the halo A halo is also visible in the sequence in which Eva-00 transforms into a giant human figure before exploding.

In the scene in which Ritsuko takes Misato and Shinji to the depths of the Nerv headquarters, a double helix-shaped lift is visible. The same double helix shape can be found in Armisael's early form, similar to the structure of DNA, and in the spear of Longinus, a weapon mentioned by Seele used against Arael in the previous episode. The very name of Central Dogma, a section of the headquarters, comes from the molecular biology concept of the same name. When Ritsuko shows Misato and Shinji the room in which Rei was born and the room in which she was the first to grow up, the words top, bottom and strangeness are visible on the walls. The three terms come from quantum physics, referring in particular to quarks. The room also has the seven eyes of Seele emblem on it, a symbol referring to the seven eyes of the Lamb of God from the Book of Revelation.

A few sequences later, Ritsuko also mentions the Guf Chamber, briefly mentioned in the first director's cut scene of the twenty-first episode, saying that Rei's soul was the last soul to leave the Guf, which was empty during Ayanami's creation. In Jewish mysticism, the Guf (Hebrew for "body") is a portion of the Heavens in which the souls are supposed to inhabit before their earthly incarnation. According to a legend, when this room will be empty, the world will end. According writer Kazuhisa Fujie, from the informations given by Ritsuko and other scenes of the series, two Guf's cambers exist in ''Evangelion''. One Guf's chamber was opened by Adam during Second Impact, while the other is opened by Lilith during Third Impact. The Guf is mentioned again in ''The End of Evangelion'' during Third Impact as "the door to the beginning and the end of life" when holes open on the body of the Angel Lilith and human souls return to where they came from; in the original storyboard for the movie the term actually indicates Lilith's holes on the hand, known as stygmata.

The introspective scene in which Rei confronts Armisael is a reference to a similar introspective sequence presented in the 151st episode of ''Sailor Moon SuperS'', the fourth season of ''Sailor Moon'', a series Hideaki Anno worked on as animator. In the same sequence, a piece of the soundtrack called "Thanatos" can be heard, in reference to the Greek deity of death of the same name; according to Sigmund Freud's psychoanalytic theory, Thanatos is a violent and self-destructive drive present in all human beings. In the scene in which Ritsuko destroys Rei's clones, a MessagePad on which "Destrudo Release" is written is also visible; the term destrudo refers to the destructive drive of the same name postulated by Edoardo Weiss, another exponent of Freudian psychoanalysis. Virginie Nebbia has compared the image of the aquarium containing Rei Ayanami's various soulless clones to a scene in the manga ''Bio City'' by Daijiro Morohoshi; in ''Byo City'', the protagonist has a vision of a collective consciousness that wants to encompass humanity, graphically represented as a multitude of women with identical faces arranged as if in a tank. In the course of the episode, a graveyard-like place is also framed with several carcasses of prototype Evangelion units that failed during their development; according to Nebbia, this idea had already been presented by Anno in his previous TV series, '' Nadia: The Secret of Blue Water''. In the director's cut version, the Evas greveyard has the shape of a Jewish Tree of Life, or Tree of ''Sefirot''. Kazuya Tsurumaki and Yoshiyuki Sadamoto in an interview also associated the figure of Rei, who is genetically human and Angel together, with Go Nagai's ''Devilman'' protagonist Akira Fudo, a character who is also a hybrid, half demon and half human.

Analysis and themes

According to Anime News Network's editors Paul Fargo and Allen Divers, "Rei III" follows in the wake of the previous episodes of the series, and thus belongs to a particularly dramatic and tragic story arc; in this story arc, the past and motivations of Asuka, Rei and Ritsuko are explored and revealed in highly dramatic tones. The Japanese title, "Tears", could refer to Rei's tears, but also to those of Ritsuko, Misato facing the Eva-00 explosion, Ritsuko's grandmother for the death of her cat, or those of Asuka, who cries in front of Hikari. Ritsuko is esamined by Seele and remain shocked to discover that she is a substitute for Rei. After being freed she takes her revenge on Gendo by showing Shinji Rei's secret and destroying all her remaining clones; like her mother, Naoko, Ritsuko lets her feminine nature prevail over her professional nature as a scientist. Shinji stands petrified in front of the weeping Ritsuko, feeling pity for the woman and hating his father even more.

The nature of Evangelion units and mysteries about ''Evangelion'' plot are also explored. Destroying Rei's clones, Ritsuko explain the Second Impact calling the first Angel Adam "God"; Ritsuko also reveals that the Evangelions are human beings, and that the Evas, who originally have no souls, need "recovered" human souls to work, as foreshadowed during Shinji's recovering plan in the twentieth episode. In the director's cut version of the episode, many images are visible during Ritsuko's monologue, including a frame showing the Angel Lilith merged with Unit-01.

Asuka, having fallen into depression and realised she is useless, never meets the gaze of other people, and refuses to look even her friend Hikari in the eye. Misato shows a cold attitude at the sight of the Angel Armisael, maintaining a certain distance towards Nerv. Misato feels anger towards the organisation, because she is left in the dark about many things. After Rei II's death, Misato enters Shinji's room, and attempts to console him by holding out her hand; Shinji rejects Misato's touch, telling her to stop. According to Virginie Nebbia, Misato attempts to console Shinji sensually, offering him an adult relationship, and this then connects to ''The End of Evangelion'', in which Misato kisses Shinji. The official filmbooks on the series offer an explanation of the scene, saying: "Misato stretched out her hand to Shinji. At this time she may have intended to offer her body to comfort Shinji. However, this was merely substitutive behaviour to assuage her loneliness". According to the ''Evangelion Chronicle'' encyclopedia, Misato is rejected by Shinji because she only tries to use him as a distraction, and Shinji "is sensitive to this kind of deception".

Rei's identity

"Rei III" represents the conclusion of an trilogy dedicated to Ayanami's character, which began with the fifth and sixth episodes, entitled "Rei I" and "Rei II". The episode focuses in particular on the true nature of Rei, who turns out to be a clone. The first Rei, introduced in a flashback from the twenty-first episode, turns out to be the first clone; the Rei who dies against Armisael is the second, and the new Rei who appears after Armisael's battle in "Rei III" is the third clone. All the clones that Ritsuko reveals are kept in the Terminal Dogma are soulless puppets; only one Rei at a time has a soul, and the soul upon the death of an active clone is then transferred to another. The book ''Evangelion Glossary'', published by Yahata Shoten, noted how the different Rei clones differ due to different environments and experiences. According to ''Animedia'' magazine, despite the revelation about Rei's true identity the series still leaves open questions, but several clues suggest that Rei is a clone of Yui Ikari. According to writers Kazuhisa Fujie and Martin Foster, this would explain her feelings of affection towards Shinji, a reflection of Yui's maternal love. For the series' filmbooks, this revelation also shows the reason for the name of Eva's pilots; in the original Japanese, the pilots are called "Children", keeping the plural in the case of a single subject, a foreshadowing of Ayanami's various clones. Rei also reveals to be aware of her clone status, while Seele is unaware of it.

According to Anime Feminist, her nature as a clone could be the cause of Rei's poor health, who takes several pills during the series and who in ''The End of Evangelion'' has a dismembered body, unable to keep her form. ''Schizo Evangelion'', a book containing several interviews with the staff of the series, describes Rei as a representation of the concept of motherhood and as a "slave", an "oppressed life born of violence", a child who was hopelessly abused before she was even born, a sad person "who cannot kill herself even if she wanted to". Kaichiro Morikawa, noting how Rei is presented in "Rei III" covered in bandages as in the first episodes of the series, pointed out that the bandages are a stylistic and design element, not an actual medication; according to Morikawa, they do no represent Rei's psychic wounds, rather than her role as a warrior.

According to Virginie Nebbia, the functioning of the individual minds of the clones remains a mystery, but there seems to be a back up of Rei's memory; the back up, however, is not about feelings, or perhaps only unconsciously, as evidenced by Rei's behaviour in front of Gendo's glasses. Rei III sees Commander Ikari's old glasses, which Rei II has guarded in her home since the beginning of the series; Rei III tries to break them, but starts to cry, revealing that it is an emotionally important object. Fabio Bartoli also noted how after Rei III's birth, the glasses reflect an increasingly intense light. Rei III according to Anno demonstrates in that scene that he still has the memories of Rei's previous clones. Trying to break the glasses held by the previous Rei, who was obsessed with Gendo, Rei III tries to metaphorically break that bond.

"Rei III" presents rebirth through the birth of the third Rei, a recurring ''Neon Genesis Evangelion'' theme. Writer Dennis Redmond, on the other hand, interpreted the cloning of Rei as a metaphor for modern capitalism; according to Redmond, "Rei III" also "turns the android and cyborg narratives of the 1980s against themselves". Academician Stevie Suan noted how Rei's soulless clones smile, something Rei in the series rarely does. Japanese academic Kaichiro Morikawa compared the aquarium in which the clones are kept to ''The Physical Impossibility of Death in the Mind of Someone Living'' artwork by Damien Hirst, which consists in a preserved tiger shark in formalin in a glass-panel display case. Academician Fabio Bartoli has linked the triad of Rei clones to the three stages of the soul postulated by the Jewish Kabbalah. Rei I would represent ''Nephesh'', the vital and biological breath; Rei II represents ''Ruach'', the raising of man from his purely biological aspect and the distinction between good and evil; and ''Neshamah'', the fruit of the connection between God and man.

Armisael's battle and sexual imagery

During "Rei III", the second Rei makes contact with an Angel, Armisael. Armisael's behaviour, like Leliel with Shinji in "Splitting of the Breast" and Arael in the previous episode, would suggest that the Angels are curious about humans and their feelings. Arael violated Asuka's psyche in "Don't Be", while Armisael violates Rei's body. Armisael seeks first-degree contact with an Eva pilot; in the following episode, the Angel Tabris attempts first-degree contact with Shinji, but Shinji initially rejects him, as Tabris himself points out when touching Shinji's hand. For Nebbia, the form of Armisael and Arael also reflects a change in the design of the enemies; in previous episodes they were similar to the giant monsters of Japanese cinema, known as ''kaiju'', whereas now their appearance is symbolic.

Armisael attacks Eva-00 on the basis of the knowledge gained from his predecessors, Arael and Leliel; this suggests that the Angels are interconnected and gradually acquire intelligence. The confrontation also emphasises how the differences between Angels and humans are minimal. The official filmbooks on the series emphasised how Rei's mind feels both pain and pleasure during the fight. According to Anime Feminist, the battle also presents the image of rape towards Rei; the Seele's interrogation of Ritsuko, in which Ritsuko is seen naked in front of the Seele members, could also suggest that Ritsuko was raped during the interrogation. According to ''Fangoria'' magazine, Rei demonstrates a stoic attitude towards the enemy, and there is an element of body horror in the battle.

Rei, unlike Asuka, argues on equal terms with an Angel, responding firmly and demonstrating great mental strength. In the deep layer of her consciousness, Rei comes to terms with her inner self and faces the deep loneliness of her heart. Rei therefore unconsciously begins to cry. As in "Splitting of the Breast", in which Shinji confronts another younger Shinji, Rei confronts herself. Rei argues with Armisael, who is half-immersed in an orange liquid similar to the one leaking from the Angel Lilith, believed to be Adam, kept in the deepest layers of Nerv. Rei ask to Armisael "Who are you? An Angel? The person that we call an Angel?", thus recognizing Angels as people.

Armisael speaks to her gently, using words that come from Rei's unconscious mind. Armisael approaches Rei asking "Won't you become one with me?", a question echoing a scene from the twentieth episode. Once Rei is awakened, Armisael attempts to join Shinji and Eva-01. Rei realises that Armisael's actions against Shinji are a reflection of her unconscious desire for Shinji. Rei understands that she wants to become one with Shinji, and realises the changes that have taken place throughout the series in her psyche. Through her interaction with Shinji in previous episodes Rei has acquired human emotions, a clear will and a sense of Self. By shedding tears she also realised that she is human. Comic Book Resources noted that Rei's emotional range is "overt and palpable". Academic Gabriel Tsang described Rei's subsequent decision of killing herself and "her willingness to sacrifice" as a rapresentation of "personal freedom". Megumi Hayashibara, Rei's Japanese voice actress, also stated that: "When she cried, it meant the waters of the pool were coming out at last. The struggle to draw your feelings forth, the reconciliation between your surface and your death - that, I believe, is where we truly become alive, truly become human begins".

Reception

"Rei III" was first broadcast on 6 March 1996 and drew a 6.9% audience share on Japanese television. In July 2020, Comic Book Resources reported an 8.6/10 rating for the installment on IMDb, making it the fifth-highest-rated ''Evangelion'' episode. Merchandise based on the episode, including a line of official tee-shirts, have been released. Japanese television station TV Asahi published a ranking of the 100 most significant scenes in the history of animation; Rei's suicide scene managed to reach 53rd position. Rei's suicide reappeared in another ranking by the broadcaster, in a survey of the most touching scenes in Japanese animation, in which it achieved ninth place.

"Rei III" had an ambivalent reception from anime reviewers. Digitally Obsessed's Joel Cunningham gave "Rei III" a positive review for its "startling revelations" about Rei and Gendo, describing its ending as an "note perfect, the best moment in the series thus far". Akio Nagatomi of The Anime Café criticized the use of recycled animation, like the launches of the Eva units or Rei's bandage as in the first episodes of the series, but still praised its "above average" direction and "a strangely captivating character" in the form of Rei. Nagatomi also prayed Megumi Hayashibara for having "skillfully portrayed" Rei, but criticized Yuriko Yamaguchi's role as Ritsuko; according to him, Yamaguchi "pulls off the detached, professional persona extremely well", but described Ritsuko's broken and fragile side as "a classic (and painful) example of over-acting". Kenneth Lee of Anime News Network negatively received the revelations about Rei's true identity and her death as a "monumental failure in character development". According to Lee, the premise of a dummy shell character gaining a soul "could had an entire series devoted to it", but Rei's character potential is wasted. '' Science Fiction Weekly''s Tasha Robinson, on the other hand, expressed appreciation for the character's conclusion, "whose bizarre nature finally comes clear in a typically understated Anno way that explains everything while still leaving a great deal to the imagination". Film School Rejects' Max Covill also gave a positive review, praising it for its "spectacular visuals" and the climax "massive payoff".

The action element, the episode dark tone and revelations have been particularly praised by the critics. Screen Rant ranked "Rei III" ranked it among the best ''Neon Genesis Evangelion'' episode, praising for its darkness, as it "marks the beginning of the downward spiral into madness that is the series' finale". The same website also ranked Rei's battle against Armisael second among the best battles from the show. Fangoria described the whole sequence as one of the most "viscerally unpleasant" of the franchise. Yahoo similatly ranked "Rei III" among the best ''Evangelion'' episodes. Comic Book Resources described Rei's battle as one of the best ''Evangelion'' fight scenes; it also mentioned Rei's death and revelations among the times when ''Evangelion'' "was too disturbing for its own good".

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{{Neon Genesis Evangelion

1996 Japanese television episodes
Neon Genesis Evangelion episodes
Science fiction television episodes