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"Rei I"
Neon Genesis Evangelion episode
The scene of Shinji and Rei arguing on the escalator. The image lasts more than thirty seconds and has been analyzed by anime critics.
Episode no.Episode 5
Directed byKeiichi Sugiyama
Written byHideaki Anno, Akio Satsukawa
Original air dateNovember 1, 1995
Running time22 minutes
Episode chronology
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"Hedgehog's Dilemma" 		Next →
"Rei II"
List of episodes

"Rei I", also known by the Japanese title "Rei, Beyond the Heart",[a] is the fifth episode of the anime Neon Genesis Evangelion, which was created by Gainax. "Rei I" was written by Hideaki Anno and Akio Satsukawa, and directed by Keiichi Sugiyama. It was first broadcast on TV Tokyo on November 1, 1995. The series is set fifteen years after a worldwide cataclysm, mostly in the futuristic, fortified city called Tokyo-3. The episode's protagonist is Shinji Ikari, a teenage boy who was recruited by his father Gendo into the organization "Nerv" to pilot a giant bio-machine mecha named "Evangelion" to combat certain beings called "Angels". In the episode, Shinji tries, but fails, to connect with Rei Ayanami, a fellow pilot, who is close to his distant and cold father Gendo.

When it was first broadcast, "Rei I" scored a 7.2% rating of audience share on Japanese TV. The episode won popularity polls and was praised by critics, who appreciated the introduction of Rei's character and her mysteriousness. Scientific concepts are promoted in the episode, which contains cultural references to DNA, nitrogenous bases and wave-particle duality. "Rei I" contains references to earlier fictional works as well, such as The Andromeda Strain and Sailor Moon. The laconic attitude of Rei's character has also been linked by critics to the Japanese socio-cultural situation, in particular with the generation born in the seventies and with a martyr complex. Critics analyzed Rei's home as well, comparing it to buildings of postwar Japan. Merchandise based on the episode was also released.

Plot

Rei Ayanami, pilot of a giant mecha named Evangelion, is subjected with her Unit 00 to a test by operatives of a specialized agency, Nerv. During the test, Eva-00 malfunctions, smashing the walls and windows of the room before eventually coming to a stop. Rei's cockpit is ejected during the emergency; Gendo Ikari, commander of Nerv, runs to open the cabin to make sure of Rei's status. The pilot is fine, while Gendo burns his palm.

After some time, Shinji Ikari, pilot of Unit 01, notices that Rei is always alone at school but has smiles for his father Gendo, who instead is cold towards him. Shinji is tasked with delivering the new Nerv ID card to Rei and heads to her house. Finding the door open, the boy enters, accidentally bumping into and falling on a naked Rei, who just had a shower. Rei does not flinch and ignores her colleague when he tries to strike up a conversation with her.

Rei is subjected to a new test with Eva-00, which is interrupted by an attack by a new enemy, the fifth Angel Ramiel. Shinji exits with Eva-01 to intercept the Angel, who fires a particle cannon hitting the mecha's chest. Shinji screams in pain as Eva-01's chest begins to melt from the heat.

Production

Neon Genesis Evangelion director Hideaki Anno was stuck after writing the script for the first episode, "Angel Attack", which took half a year to complete, so he wrote "Rei I" and the sixth episode "Rei II" before the third and the fourth.[1] For production reasons, the post-recording dubbing followed the same order.[2] According to an official Neon Genesis Evangelion booklet, the fourth episode "Hedgehog's Dilemma" was once omitted in terms of the series composition and it was planned that "Rei I" would come after the third, "A Transfer".[3][4] After the battle against Angel Shamshel, Shinji would become friends with his classmates Toji Suzuhara and Kensuke Aida in the third episode, receiving a call from them. As production progressed, however, staff members said they thought there was a need to depict Shinji's relationships with the people around him after the third episode.[5][6] In 1993 a presentation document of Neon Genesis Evangelion named "Proposal" (企画書, Kikakusho) was released, with the basic plot of the episode already planned.[7] The Japanese title "Rei, Beyond Her Heart" was also planned.[8][9] Akio Satsukawa and Hideaki Anno wrote the episode;[10] Junichi Sato did the storyboards with the pseudonym of Kiichi Jinme,[11] Keiichi Sugiyama served as director and Masahiko Ohtsuku as assistant director. Shunji Suzuki worked as chief animator,[12][13] while Seiji Kio was assistant character designer.

Once the first part of Shinji's character arc was over in the fourth episode, the director decided to focus on Rei Ayanami in the two episodes that followed.[14] During the production, Anno encountered difficulties writing the character, not feeling "particularly interested" nor relating to her, but he thought of her as a representation of his subconscious. He also said that during production he forgot about her existence.[15] In the fifth episode, explicitly dedicated to her character, Rei speaks seven lines and fifty-two words.[16][17] Her storyline also changed. In the second draft of the scenario for the first episode, it was planned for Rei to rescue Shinji with an Eva. According to Neon Genesis Evangelion assistant director Kazuya Tsurumaki, the tentative plot would have given a valid reason for Shinji to choose to get on 01, thinking that Rei was hurt because of him, but the storyline was changed. A final scenario, in which Rei is injured during a botched Eva-00 test, was then considered.[18] The idea of Gendo's glasses being broken during the test was provided by Yoshiyuki Sadamoto, character designer of the series.[19]

While the scene where Shinji enters Rei's room was done in the style of Eva, the scene where Rei is described as a normal girl was done in the style of Junichi Sato, who had worked on the Sailor Moon TV series. In the meal scene between Misato Katsuragi, Ritsuko Akagi, and Shinji, Misato was represented taking inspiration from Usagi Tsukino, the protagonist of Sailor Moon. In the same scene, the graphic and humorous symbols inserted on the characters' heads were inspired by the shōjo mangas[20] and Sailor Moon.[21] Sato tried to represent the scene in which Shinji is discovered in Rei's room by imitating the style of Leiji Matsumoto. He also wanted to add more details to the description of daily life, but Anno thought it would be too long.[22] Jin Yamanoi and Yuko Miyamura voiced the unnamed Nerv technical operators, while Koichi Nagano and Hiro Yuki played two boys from Shinji's school.[17] A version of Fly Me to the Moon sung by Megumi Hayashibara, Rei's Japanese voice actress, was also used for the concluding theme.[23]

Cultural references, style and themes

"Rei I" makes reference to scientific and biological concepts. During the incident where Eva-00 malfunctioned, for example, the Nerv use a special bakelite to block the Eva,[24][25] named after the homonymous phenol formaldehyde resin.[26][27] In one scene, Dr. Ritsuko analyzes the body of the fourth Angel, Shamshel, and its wave spectrum. The words "pattern: blue" appears on her computer screen, since Angel's matter has a wavelength corresponding to that of blue light. On another screen also appears a map of human DNA, with the letters A, C, G and T, corresponding to the nitrogenous bases (adenine, cytosine, guanine and thymine).[28] According to Ritsuko, the two maps were 99.89% matched.[29] Ritsuko observed that the composition of the Angels appears to have both wave and particle properties, just as light does;[30] Neon Genesis Evangelion manga editor Carl Gustav Horn compared the data to the photons through which the electromagnetic spectrum is expressed.[31] Writers Kazuhiza Fujie and Martin Forster noticed a similarity in the wave-particle duality of quantum materials.[32] In the same scene, a "code 601" appears on the computer screen, indicating the improbability of analysis. The code is a tribute to a similar scene from the science fiction film The Andromeda Strain, based on the novel of the same name by Michael Crichton.[33]

Rei Ayanami's building has been compared to the danchi, large clusters of apartment buildings or houses typical of postwar Japan

In one scene, Gendo's glasses break and Rei keeps them with her.[34] Writer Fabio Bartoli linked the glasses to the crystal; Bartoli interpreted it as a reference to the shinjinrui (新人類, lit. "new human race"): the Japanese generation born in the 1970s, which is also known as crystal-zoku (クリスタル族, lit. "crystal tribe"), characterized by communication and social problems.[35] During the episode, the HLM neighborhood in which Rei lives is also framed, made up of identical temporary buildings.[36] Critics compared her building to the danchi, the dense, cheap housing complexes that appeared in postwar Japan, and to the character's biography, noting she's a replaceable clone.[37][38] Writer Dennis Redmond also interpreted the images of the high-tech laboratory, identified with Ritsuko, as a reflection of the social and natural history of postwar Japan.[39] Critic and philosopher Hiroki Azuma described her room as similar to a science laboratory, particularly a medical one. He likened the room to the Satyam, scientific laboratories of Aum Shinrikyō, a Japanese religious sect at the center of media attention during the broadcast of the series.[40]

Assistant director Kazuya Tsurumaki pointed out the "distant, awkward communication" between Shinji and Rei on one hand, and Shinji and his father on the other in the first episodes, describing Neon Genesis Evangelion as a story about communication.[41] In "Rei I", Shinji tries to communicate and establish a relationship with Rei, who is more emotionally attached to his father Gendo, but Rei refuses to open up to him[42][43] and does not understand the meaning of his sentences.[44] In one scene Shinji sees Rei conversing with his father, smiling and jumping like a girl in love; according to Junichi Sato and Yūichirō Oguro, editor of some of the content of the Japanese home video editions of Evangelion, this could be an excess of the animators and a misunderstanding on the part of Shinji.[22][21] In another scene on the escalator, Shinji tries to strike up a conversation and in the process criticizes Gendo, for which Rei slaps him. Kazuhisa Fujie and Martin Foster noticed that Rei slapped him "in very much the same way a mother would react to a selfish child".[45] Critics Brian Camp and Julie Davis described the escalators as a characteristic element of the series and of Anno's directional style.[46] Writer Susan J. Napier, following critic Toru Endo, interpreted the descent into the base of Nerv and the images of escalators and elevators as a "descent into the subconscious".[47] For movie critic Krystian Woznicki, the static mechanicalness of escalators is reminiscent of the beginnings of the anime medium, when stories were, to a large extent, verbal narrations.[48]

When Shinji enters Rei's room and he accidentally falls on her whilst she was naked, and in the process touches her breasts; the scene has been described as a criticism or parody of typical anime fan service.[49][50][51] According to Christopher Kay (The Artifice), Anno uses such scenes to criticize the escapism of anime fans, who take refuge in a fictional and accommodating world.[52] Noah Black (Mcccagora) also compared Rei's behavior in the episode to the "psychological isolationist theory", where a person's emotions can be shown in extreme circumstances, but they otherwise present themselves as emotionless beings in groups of people so as not to stand out and draw unwanted attention to themselves.[53] For Japanese reviewer Akio Nagatomi, her attitude reflects one of the traits of traditional Japanese society – the martyr complex – in which a person will do whatever it takes to accomplish a given task, regardless of personal consequences.[54]

Reception

"Rei I" was first broadcast on November 1, 1995, and attained a rating of 7.2% viewership on Japanese TV, the highest up to that point.[55][56] In 1996, the episode ranked fifth among "best anime episodes" by Animage magazine Grand Prix poll.[57] In 2016 "Rei, Beyond Her Heart" ranked seventh among the best titles for a Neon Genesis Evangelion episode in a Goo Ranking poll.[58]

Newtype praised the episode, describing the animation of the scene in which she smiles at Gendo as "excellent",[59] while WatchMojo included the scene in which Eva-00 malfunctioned among the notable ones in its list of best moments of Neon Genesis Evangelion.[60] Comic Book Resources's Ajay Aravind praised the scenes involving Misato's penguin Pen-Pen, placing them among the ten scenes in Evangelion that changed the anime landscape.[61] Japanese website Merumo described Shinji's concern for Rei as one of the "highlights of the episode" and the scene in which Shinji encounters Rei after her shower as "famous".[62] Critics also praised Rei's introduction and the air of mystery around her character.[63][64] Justin Wu (The Artifice) noted how in "Rei I" it is revealed that all records of Rei's past have been erased from the database of Nerv and this "generates the sense of mysteriousness surrounding the character". Wu also noted that before Evangelion, mysterious characters were people with a twisted and often tragic past, while Rei is presented as a girl with no past.[65] Animé Café reviewer Akio Nagatomi similarly appreciated its introduction of new mysteries and interactions, as "the writing seems to deliberately try to pace this interest with the level of interest generated in the audience".[64] In their book Anime Classics Zettai!, writers Brian Camp and Julie Davis described the scene in which Shinji and Rei talk on an escalator as an example of the "intricate geometric compositions" in which Neon Genesis Evangelion characters are often placed, praising the composition and the editing of the scenes of the series.[66] Philosopher Hiroki Azuma praised the depiction of her room, saying that, "Rei's solitude is grounded in a completely tactile substantiality that gives us extremely realistic images of the discommunication that children of the present face".[40] Animator Yūichirō Oguro also expressed appreciation for the character design, the animation and the work of chief animator Shunji Suzuki.[21]

In the nineteenth episode of the Claymore anime series, Raki saves Priscilla from a falling block of bricks, ending up on top of her. Raki realizes he has his hand on Priscilla's breast, and then stands up embarrassed to apologize. The scene has been compared to the one where Shinji falls on Rei in "Rei I".[67] The episode also inspired merchandise, including T-shirts[68][69] and noodles.[70]

References

  1. ^ Japanese: レイ、心のむこうに, Hepburn: Rei, kokoro no mukō ni

Citations

  1. ^ "庵野秀明 - Part II". 新世紀エヴァンゲリオン残酷な天使のように (in Japanese). Magazine Magazine. 1997. ISBN 4-906011-25-X.
  2. ^ Oguro, Yūichirō. "第34回 エヴァ雑記「第壱話 使徒、襲来」" (in Japanese). Archived from the original on 25 December 2019. Retrieved 23 July 2020.
  3. ^ Platinum Booklet. Vol. 1. ADV.
  4. ^ Poggio, Alessandra (2008). Neon Genesis Evangelion Encyclopedia (in Italian). Dynit. p. 11.
  5. ^ Oguro, Yūichirō. "第37回 エヴァ雑記「第四話 雨、逃げ出した後」" (in Japanese). Archived from the original on 10 October 2018. Retrieved 23 July 2020.
  6. ^ Eva Tomo no Kai (in Japanese). Vol. 2. Gainax. 1996.
  7. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 88. ISBN 4-04-852700-2.
  8. ^ Neon Genesis Evangelion Theatralical VHS Box Booklet (in Japanese). King Amusement Creative. 1997.
  9. ^ Evangelion Chronicle (in Japanese). Vol. 18. Sony Magazines. p. 25.
  10. ^ Poggio, Alessandra (2008). Neon Genesis Evangelion Encyclopedia (in Italian). Dynit. p. 20.
  11. ^ Porori 2009, p. 66.
  12. ^ Cannarsi 1998, p. 12.
  13. ^ Groundwork of Evangelion (in Japanese). Vol. 1. Gainax. 2000. p. 217. ISBN 4903713008.
  14. ^ "庵野 秀明 Interview". ヱヴァンゲリヲン新劇場版:序 全記録全集ビジュアルストーリー版・設定 資料版 (in Japanese). Khara. 2008.
  15. ^ Takekuma, Kentaro (1997). 庵野秀明パラノ・エヴァンゲリオン (in Japanese). Ōta Shuppan. pp. 93–96. ISBN 4-87233-316-0.
  16. ^ Cannarsi 1998, pp. 32–33.
  17. ^ a b Eva Tomo no Kai (in Japanese). Vol. 3. Gainax. 1996.
  18. ^ Kentaro, Takekuma (1997). "シンジはなぜ乗ったか（１）". Anno Hideaki Parano Evangerion (in Japanese). Ōta Shuppan. pp. 157–158. ISBN 4-87233-316-0.
  19. ^ Kentaro, Takekuma (1997). Anno Hideaki Parano Evangerion (in Japanese). Ōta Shuppan. p. 136. ISBN 4-87233-316-0.
  20. ^ Cannarsi 1998, p. 17.
  21. ^ a b c Oguro, Yūichirō. "第38回 エヴァ雑記「第伍話 レイ、心のむこうに」" (in Japanese). Archived from the original on 20 October 2019. Retrieved 23 July 2020.
  22. ^ a b "佐藤順一の昔から今まで （15）「レイ、心のむこうに」と「ネルフ、誕生」". Animestyle.jp (in Japanese). Anime Style. Archived from the original on 19 May 2021. Retrieved 19 May 2021.
  23. ^ Cannarsi 1998, p. 20.
  24. ^ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. p. 20.
  25. ^ "用語集". The End of Evangelion Theatrical Pamphlet (in Japanese). Gainax. 1997.
  26. ^ Evangelion Chronicle (in Japanese). Vol. 25. Sony Magazines. pp. 25–26.
  27. ^ "用語集". Death & Rebirth Program Book (in Japanese) (Sp useecial ed.). 1997.
  28. ^ Cannarsi 1998, p. 15.
  29. ^ Cavallaro, Dani (2007). Anime Intersections. Tradition and Innovation in Theme and Technique. McFarland. p. 56. ISBN 978-0-7864-3234-9.
  30. ^ "新世紀エヴァンゲリオン 第5話「レイ、心のむこうに / Rei I」あらすじ" (in Japanese). Archived from the original on 11 May 2021. Retrieved 10 May 2021.
  31. ^ Horn, Carl Gustav (2013). "Secrets of Evangelion". Neon Genesis Evangelion 3-in-1 Edition. Vol. 2. Viz Media. ISBN 978-1-4215-5305-4. Archived from the original on 10 May 2021. Retrieved 14 May 2021.
  32. ^ Fujie, Kazuhisa; Foster, Martin (2004). Neon Genesis Evangelion: The Unofficial Guide. United States: DH Publishing, Inc. p. 27. ISBN 0-9745961-4-0.
  33. ^ Evangelion Chronicle (in Japanese). Vol. 29. Sony Magazines. p. 20.
  34. ^ Cannarsi 1998, p. 13.
  35. ^ Bartoli, Fabio (2008). "Neon Genesis Evangelion e la Kabbalah: dal Tempo di dolore al Tempo Benedetto" (PDF). Antrocom (in Italian). 4 (1): 29–30. Archived (PDF) from the original on 22 April 2018. Retrieved 18 April 2020.
  36. ^ Porori 2009, p. 69.
  37. ^ "人間開眼──從小說與映像窺視下流日本". Sohu.com (in Chinese). 深焦DeepFocus. 9 January 2018. Archived from the original on 27 September 2020. Retrieved 11 May 2021.
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  42. ^ "アニメ「新世紀エヴァンゲリオン」の動画を今すぐ全話無料視聴できる公式動画配信サービスまとめ！". News.mynavi.jp (in Japanese). 3 March 2021. Archived from the original on 11 May 2021. Retrieved 11 May 2021.
  43. ^ "Story". Gainax.co.jp (in Japanese). Gainax. Archived from the original on 1 September 2004. Retrieved 11 May 2021.
  44. ^ Cannarsi 1998, pp. 35–36.
  45. ^ Fujie, Kazuhisa; Foster, Martin (2004). Neon Genesis Evangelion: The Unofficial Guide. United States: DH Publishing, Inc. p. 79. ISBN 0-9745961-4-0.
  46. ^ Camp, Julie; Davis (2007). Anime Classics Zettai!: 100 Must-See Japanese Animation Masterpieces. Stone Bridge Press, Inc. pp. 17–18. ISBN 978-1-933330-22-8.
  47. ^ Napier, Susan J. (November 2002). "When the Machines Stop: Fantasy, Reality, and Terminal Identity in Neon Genesis Evangelion and Serial Experiments Lain". Science Fiction Studies. 29 (88): 428. ISSN 0091-7729. Archived from the original on 11 June 2007. Retrieved 4 May 2007.
  48. ^ Krystian Woznicki (September 1991). "Towards a cartography of Japanese anime – Anno Hideaki's Evangelion Interview with Azuma Hiroki". BLIMP Filmmagazine. Tokuma Shoten.
  49. ^ Veneto, Nicole (22 February 2017). ""I Am Not a Doll": Rei Ayanami, escapism, and objectified images of desire". Animefeminist.com. Anime Feminist. Archived from the original on 25 April 2021. Retrieved 11 May 2021.
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  51. ^ Redmond 2004, pp. 134–135.
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  66. ^ Camp, Julie; Davis (2007). Anime Classics Zettai!: 100 Must-See Japanese Animation Masterpieces. Stone Bridge Press, Inc. p. 246. ISBN 978-1-933330-22-8.
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Bibliography

  • Cannarsi, Gualtiero (1998). Evangelion Encyclopedia (in Italian). Vol. 3. Dynamic Italia.
  • Redmond, Dennis (2004). The World is Watching: Video as Multinational Aesthetics, 1968-1995. Southern Illinois University Press. ISBN 0-8093-2535-7.
  • Porori, Syunsou (2009). The Essential Evangelion Chronicle: Side A. Glénat Editions. ISBN 978-2-7234-7120-6.
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