Japanese animation is a profound example of how cultural exchange can inform and evolve the aesthetic style of art for a society. The history of this media demonstrates a profound interest in utilizing the unique technical characteristics of Japanese form which resulted in the development of a wholly new style of art. The influence of western styles is evident in this development, however, there are specific traits which have evolved in order to become the unique characteristics of the Japanese form. In looking at these characteristics through the lens of the anime “Neon Genesis Evangelion” a better understanding of how these aspects translate into a watchable experience can be established.
While Japanese animation or “anime” has been around since the early twentieth century, it took it did not take its modern form until decades later, during the 1960s. It was at this point that it began to have the distinctive characteristics that are evident in the genre today. These characteristics can be seen to be highlighted in the visual and auditory elements that are presented within the medium. In order to better understand these aspects of technical achievement it is necessary to consider the historic context in which the style arose. In looking at the anime Neon Genesis Evangelion within the context of Japanesse animation history the various aesthetic components that have evolved from that history should be examined. This presents the need to establish the show in relation to the social and cultural context from which it evolved.
The origins of anime and the evolution of its style demonstrate the importance of specific aesthetic characteristics. One of the most distinctive aspects of anime is that it is often indistinguishable from western cartoons. Despite the differences in cultural content, many of the techniques and methods used in its creation are familiar. This is due to the fact that early Japanese animation was heavily influenced by western art. The commercial success of companies such as Disney saw the dissemination of animation styles throughout the international communities. The western style of animation was therefore adopted early on by Japanese artists. However, this style would soon transform into the unique and distinguishable animation known that is known today. These styles, as will be seen, present essential aesthetic characteristics that are evident in the creation of Evangelion.
It was the Japanese artist Osamu Tezuka that utilized various techniques borrowed from the animation style of Disney in order to create the now easily recognizable “big-eye” style of anime which has since been a major staple of its design. By utilizing this method, the characters were able to be made to express a higher level of emotion. This was necessary in the evolution of the underlying themes that many anime were built upon. The inclusion of other distinctly Japanese characteristics, such as keeping emboldened lines and much more adult themes than their western counterparts, worked to further set the style apart. While, early on, these adaptations were considered to be somewhat crude compared to more traditional forms of art, the style of anime has continued to develop into a sophisticated and original genre.
At this point in its development, anime began to take on a distinctive style of its own. These styles can be seen within the art style of Evangelion. However, in order to better understand the underlying themes of the show it is necessary to obtain an objective idea of the capacity for anime to instill deeper levels of consideration in the viewer. One essential aspect of anime that developed at this point is that it began to present a variety of viewpoints. The growing social boundaries and international relations that Japan was going through during this period demonstrates an essential point in its evolution. This would ultimately result in new and original ideas being presented within the series that came out. Anime can be argued to create “novel ways to think through issues of identity, exchange, and politics” (Lu 183). This is primarily due to the established values that were associated with the media and the growing internationalism that anime itself was beginning to exemplify. This understanding will allow for the argument that the aesthetic methods used in anime can help to inform the viewer of the social and cultural values of its creators. Anime can therefore help to “enable different cultures to interact with and better understand each other” (Lu 184). These values are evident within Evangelion, however there were a variety of circumstances that were necessary in order for the aesthetic preferences evident in the show to be developed.
Beginning in the 1960s, producers of Japanese anime began to incorporate non-traditional, western, themes into their creations as well. The inclusion of a variety of different philosophic, political, social, and technological values began to see the establishment of a profoundly deeper form of animation. This, alongside the mixing of artistic techniques, has resulted in a unique blend of characteristics that seem to transcend nationality. However, despite this popularity, the adult themes that were often expressed in Japanese animation caused many of the series that would have otherwise been brought to the United States to be banned. This is due to the fact that Japanese anime “began to expand into other genres and ratings just as live action film in America” (Chambers 96). The ubiquitous nature of the art form and the values held by those creating new works resulted in anime becoming a medium for a variety of different genres, from fiction to non-fiction. This resulted in anime being generalized as having graphic content, as many were adult themed and contained violence. This would cause anime to be largely rejected by mainstream American audiences during the 1970s. However, within the next decade this would dramatically change. Anime had a revival and “subsequent success in the United States during the 1980s” (Chambers 96). While, since its inception, anime had been exported throughout the international community, it was not until the 1990s that it began to become take on its own cultural identity. This revival is fundamentally expressed in the success of Neon Genesis Evangelion.
One of the most overt aspects of Evangelion is its capacity to incite dialogue and critical inquiry. It contains a variety of religious themes and expresses a mythology that is largely derived from existing sources. Furthermore, the explorations that are present within the series demonstrate a profoundly emotional experience. The presentation of the characters and the struggles and challenges that they go through present a particular cultural aesthetic. The Anime can therefore be said to be “characterized by particular modalities of perception and reception and by an original take on philosophical and societal issues” (Cavallaro 2). This is exemplified in episode 26, in which Shinji begins to discuss his emotional state with Rei and Kaworu. These discussions are framed in relation to a grand struggle between life and death. The show demonstrates a “human concern with the coexistence of alternate and interpenetrating dimensions” (Cavallaro 4). These dimensions can be better understood in relation to the visual and auditory aesthetics that are present in the anime. In assessing these elements it is necessary to take part in “reflection and speculation are the activities invoked by the experience” (Cavallaro 11). An essential characteristic of anime is that it relies heavily, at times, on the relationship between audio and visual experience. It is fundamentally concerned with the capacity of the work to illicit specific emotions in its viewers. In this way, anime is often primarily dependent upon “the environmental, atmospheric, and and seasonal properties” which often have a profound impact on what is termed the story's “emotional drift” (Cavallaro 12). In order to understand the impact of this experience it is necessary to better understand how these elements work together in order to create a more cohesive experience. In manipulating the various perceptual capacities of the media creators of anime can effectively produce works that do so in a much deeper way. Anime seeks to “engage with the characters' fluctuating emotions” in order to better structure the narrative towards the “ongoing genesis of plot ramifications” (Cavallaro 12). Analysis of the aesthetic elements of music and line that are present within Evangelion can help to provide insight into how these are used in order to develop the story in a more personal way. The conflicting and tenuous nature of the art is able to celebrate the imperfections of everyday life while still attempting to strive for a higher purpose. This is pursued by “harmonizing the prosaic and the extraordinary, the earthbound and the transcendental” (Cavallaro 13).
Episode 26 of Egangelion has Shinji, along with everybody else on Earth, fading into a single consciousness. This causes him to fundamentally question his identity. The aesthetic preferences evident in Evangelion can be assessed in relation to the events that unfold in this episode. Multiple characters are present in this episode as he seeks an explanation for his being. This expression of longing for purpose coincides with an intricate interplay between visual and musical presentation. This is achieved through due to the potential of anime to achieve this level of artistic insight. Anime in general is able to develop a geometrical analogy “connecting drawn and musical lines into the realm of solids” (Cavallaro 193). Evangelion is able to execute this within the final episode through the implications of Shinji's inability to come to terms with himself. The emotional representation in the scene is evident, as expressed in the evocative animation and the tension created by the use of repetition. Furthermore, the music works to instill a sense of vibrancy in the work, evoking it with life. It is therefore able to demonstrate the “symbiotic relationship between music and the visual arts” (Cavallaro 202). This relationship is an essential characteristic of anime in general. The history of anime's development demonstrates its capacity to generate deeper modes of thought and illicit strong emotional reactions. Within episode 26, this is used to great effect. Evangelion has been described as a “minimalist animation emphasizing the aliveness of the line itself” (Cavallaro 211). The development of characteristics surrounding the placement of emotive concepts demonstrates this capacity. As Shinji is about to fade to nothingness, fine with being relegated to nothing, the cello lessons that he took come to mind. This connection between visual and music causes a break in the scene in which it is shown that, deep down, he is afraid of connecting with others. This combination of color and line contrasting with the musical and visual interplay represent “a vision of humanity which feels estranging and yet disquietingly familiar at one and the same time” (Cavallaro 211). At this point, Shinji floats in nothingness and must contend with his inner emptiness. Shinji realizes that he still feels nothing, despite there not being any objects for him to feel anxious about. As Gendo enters the scene it is demonstrated that his interaction with another is able to free him from nothingness. This essentially allows him to define his reality, giving life to the void. This is depicted within the episode as the world around him springs to life and the music turns to a more welcoming tone. The designs represent “the interdependent concepts of imagination and creativity from a distinctive aesthetic perspective” (Cavallaro 215). Shinji's world is remade in the best way possible as he overcomes his sorrow. The use of line and color spring to life as the music and art create a whole new world. At the end of the story, “fluid words are conjured and life stories themselves are relentlessly made in images” (Cavallaro 216). Shinji's reality is fundamentally altered.
Works Cited
Cavallaro, Dani. Anime and the Visual Novel: Narrative Structure, Design and Play at the Crossroads of Animation and Computer Games. McFarland. 2009. Print.
Cavallaro, Dani. Art in Anime: The Creative Quest as Theme and Metaphor. McFarland 2011. Print.
Chambers, Samantha Nicole Imez. Anime: From Cult Following to Pop Culture Phenomenon. The Elon Journal of Undergraduate Research in Communications. Vol. 3. No. 2. 2012. Print.
Lu, Amy Shirong. The Many Faces of Internationalization in Japanese Anime. Animation: An Interdisciplinary Journal. Vol. 3. No. 2. 169-187. 2008. Print.
