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The Second Try
The Second Try Jimmy Wolk Chapter I: The 12th Shinji Ikari, Third Children and designated pilot of Evangelion Unit-01, had just reached a new sync- ratio record. And as Rei Ayanami suspected, the former holder of this record, known as Asuka Langley Soryu, wasn't very pleased with this. So she didn't pay much attention to the rants of the Second Children, who made obviously ironical statements about the 'great, invincible Shinji' while holding herself; swaying in front of her locker. Instead, Rei finished changing from the plugsuit the pilots were supposed to wear during their time in the entry plugs of the EVAs or the test plugs, into her casual school uniform. As soon as she was done, she went silently for the door of the female pilots' changing room, whispered "Sayonara" and left. With the First Children gone, Asuka could finally release all the feelings that tensed up the last hours in a powerful... ...sigh. She still had problems to play this charade in front of everyone, and it seemed to only grow harder. She wasn't sure if she would be able to keep it up much longer at all. Not while these thoughts disturbed her mind; thoughts of all the things that happened... or will happen soon. Lost in her worries, she failed to notice someone entering the room, sneaking up to her and suddenly embracing her from behind; encircling her arms with his own. She tensed up noticeably as she felt the touch, even though (or maybe just because) she knew exactly who the stranger was. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Viewed and Discussed in Wired Magazine (Horn), Japan's National Newspaper the Daily Yomiuri (Takasuka),And the Mainichi Shinbun (Watanabe)
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 You Are Not Alone: Self-Identity and Modernity in Neon Genesis Evangelion and Kokoro Claude Smith III Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ASIAN STUDIES YOU ARE NOT ALONE: SELF-IDENTITY AND MODERNITY IN NEON GENESIS EVANGELION AND KOKORO By CLAUDE SMITH III A Thesis submitted to the Department of Asian Studies in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Thesis of Claude Smith defended on October 24, 2008 . __________________________ Yoshihiro Yasuhara Professor Directing Thesis __________________________ Feng Lan Committee Member __________________________ Kathleen Erndl Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii My paper is dedicated in spirit to David Lynch, Anno Hideaki, Kojima Hideo, Clark Ashton Smith, Howard Phillips Lovecraft, and Murakami Haruki, for showing me the way. iii ACKNOWLEDGEMENTS I would like very much to thank Dr. Andrew Chittick and Dr. Mark Fishman for their unconditional understanding and continued support. I would like to thank Dr. Feng Lan, Dr. Erndl, and Dr. Yasuhara. Last but not least, I would also like to thank my parents, Mark Vicelli, Jack Ringca, and Sean Lawler for their advice and encouragement. iv INTRODUCTION This thesis has been a long time in coming, and was first conceived close to a year and a half before the current date. -
Yoshioka, Shiro. "Princess Mononoke: a Game Changer." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
Yoshioka, Shiro. "Princess Mononoke: A Game Changer." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 25–40. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781501329753.ch-001>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 01:01 UTC. Copyright © Rayna Denison 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 25 Chapter 1 P RINCESS MONONOKE : A GAME CHANGER Shiro Yoshioka If we were to do an overview of the life and works of Hayao Miyazaki, there would be several decisive moments where his agenda for fi lmmaking changed signifi cantly, along with how his fi lms and himself have been treated by the general public and critics in Japan. Among these, Mononokehime ( Princess Mononoke , 1997) and the period leading up to it from the early 1990s, as I argue in this chapter, had a great impact on the rest of Miyazaki’s career. In the fi rst section of this chapter, I discuss how Miyazaki grew sceptical about the style of his fi lmmaking as a result of cataclysmic changes in the political and social situation both in and outside Japan; in essence, he questioned his production of entertainment fi lms featuring adventures with (pseudo- )European settings, and began to look for something more ‘substantial’. Th e result was a grave and complex story about civilization set in medieval Japan, which was based on aca- demic discourses on Japanese history, culture and identity. -
Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Tsukuba Repository 〈Articles〉Beyond 2015 : Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion 著者 TSANG Gabriel F.Y. journal or Journal of International and advanced Japanese publication title studies number 8 page range 35-43 year 2016-03 URL http://doi.org/10.15068/00146740 © 2016 Journal of International and Advanced Japanese Studies Vol. 8, February 2016, pp. 35–43 Master’s and Doctoral Program in International and Advanced Japanese Studies Graduate School of Humanities and Social Sciences, University of Tsukuba Article Beyond 2015: Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion Gabriel F. Y. TSANG King’s College London, Department of Comparative Literature, Ph.D. Student Generally categorized as low art, Japanese manga and anime draw insufficient overseas critical attention, regardless of their enormous cultural influence in East Asia. Their popularity not simply proved the success of cultural industrialization in Japan, but also marks a series of local phenomena, reflecting social dynamicity and complexity, that deserve interdisciplinary analysis. During the lost decade in the 1990s, which many scholars studied with economic accent (Katz 1998, Grimes 2001, Lincoln 2001, Amyx 2004, Beason and Patterson 2004, Rosenbluth and Thies 2010), manga and anime industry in Japan entered its golden age. The publication and broadcast of some remarkable works, such as Dragon Ball, Sailor Moon, Crayon Shin-chan and Slam Dunk, not only helped generate huge income (nearly 600 billion yen earned in the manga market in 1995) that alleviated economic depression, but also distracted popular focus from the urge of demythologising national growth. -
Neon Genesis Evangelion: 14 Free
FREE NEON GENESIS EVANGELION: 14 PDF Yoshiyuki Sadamato | 184 pages | 12 Mar 2015 | Viz Media, Subs. of Shogakukan Inc | 9781421578354 | English | San Francisco, United States Neon Genesis Evangelion - Wikipedia Shinji, furious at his father for the orders given in the previous Neon Genesis Evangelion: 14, resigns from NERV. But as an Angel lays waste to the Neon Genesis Evangelion: 14 and the other Evangelions, he begins Neon Genesis Evangelion: 14 reconsider his hasty The activation of EVA goes awry when an Angel takes control of the unit. With EVA itself re-designated as an Angel, Shinji is faced with the moral dilemma of terminating the rogue Evangelion at A bizarre Angel possessing a spherical shadow in the air and a Dirac sea-type body on the ground absorbs Shinji and EVA Looking for a movie the entire family can enjoy? Check out our picks for family friendly movies movies that transcend all ages. For even more, visit our Family Entertainment Guide. See the full list. Title: Neon Genesis Evangelion — When the Angels start attacking the planet Earth in the yearonly a handful of year-old EVA pilots are able to stop them. Written by Chris Cleveland. What can I say about the most perfect anime ever created? What can I say about Shinji, the most complex character ever created? Evangelion begins like an action sci-fi anime, like Akira. It has everything: humor, drama, action, great soundtrack. Great fun! But then you watch episode The 3 last episodes are the most perfect writen anime episodes ever. Yeah, some people don't understand it. -
Adeptus Evangelion, and Not a Game Master, Look No Further! This Chapter, and Indeed This Entire Book, Is Intended Only for Game Masters
We do not own Evangelion™, Dark Heresy™, Warhammer 40K™, or any other intellectual property to be found within this work in any way. We do not claim ownership of any of the art that appears in this work. Instead, all credit regarding the art should go to the artists of Gainax, or the artists listed below. This work is not to be distributed for money to anyone under any circumstances. However, while we may not be able to claim ownership, it would be unfair to refuse to give credit where credit is due to the following: CREDITS Project Coordination: Black Mesa Janitor (RHM), Elpizo (Sachiel) Development and Playtesting: Blast Artists: Writing and Editing: ClamPaste Anonymous Anonymous Feldion (RPSS) bluewine Blast HLeviathan (GRGR III) Drawfag X-09 !W7.CkkM01U CapnKeene Karada Guardsman Harry Dr. Baron Von Evil Satan CapnKeene Jebus (8546514) Dial J. S. Cervini Feldion (RPSS) Mr_Rage LDT-A (RHK) Gilgamesh, King of Heroes Latooni Mastermind Omega !EnkiduOJiw!!fXOkC1tdv81 LawfulNice vendredi Jebus LDT-A (RHK) Vincent “Siege” Angerossa Kamen macrophage Karada Mastemind Omega Special Thanks: Mari Touhou Homebrew Guy Anonymous Masocristy (OlympusMons) Archivist Mordegald Zhuren You, for your continued Protagonist support. Sorain Highwind Yue ZZEva Table of Contents Weaving a Story 1 Anomalous Materials 33 Setting and Tone 2 Unique Armory Contents 33 Keeping your Players Interested 2 Experimental N2 Reactor 33 Mood and Lethality 3 Cold Blooded 34 Extra Material 4 Free Range Evangelions 34 Pacing your Stride 4 Fly me to the Moon 35 In Conclusion -
A Strange Pilot
A strange pilot By Daisy89 Submitted: June 1, 2006 Updated: September 12, 2007 This story is about a strange pilot who arrives in tokyo-3 to be a pilot of unit 04.But something is strange about him. Provided by Fanart Central. http://www.fanart-central.net/stories/user/Daisy89/34344/A-strange-pilot Chapter 1 - The pilot's arrival 3 Chapter 2 - The angel attacks 4 Chapter 3 - Eva pilot of unit 1? 5 Chapter 4 - Showdown between angel and eva part 6 1 Chapter 5 - Showdown between angel and eva part 7 2 Chapter 6 - Doctor's order 8 Chapter 7 - A drunk guardian 9 Chapter 8 - Misato's new roommate 11 Chapter 9 - A new day 13 Chapter 10 - Father and son meet. 15 Chapter 11 - Testing part 1 17 Chapter 12 - Testing part 2 20 Chapter 13 - New angel 22 Chapter 14 - Her desire. 25 Chapter 15 - Another roomate for misato 27 Chapter 16 - Eva info 29 Chapter 17 - Eva's v.s Eva 31 Chapter 18 - Secrets 33 Chapter 19 - School day and angel attack 35 Chapter 20 - Shamshel's defeat 37 Chapter 21 - Runaway's 39 Chapter 22 - Ramiel's assault part 1 41 Chapter 23 - Ramiel's assault part 2 44 Chapter 24 - Ramiel's assault part 3 46 Chapter 25 - Unit 4's upgrade part 1 49 Chapter 26 - Unit 4's upgrade part 2 53 Chapter 27 - Misato in trouble 57 Chapter 28 - Jet Alone 60 Chapter 29 - Meet Asuka Langely Soryu 65 Chapter 30 - Unit 2 activate part 1 69 Chapter 31 - Unit 02 activate part 2 71 Chapter 32 - Angels split personality 75 Chapter 33 - The fourth child's story 81 Chapter 34 - A hot struggle 83 Chapter 35 - Justin's secret Exposed Part1 88 Chapter 36 - Justin's secret Exsposed Part 2 91 1 - The pilot's arrival We begin as an american boy is being flown over to japan along with unit 04.Justin:Hmph.So i got chosen to be a pilot of this machine.It''s interesting knowing that they dont know who i really am.Who i really am will be revealed as soon as the angels are beaten and the human instrumentality almost begins.For i am the 19th angel known as ralile,the angel of destruction.They wont know what hit them,He,he,he.The plane continues to japan. -
The Cultural Context and the Interpretation of Japanese 'Lolita
Intercultural Communication Studies XXIII: 2 (2014) HINTON The Cultural Context and the Interpretation of Japanese ‘Lolita Complex’ Style Anime Perry R. HINTON Independent Academic Researcher, UK Abstract: Japanese animated films or anime have been popular in the West since the early 1990s. However, media interest in anime (particularly in Britain) has tended to focus on negative representations of anime concerning violence, sexuality and young girls. The current paper undertakes an examination of the genre of ‘Lolita complex’ or rorikon anime, the focus of these concerns. It is argued that the term ‘Lolita’ has a culturally specific meaning and that it has a different meaning in Western culture to that in Japan. This has led to a misperception of aspects of Japanese society and its cultural products such as anime. Furthermore it is argued that rorikon anime reflects teenage anxieties about the adult world, and changes in society and gender roles rather than perverse male sexual desire. An examination of the elements of rorikon anime shows that, rather than the product of a cultural ‘other’, it reflects features common across Japanese and Western cultures. Keywords: Japanese anime, Lolita complex, rorikon, shoujo, British media, cultural context, gender roles 1. Introduction One of the key aspects of globalization is the ready availability of the cultural products of one country to other nations round the world. The development of the internet as a global marketplace and its social media role for creating communities of fans of these products has further enhanced this cross-cultural communication. This can be seen most clearly in the popularity of Japanese popular culture (in terms of a range of products such as animated films (anime), comic books (manga), video games and toys) in Western countries. -
Anime's Ancestry: Kawabata's the Scarlet Gang Of
ANIME’S ANCESTRY: KAWABATA’S THE SCARLET GANG OF ASAKUSA AND OE’S HELP US TO OUTGROW OUR MADNESS AS A PRELUDE TO JAPANESE ANIMATION A Thesis by Cynthia Naomi Moss Bachelor of Arts, Friends University, 2010 Submitted to the Department of English and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts December 2012 © Copyright 2012 by Cynthia Moss All Rights Reserved ANIME’S ANCESTRY: KAWABATA’S THE SCARLET GANG OF ASAKUSA AND OE’S HELP US TO OUTGROW OUR MADNESS AS A PRELUDE TO JAPANESE ANIMATION The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in English. ____________________________________ Peter Zoller, Committee Chair ____________________________________ Kimberly Engber, Committee Member ____________________________________ Wilson Baldridge, Committee Member iii ACKNOWLEDGEMENTS I would like to thank my advisor, Peter Zoller, for his patient guidance and support. Without his inspired topic suggestion, this thesis would not exist. I am grateful for every fielded concern and encouraging comment. Appreciation is also due to Dr. Kimberly Engber and Dr. Wilson Baldridge for their thoughtful commentary, creative input, and interest in the project. I am grateful to my parents, who offered help every step of the way. My thanks also go to Merritt Stuever, both a sounding board and patient support. iv ABSTRACT Much research exists on the considerable influence of American and European culture on the newly opened borders of Japan in the 1920’s, yet there is very little recognition of French influences beyond the acknowledgement of Surrealism in literary and artistic circles. -
The Red Turtle
The Red Turtle A film by Michael Dudok De Wit 80 min East Coast Publicity West Coast Publicity Distributor Jeff Hill Ziggy Kozlowski Sony Pictures Classics Carmelo Pirrone [email protected] Block Korenbrot 917-575-8808 6100 Wilshire Blvd Suite 170 Maya Anand 25 Madison Ave New York, Los Angeles, CA 90048 323-634-7001 tel NY 10010 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax THE RED TURTLE Filmmakers Original Story Michael Dudok de Wit Screenplay Michael Dudok de Wit Adaptation Pascale Ferran and Michael Dudok de Wit Design Michael Dudok de Wit Music Laurent Perez del Mar Artistic Producer Isao Takahata Animation Studio and Producers Prima Linea Productions Valérie Schermann and Christophe Jankovic Production Manager Tanguy Olivier 1st Assistant Director Jean-Pierre Bouchet Storyboard Michael Dudok de Wit Chief Animator Jean-Christophe Lie Assistant Chief Animator Marie Bouchet Layout Supervisor Eric Briche Background Supervisor Julien De Man Color Supervisor Emma McCann Shadow Animator Pascal Herbreteau Compositing Supervisors Jean-Pierre Bouchet and Arnaud Bois Special Effects Supervisor Mouloud Oussid Editor Céline Kélépikis Digital Grading Peter Bernaers Sound Supervisor Bruno Seznec Mix Fabien Devillers Sound Editor Mattieu Michaux Sound Design Alexandre Fleurant and Sébastien Marquilly Foley Artist Florian Fabre Sound Piste Rouge a Why Not Productions – Wild Bunch – Studio Ghibli – CN4 Productions – Arte France Cinema – Belvision Coproduction – with the support of Eurimages – with the participation of Canal+ – Ciné+ – Arte France – Region Poitou-Charentes – Departement de la Charente – Region Wallonne – Fondation Gan pour le cinema – in association with Cinemage 9 – Palatine Etoile 11 – Palatine Etoile 12 – BNP Paribas Fortis Film Finance SYNOPSIS Through the story of a man shipwrecked on a tropical island inhabited by turtles, crabs and birds, The Red Turtle recounts the milestones in the life of a human being. -
EL PUENTE ROJO / Shin Godzilla Y El Incombustible Cine De Monstruos CLAUDIA LÓPEZ FRÍAS
EL PUENTE ROJO / Shin Godzilla y el incombustible cine de monstruos CLAUDIA LÓPEZ FRÍAS Shin Godzilla y el incombustible cine de monstruos (Hideaki Anno, Shinji Higuchi, 2016) Shin Godzilla o Godzilla Resurgence, estrenado en Japón el 29 de Julio del 2016 es el film 31 sobre este monstruo, uno de los más reconocidos cinematográficamente en el mundo. El dinosaurio gigante mutante es una de las referencias más populares del Japón del siglo XX, y puede ser el origen del cine conocido como Kaiju, que se refiere al de bestias gigantes, en inglés traducido como cine de monstruos. Este film en concreto está codirigido por Hideaki Anno y Shinji Higuchi y vuelve a los orígenes para mostrarnos un Godzilla fruto de los desastres nucleares que asola el Japón moderno. La premiere en Japón fue recibida con muy buenas críticas, mejor que en occidente y su éxito en taquillas no ha tenido precedentes en ningún film sobre esta criatura, posiblemente debido a la notoriedad de sus dos directores. En España, debutó el 8 de octubre en el Festival de Sitges de este año (edición 49), y el 29 de octubre en la XXVII Semana de Cine Fantástico y de Terror de San Sebastián y se ha estrenado en cines en enero del 2017, aunque en muy pocas salas. Lo que en Japón es un acontecimiento social, en España se reduce a salas especializadas en cine de autor. Gojira o gorila-ballena de pequeños y complejos detalles a los que, tal vez, con un solo visionado no seamos El significado del nombre de Godzilla (en capaces de percatarnos.