東浩紀《日式動畫，還是日式動畫式的東西》（Anime or something like it）

中英對照版

《新世紀福音戰士》電視動畫作品。由與東京電視臺控股聯盟的 5 家電視網播出。1995 年 10 月 6 日~1996 年 3 月 27 日，星期三 18:30。共 26 集。庵野秀明負責總繪、劇本、導演，GAINAX 有限公司製作。 （"Neon Genesis Evangelion" Television animation work. Broadcast by 5 networks associated with TV Tokyo Corp. Wednesday 6:30 p.m. October64, 1995*- March 27, 1996. Altogether 26 episodes. Draft, Scenario, Direction, by ANNO Hideaki Produced by GAINAX Ltd.）

基本上，這個荒誕的故事是關於駕駛著一個令人費解的機器與同樣令人費解的敵人進行的一場無意義的戰鬥。場景是 2015 年的不遠的未來，位於富士山腳的第 3 新東京市。被稱為“使徒”（Angel）的那些存在都各自冠以《舊約》中天使之名，無情地進攻了第 3 新東京市。進攻的目的和天使的真實身份完全未知；使徒有時是巨大的造物，有時是漂浮的大金字塔，有時是電腦病毒，有時是發光的圓環。而“福音戰士”（暱稱夏娃 [Eva]）則是巨型的活體武器，經常瘋也似地橫衝直撞，但由於它們像使徒一樣超越了人類科技，卻是已知的唯一可以反抗使徒進攻的東西。 有 3 架夏娃的機體，14 歲的孩子（真嗣、綾波麗、明日香）被選為每架夏娃的專屬飛行員。故事以 4 個人為中心展開；除了這 3 個孩子，還出現了一個 29 歲的女人美里。 他們每個人都有著一個創傷，不擅與其他人類溝通，而比起人類等等，他們認為生存論上的內部問題更重要，比如“為什么我們要與使徒作戰？為什么我們要駕駛夏娃？“因此，作品的製作集中在角色的心理上。

Basically this is the absurd story of a meaningless battle that takes place while riding on a puzzling machine against an equally puzzling enemy. The scene is the near future of 2015 in the 3rd City of Tokyo which is located at the foot of Mt. Fuji. The beings called "Angel" who were each crowned as Old Testament angels, relentlessly go on the offensive against the 3rd City of Tokyo. The purpose of the offensive and the true identity of the angels are totally unknown; sometimes the angels are giant creatures, sometimes they are big floating pyramids, and sometimes they are computer viruses, and at other times they are circular rings that emit light. "Evangelions" (nicknamed Eva) giant-shaped living weapons, often drive like maniacs, and because they transcend human technology like the Angels, are the only ones known who can oppose the Angels offensive. There are 3 bodies of Eva, and 14 year old children (Shinji, Rei, Asuka) were chosen as exclusive pilots for each Eva. The story develops centered around 4 people; in addition to the 3 kids there is a 29 year old woman named Misato who appears. Each of them has a trauma and not being adept at communicating with others humans, rather than humanity, etc. they consider internal existential questions such as "Why do we do battle with the Angels?, why do we ride Eva?" more imporant. Therefore the production mainly focuses on character psychology.

在劇集前半部分，作品的進展就像一部優秀的科幻動畫。一路解開了幾個謎題，而且很明顯，這部動畫的世界有強烈的宗教崇拜式的（cult-like）色彩，參考了猶太教、基督教的神祕主義。每個主要角色都被積極描述了他們為克服痛苦的創傷所做的鬥爭。 然而，從第 16 集到該劇集的最後一半，這個動畫世界開始內爆。隨著角色們失去交流，受到重傷、乃至死亡，每集的慘狀都愈演愈烈。 動畫世界中的謎題增加地越來越快。觀眾被推入深淵，就像在《雙峰》中一樣。要概括後半部分的情節是不可能的。在第 24 集，被孤立的真嗣與某個男孩進行了模擬的色情體驗。這一集就在真嗣被迫殺死他之前結束——他得知這個男孩是第 17 使徒。 隨著故事懸置於此，最後兩集試圖運用抽象圖像、元小說（metafiction）再現真嗣的心理。一直到第 24 集還在構建的敘事的結尾和虛構世界的謎題被突然放棄，這給動畫迷帶來了一個強烈的震撼。

In the first half of the TV series, the work progresses like a good science fiction animation. Along the way several riddles are solved and it is becomes clear that the world of the animation has the strong, cult-like flavor referencing Jewish and Christian mysticism. Each of the main characters is positively depicted in their struggle to overcome their painful trauma. However, between the 16th episode and the last half of the series the world of the animation begins to implode. The gruesomeness intensifies with each episode as characters lose communication, get seriously hurt and die. The puzzles in the world of the animation multiply with increasing speed. Observers are pushed over into the abyss like in "Twin Peaks." It is impossible to summarize the plot of the last half. In the 24th episode the isolated Shinji has a simulated erotic experience with a certain boy. The episode ends just before Shinji - who knows that the boy is the 17th angel - is forced to kill him. With the story suspended here, the last two episodes attempt to represent the psychology of Shinji employing abstract images and metafiction. The sudden abandonment of the narrative conclusion and puzzles of the fictional world that had been constructed up until the 24th episode, brought about an intense shock in animation fans.

目前，官方消息稱最後兩集將以視頻和激光視盤（LD）的形式重製。今年（1997 年）3 月，一個對所有劇集作出總結的劇場版（《新世紀福音戰士劇場版：死亡篇》）將會上映。 此外，今年 7 月，呈現一個完全原創的故事的一部新作《新世紀福音戰士劇場版：新生篇》（Rebirth II）也在日程上了。 庵野秀明的《新世紀福音戰士》就是在這種情況下突然出現的。

At present, it has been announced that the last two episodes will be reproduced in video and laser disk formats. And this March a theater version summaring all the episodes will be opening. Still more, this July "Rebirth II," a new work featuring a completely original story has been planned. From within that state of affairs, ANNO Hideaki's "Neon Genesis Evangelion" suddenly appeared.

儘管有人說這是最近的日本動畫（Japanimation）熱潮的一部分，但現在幾乎沒有所謂的日本商業動畫值得關注。 事實上，1984 年的前 12 年裡只有 3 位日式動畫的藝術家：宮崎駿、大友・克洋和押井守，不僅應該得到熱情的日式動畫迷的認可，更應該得到廣大觀眾的認可，可諷刺的是，似乎是因為遠離了“日式動畫式的”（在此容我大膽使用這個模糊的表達）作品，他們作品的質量才得到了保持和支撐。

Although some people claim that it's part of the recent Japanimation boom, actually right now there's hardly any so-called Japanese commercial anime that is worth paying attention to. In fact, during the last 12 years (from 1984) there are only 3 anime artists - MIYAZAKI Hayao, OTOMO Katsuhiro, OSHII Mamoru - who should be recognized not only by enthusiastic anime fans, but by a general audience, and yet ironically, the quality of their works seems to have been maintained and supported by a distance from "anime-like" works. (Although here I'm being bold in my use of this vague expression)

什么意思呢？比如，宮崎駿走上主流和受教育之路是由他的兩部作品《龍貓》（1988 年）和《魔女宅急便》（1989 年）所決定的，而這兩條路之所以走得通，就是因為壓制了一種日式動畫式的和御宅族風格的想象——比方說美少女這樣的洛麗塔情結，以及《未來少年柯南》（1978 年）、《天空之城》（1986 年）之類的作品極力表現的超高科技的主題（thematics）。我們可以從宮崎駿當時的訪談中確認，他有意與那種洛麗塔情結、高科技風格作了分離。 應該考慮到大友・克洋的《阿基拉》（1988 年）是作為日本的動畫而獨立製作的這一事實，而且由於他的美漫風格的作品是對立於日本的動畫圖像之特殊質量的，他的漫畫的出版給他帶來了國際聲譽。換個說法，《阿基拉》雖是動畫（animation），卻不是日式動畫（anime）。 而在這三位藝術家中，押井守則是深入參與了 80 年代的日式動畫，還為了做一部風格強烈的元小說而完成了《福星小子 2：綺麗夢中人》，之後又製作了實驗藝術作品和實景電影，而最終是在製作《機動警察 2》電影版（1993 年）時從“日式動畫式的”故事、圖像中取得了一個完全的突破。 從 20 世紀 80 年代後半期開始，日式動畫藝術家們就墮入了一種封閉狀況，一面製作低質量的電視動畫作品，一面利用了迅速建立的 OVA（原創視頻動畫）發行體系來只為熱情的日式動畫迷製作高質量的圖像作品。 上述 3 人之所以能艱難地成為高水平的創作藝術家，原因不外乎是他們得以拒絕參與生產者和消費者聚集的封閉空間，即愛好者雜誌、電腦網絡、日式動畫的雜誌、專門商店等。換句話說，過去 10 年裡所勢不可擋的是，日式動畫這個整體相比它龐大的市場規模，已經令人難以置信地變得那么死氣沉沉和貧瘠。

What does that mean? For instance, MIYAZAKI's mainstream path and educational path were determined by his two works "Tonari no Totoro"(1988) , and "Majo no Takkyubin/Kiki's delivery service"(1989), and both of those paths were established by the suppression of an anime-like and otaku-like imagination; i.e Lolita-Complex like beautiful girls and super hi-tech whose thematics are richly expressed in such works as "Future Boy Conan"(1978), and"Laputa in the Sky"(1986). We can confirm from comments he made at that time that MIYAZAKI intentionally brought about this separation from that Lolita-complex, high-tech style. It's useful to condider the fact that "Akira"(1988) by OTOMO was produced independently from the situation of Japanese animation, and because his American-comics-style works were opposed to the particular quality of Japanese anime images, the publication of his comic books brought him international fame. To put it another way; although "Akira" is animation; it isn't anime. Among these three artists, even OSHII, who had been deeply involved in 80's anime, sporadically made experimental artworks and live-image films after he produced "Urusei Yatsura 2: Beautiful Dreamer"(1984) with the intention of making a strong metafiction, and finally he made a complete break from anime-like stories and anime images when he made "Mobile Police Patolabor 2: the movie"(1993). From the second half of the 1980's, anime artists have been degenerating into a closed-off condition which on one hand produces low quality works of television anime, while on the other hand produces only high-quality images works for enthusiastic anime fans that makes use of the distribution system of OVA(original video animation) that has been rapidly set up. The above-mentioned 3 have just barely been able to make it as high-level creative artists for no other reason than they were able to refuse participation in the closed-off space where producers and consumers come together; i.e. fanzines, computer networks, anime magazines, speciality shops, etc. In other words, overwhelmingly in the last 10 years, when compared to the hugeness of its market, it's hard to believe how dead and barren Japanese anime as a whole has become.

作為一種類型的表達，日式動畫已經實現了質的細分和量的擴張。和每個類型一樣，日式動畫有些故事、圖像，只能算“日式動畫式的”，比如對 1970 年代日本科幻小說的小小的繼承。 儘管如此，在過去十年裡，自從大概 1984 年《風之谷》的上映以來，我不認為能找到什么日式動畫式的高水平作品。這是很讓人驚訝的。 作為一個類型，日式動畫已死。

As the expression of a genre, anime has achieved qualitative subdivisions and quantitative expansion. As is the case in every genre, there is in Japanese anime as well the existence of what can only be called anime-like stories with anime-like images. (For instance there is a small inheritance from 1970's Japanese science fiction. Despite that, in the last ten years, after around 1984 - the year of the opening of "Nausicaa of the Valey of the Wind" - I don't think that we can come up with anything good that's anime-like and high-level work. This is astonishing. Anime as a genre is dead.

押井守可能是唯一一個認真對待這個問題的藝術家。因此，他的新作《攻殼機動隊》，是一部症狀式的作品。 這部作品是通過他對東方式的（Oriental）賽博朋克圖像的投入和對當代智性思想術語的頻繁部署而完成的，其中，他從屏幕上成片的圖像中去除了日式動畫式的元素，並以一個吸引海外評論家和觀眾的策略進行編碼（比如他為了電視版《攻殼機動隊》的片尾曲，找了 U2 作曲、布瑞恩・伊諾 [Brian ENO] 製作），這是個相當膚淺的東西。 儘管如此，比起押井守早期的傑作，如《福星小子 2》、《祖先大人萬萬歲》（1985 年），《攻殼機動隊》可能會更受好評。的確，押井守對此心知肚明。他諷刺性地承認了目前的狀況是沒人想看僅僅是日式動畫式的作品，相反，人們想看被認為有文化的、進步的作品（那也就不再是日式動畫了），有些繪圖上的變化和了無趣味的小東西散落周圍來調味，而這就是製作《攻殼機動隊》時的處境。他所做的活動無非是歷經了悲劇而成了喜劇。去年 11 月，當我在看那部押井守作品時，我越來越強烈地感到這是日式動畫的終結。

OSHII is probably the one artist who has seriously taken up this problem. In this sense his newest work, "Ghost in the Shell," was a symptomatic work. In this work that was made through his investment in Oriental cyber-punkimages and frequent deployment of terms from contemporary intellectual thought, he excluded those elements that were anime-like images from the created images on screen, and laoded down with a strategy of attracting critics and audiences abroad (for instance he had U2 compose and Brian ENO produce the last song of the video version of Ghost in the Shell) it is a pretty superficial thing. Despite that, more than OSHII's earlier masterpieces such as 'Urusei Yatsura 2: Beautiful Dreamer" and "Gosenzosama Banbanzai/Cheers for Ancestors"(1985), "Ghost in the Shell" will probably be critically acclaimed. OSHII understands all that very well, indeed. He ironically acknowledged the present state of affairs whereby nobody wants to watch simple anime like works, on the contrary, people want to watch works that are considered cultural and progressive (they are no longer anime) with some variation of the illustrations and with little interesting niblets scattered around for taste, which was the circumstances within which "Ghost in the Shell" was made. His activities are nothing than comedy which passes by tragedy. While I was watching that particular OSHII last November, I felt more and more acutely that this was the end of Japanese anime.

當時，這讓我極為震驚。無法預測《新世紀福音戰士》將如何超越標準的電視日式動畫作品，因為儘管其繪圖是非常日式動畫式的，但其媒介是電視，而且映前宣傳僅限於專門的日式動畫雜誌，這使之看起來像是一部巨型機器人科幻類型的簡單的日式動畫。 也許，這些期望甚至也為日式動畫迷所分享。儘管如此，在播出結束後，它在兩種意義上變成了一個大“事件”。下面我將簡述這一充滿事件性（eventfulness）是什么意思。

It came as a complete shock. It was impossible to predict the ways in which "Evangelion" would transcend standard television anime works, because although the illustrations were very anime-like, the medium was television, and the pre-release propaganda was limited to the specialized anime magazines which made it seem like a simple anime of the giant robot science fiction genre. Perhaps, these expectations were shared even byanime fans. Despite all that, after the broadcast finished it turned into a big "event" in two senses of the word. I will briefly discuss below the meaning of this eventfulness.

正如我在另一節所述，《新世紀福音戰士》可分為兩部分，包括前半部分和後半部分。前半部分是一部製作精良的科幻日式動畫。在這個時候——1996 年 1 月，這部作品已經被稱為自《機動戰士高達》（1979~1980 年）以來最偉大的傑作。在很大程度上，這種批評的評價是對的。 這不僅是因為數量巨大的繪圖和比標準的日式動畫作品更細緻的製作（對於常看日式動畫的人來說，繪圖和製作的數量達到了驚人的高度，不過我不會詳述這個方面），而且作品所設定的故事和虛構的世界都相當準確地擺出了我們今天的社會當前隱約具有的多重問題。因此，這部作品有種力量超越了心胸狹隘的、小小的“日式動畫世界”。

As I already described in the other section, "Evangelion" can be divided into two parts consisting of the first half and the second half. The first half is a well made science-fiction anime. At this point - I mean January 1996 - this work has already been called the greatest masterpiece since "Mobile Suit Gandam"(1979-80). For the most part this critical evaluation is correct. It is not only because of the large amount of illustrations and the much more detailed production than standard anime works (although for people who often watch anime, the amount of illustrations and production is at an astonishingly high level, I won't talk about this aspect in detail) The story and fictional world that it has set up pretty accurately lay out the multiple problems that our society vaguely possesses today in the present. Therefore this work has a power which transcends the small, narrow-minded "anime world."

我會舉兩個具體例子來說明這部動畫的魅力；首先，使徒是一個非常理念化的敵人，以一種極為抽象的方式不斷變化，如前所述。其構成（composition）是從主角自己的危機感中抽出了具像的哥斯拉式形象，還不失時機地迫使他們的反應在原地兜圈子。比如，主人公真嗣經常大聲對自己說：“你不能逃！”但事實上，他對可能導致他壓力過大的原因知之最少。（例如，他一遍又一遍地重複“為什么我要駕駛夏娃？”）可以說，《新世紀福音戰士》是一個描繪“無緣無故的焦慮”的故事，而這個焦慮徹底結束於一種令人信服的緊張感。當我們看到奧姆真理教事件及其後果時，這種感覺顯然便蔓延開來了。在這一點上，作品有一種醒目的當下感。然而，我們更應該注意的是，焦慮感總是在物質上被規定了，但對於陷入這種焦慮之中心的人來說，他們只能抽象地體驗這種焦慮，而這就是悖論之所在。(這是一個精神分析的問題）庵野應該描繪的焦慮必須呈現為 90 年代式的（即具體的），同時又應該顯示為普遍的（即抽象的）。總之，藝術家的能力就應該用來試著通過任何虛構手段來臨時上演這個悖論之中。（比如像在卡夫卡的官僚機器中）通過在使徒中注入抽象性、物質性，使徒的構成達到了一個相當高的水平。至少這項工作已經超越了村上龍在他最近的小說《日向病毒》（Hyuga Virus）中的努力（他試圖通過部署病毒來得到的東西，結果不過是一個表達這種悖論的裝置）。在《新世紀福音戰士》中，使徒轉變為了一種病毒。

I will give only two concrete examples of this anime's charm; first, the angel is a very idealistic enemy that is ever changing in an extremely abstract fashion, as I already described above. The composition pulls out concrete Godzilla-like images from the main characters own feeling of crisis, and never fails to force their reactions to go round and around in circles. For example the hero Shinji often talks out loud to himself "You can't escape," but in fact he has the least understanding of what might cause him to be stressed-out. (For instance, he repeats over and over "Why do I ride Eva?") It's fair to say that Evangelion is a story which depicts "anxiety without a cause" which exhaustively ends with a convincing feeling of tension. It's clear that this kind of feeling is widespread when we look at the AUM incident and its repercussions. On this point, the work has a striking feeling of the present. However, the thing that we should pay closer attention to is the paradoxical whereby feelings of anxiety are always determined materialistically, but for the people who are caught in the center of this kind of anxiety, they can only experience it abstractly. (This is a psychoanalytic question) The anxiety which Anno should depict has to be presented as 90's-like (concrete) at the same time as it should be shown to be universal (abstract). After all the ability of the artist should be spent in trying to stage this paradox temporarily by whatever fictional means. (For example, like in KAFKA's bureaucratic machinery) The composition of the angels has reached a fairly high level by installing them with both abstraction and materiality. At the very least this work has transcended the efforts of MURAKAMI Ryu in his recent novel "Hyuga Virus" (What he was trying to get at in the deployment of the virus iturned out to be nothing but a device which expresses that paradox) In the case of "Evangelion", the Angel transforms into a virus.

第二例是第二女主角綾波麗。這個幾乎沒有任何矛盾情緒的女孩，完全缺乏對他人的關心和對死亡的恐懼；歸功於配音演員林原惠美的剋制表演，她被展現成一個令人極其印象深刻的角色。 她獨居的房間是一個破舊的住宅區裡的一間。她的這間房完全沒有裝飾，光禿禿的混凝土牆，內衣、垃圾散落一地，窗簾總是對著外面的世界拉上了。她的辦公桌上有急救繃帶和大量的藥品、燒杯和厚厚的外國書籍，書頁裡有便利貼。她回房間的唯一目的就是睡覺。 我的一個來自波蘭的朋友描述的對麗的印象是完全準確的，他認為她與戰後的問題有關，換句話說，麗與波斯尼亞等等的問題有關。 同時，我認為這個房間與一個科學實驗室是重疊的，特別是一個醫學實驗室。因此，庵野將難民/創傷的形像與鮮明的反裝飾性的“科學”——這是唯一能準確表達其情況的詞——的母題（motif）交叉在了一起。(總之，這是與奧姆真理教的問題相關的，更具體地說，與奧姆真理教的科學實驗室——“Satyan”的問題相關） 麗的孤獨建立在一個完全觸覺的實體性（substantiality）上，這給我們提供了關於目前的兒童所面臨的無法溝通（discommunication）的極其現實主義的形像。 而這些無法溝通的形像既不屬於“Kogyal”（“童女”）式的自閉症，也不屬於被定義為與童女式自閉症相對立的御宅族式自閉症。（而這兩類自閉症不過是後現代裝飾性的兩個對立的性別極端）

The second example is the secondary heroine AYANAMI Rei. This girl who has hardly any feelings of ambivalence, and who is completely lacking in concern for others and in the fear of death; she is shown to be an extremely impressive character thanks to the restrained performance of the voice actress HAYASIBARA Megumi. The room that she lives alone is one unit of a delapidated housing complex. Her unit is completely undecorated with walls of bare concrete, underwear and garbage scattered everywhere, and the curtains are always closed to the outside world. On top of her desk there are first-aid bandages and large amounts of medicine, beakers, and thick foreign books with Post-Its in the pages. She returns to her room for the sole purpose of sleeping. One of my friends who is from Poland described his completely accurate impression of Rei as being related to the problems of post-war, in other words Rei is linked to the problems of Bosnia,etc. At the same time I thought that the room overlaps with a science laboratory, particularly a medical laboratory. Therefore, ANNO intersected images of refugees/ trauma with the "scientific" -- this is the only word that can accurately express the situation -- motif of stark anti-decorativeness. (After all, this would be linked to questions about AUM, more specifically to the problem of "Satyan," AUM's scientific laboratories) Rei's solitude is grounded in a completely tactile substantiality which gives us extremely realistic images of the discommunication that children of the present face. And these images of discommunication belong neither to Kogyal("child girl")-like autism nor to otaku-like autism which has been defined in opposition to Kogyal-like autism. (And these two types of autism are nothing more than the opposing gender extremities of post-modern decorativeness)

前半部分的劇集在救贖的敘事上做了一次嘗試（按照來自“福音”[evangel] 一詞的“福音戰士”[Evangelion] 之意）。這一焦點高亮顯示了 4 個主要角色努力打開他們的溝通線路的過程。不僅僅是這種對溝通的嘗試的正面強調，而且就像我在上面給出的使徒和麗的兩例一樣，對敘事裝置（narrative device）的熟練和對圖像的善用給人以“1995 年式”作品的一種強烈印象。這部作品的確是一個事件。 正如蓮實重彥教授、小說家高橋源一郎之前在他們的辯論中所說，“具有某一年的感覺的作品”從 1980 年代後半期起就不存在了。從那時起，就沒有敘事結構的代際發展了。換句話說，我們的敘事想象力產生於 80 年代上半期，仍然沒有擺脫蓮實教授在《請遠離小說》（小說から遠く離れて）中勾勒的格式。 我認為，這個乾旱期無關社會轉型，而僅僅是寫作者的想象力的貧乏、貧瘠所致。我認為《新世紀福音戰士》的出現高亮顯示了這一點。我已經很久沒看到比得上庵野給我們的使徒、麗等等的代際形象和敘事裝置了。

Episodes of the first half made an attempt at a salvation narrative (which follows from "Evangelion" coming from evangel). This focus highlights the process whereby the 4 main characters have been trying to open their circuit-lines of communication. Not only this positive emphasis on the attempt at communication, but like the two examples of the Angel and Rei which I gave above, the adeptness at narrative devices and the facility with images gives one the strong impression of a "1995-like" work. Truly the work is an event. As Professor HASUMI Shigehiko and novelist TAKAHASHI Gen'ichiro said before in their debate "works that have the feeling of a certain year" have ceased to exist from the second half of the 1980's. Since then there has been no generational development of narrative structure. In other words, our narrative imaginations were produced in the first half of the 1980's and still have not escaped from the format which Professor HASUMI sketched out in "Far from the Novel." I think that this dry spell has nothing to do with social transformations. It is solely the effect of the poverty and barrenness of the imagiantion of writers. I think that the appearance of "Evangelion" highlighted this. I haven't seen for a long time generational images and narrative devices equal to those which ANNO has given us of the Angels, Rei, etc.

此外還有一個類型的問題。庵野與上述 3 位藝術家非常不同，他對“日式動畫式的”東西毫不猶豫。也許這還有一個世代差異的事實。生於 1960 年代的庵野不像 1941 年出生的宮崎、1951 年出生的押井那樣，既對日式動畫式/御宅族式的想象有所顧忌，又有對文學感的嚮往。 審視庵野的背景，我們可以認識到他是如何從 1980 年代御宅文化的“沉重”場景中發展起來的。他長期關注著日式動畫的貧瘠問題。現在他在《新世紀福音戰士》中利用了這個對日式動畫之貧瘠的關注。相比押井守的《攻殼機動隊》的落伍——這與期望的正相反，因為他在其作品中運用了賽博朋克的文學想象——在《新世紀福音戰士》中，吸引人的代際形象取自的是日式動畫式的想象。迷人的美少女、高科技機器等母題加強了日式動畫的貧瘠，最終成為他作品中的重要元素。通過刻板類型、抽象的母題來闡述 90 年代式的問題，變得至關重要。 首先，《新世紀福音戰士》是部極為御宅族式的作品，很多細節都參考了以前的日式動畫和科幻電影，從駕駛艙的設計概念到啤酒品牌（這方面我沒有時間詳述，儘管這很重要）。換句話說，可以說庵野通過重新強烈地混編了日式動畫式想象的母題，突破了 80 年代的文學想象，而這已經完全貧瘠了有十年。

There is also the question of genre. ANNO is very different from the above-mentioned 3 artists, in that he has no hesitation towards "anime-like" things. Perhaps there is also the fact of a difference of generation. Born in the 1960's ANNO doesn't have either the guarded hesitation towards an anime-like/otaku-like imagination or the yearning for a literary sensibility that MIYAZAKI born in 1941 and OSHII born in 1951 have had. When we look at ANNO's background, we can recognize how he progressed from the "heavy" scene of otaku culture during the 1980's. He has concerned himself with the problem of the barrenness of anime for a long time. He has now taken advantage of this concern for the barrenness of anime in "Evangelion." In contrast to OSHII's "Ghost in the Shell" which - contrary to expectations - was out of fashion because he employed a cyber-punk literary imagination in his work, in "Evangelion" appealing generational images have been taken from an anime-like imagination. Motifs such as charming beautiful girls and hi-tech machines which has strengthened the barrenness of anime, and in the end became important elements in his work. It became crucial to articulate 90's-like problems through stereotypes and abstract motifs. To begin with "Evangelion" is an extremely otaku-like work which was by lots of details referenced from former anime and science fiction films, from the desing concept of cockpit to the brand of beer (Here in this aspect I don't have time to treat it, although it's important) In other words, it can be said that ANNO broke through the literary imagination of the 1980's by strongly mixing and re-editting the motifs of the anime-like imagination, which had been completely barren for some ten years.

在《新世紀福音戰士》的開場，他已經插入了最早在第 24 集才引入的一個角色的剪輯。無數的這類裝置，意味著庵野是在相當清楚地構思了總體結構之後才開始播出（劇集）的。事實上，在前幾集中，眾多的預示所進行的敘事發展的速度表明，他的工作是通過對一個精確的總體結構的反向計算而完成的。前半部分劇集的味道始終如一。（第 8 集後的一些喜劇情節也被認為符合一致性） 這個故事復興了動畫這一類型，也使得文學想象的極限變得清晰。如前所述，即使只是在這個層面上，它也值得被稱為一個事件。因此，即使這個故事繼續下去並以一個大團圓結局告終，我也會在這裡介紹《新世紀福音戰士》。那也是值得的。

In the opening scene of "Evangelion" he already inserts a cut of a character which had initially been introduced in the 24th episode. The countless devices of this type means that Anno started the broadcast after conceiving the total structure pretty clearly. Actually, the speed of the narrative development of numerous foreshadowing in the first few episodes indicates that his work was made by reverse calculation of a precise, total construction. The flavor of the episodes of the first half is consistently the same. (Some comical episodes after the 8th episode are considered within this consistency). This story revived the genre of animation and at the same time, clarified the limits of the literary imagination. As I mentioned above, even at only this level it deserves to be called an event. Therfore even if this story had continued and concluded with a happy ending, I would have introduced "Evangelion" here. It would have been worth it.

儘管如此，我現在覺得這部作品應該用截然不同的標準來評判。首先，這種判斷將與故事內容區分開來。之所以會被這部作品的存在所震驚，是因為它處於一個全然不同的層面。《新世紀福音戰士》一開始的構成（composition）和前半部分劇集充分展示了庵野作為一個虛構作者的熟練（我確實認為這個詞適合他）。我要重申的是，許多當代小說家無法與庵野的熟練相比，但更為重要的可能是，庵野在作品的進程中將之引爆了。庵野復興了日式動畫。然而，他也同時將日式動畫帶入了一個最終的結束。 令人驚訝的是，庵野將整個進程濃縮在短短 6 個月時間裡。然後在這個濃縮了的引爆進程中，庵野成功地將他在故事前半部分設定的種種標準之極限推到了一個高得多的層面，儘管故事由此走向了不同方向。這是個真正的事件。

Despite that I feel now that this work should be judged using entirely different criteria. First, that judgement would be distinguished from the contents of the story. Being shocked by the existence of this work was because of it was at an entirely different level. The beginning composition of "Evangelion" and the episodes of the first half demonstrated sufficiently ANNO's adeptness (I do think this word is suitable for him) as a fictional author. I will repeat that many contemporary novelists can't compare with ANNO's adeptness, but probably it is more important that ANNO exploded his work in process. Anno revived anime. However at the same time he brought anime to a final closure. It is amazing that ANNO condensed the whole process over a period of only 6 months. And then within this condensed process of exploding, ANNO succeeded in pushing the limit of the standards he had set up in the first half of the story to a much higher level, though it takes a different direction. This is a true event.

現在說說後半部分。正如我在另一節中提到的那樣，庵野突然放棄了救世主的敘事，以及大團圓結局的自負。換句話說，這意味著放棄了日式動畫式的敘事（實際上，這裡的《新世紀福音戰士》很快招致日式動畫迷的不滿，因為他們通常不會容忍主角不開心的一個故事）。 因此，他放棄的選擇帶來了對日式動畫式的東西在場景、構圖上的一個偏離。從第 16 集左右的時間開始，這個發展可以被理解為越來越激進的偏離。因此，接著在最後兩集，我們必然會看到這種激進運動的延伸線；即元小說化和對敘事的完全放棄（實際上，我覺得在最後兩集完全空洞的感覺中可能有一個加密的、隱藏的第 3 種事件，但在此我沒有餘地論及這一點了）。

Now for the last half. As I mentioned in a different section, ANNO abruptly abandoned the savior narrative and conceit of the happy ending. In other words, it means the abandonment of anime-like narrative (actually, here "evangelion" quickly brings about the displeasure of anime fans who usually won't stand for a story where the main characters are unhappy). Therefore his choice of abandoning brings about a deviation from anime-like things in the mise-en-scene and in the composition. That development from the time around the 16th episode, can be grasped as the deviation which is is more and more radicalized. Therefore it necessarily follows that in the last two episodes we see the extended line of that radicalized movement; i.e. the metafictionalization and the total abandonment of the narrative (actually I feel that there might be an encrypted and hidden 3rd kind of event in the completely empty feeling of the final two episodes, but I won't touch upon this now because I don't have room).

庵野自稱，這種態度的改變是在創作、製作作品時來的。《新世紀福音戰士》受到了日式動畫迷的熱烈歡迎。他說他注意到了這種自閉的熱烈接受，認為他應該改變作品的整個概念結構，而且最後他就是這么做的。在所有劇集播完後，庵野在電臺採訪、專門日式動畫雜誌等等上面多次重複了看似是對日式動畫迷的自我折磨、自我毀滅的批判，其中他明確重申了宮崎、押井的個人思想史。他們三位都因為在動漫迷中取得了壓倒性的成功後對自閉症的憎惡而將自己與“日式動畫式的東西”隔離開來。但庵野在兩個關鍵點上與他們斷然不同。 第 1 個差異發生在《新世紀福音戰士》中，這部劇同時深深地吸收了日式動畫式的東西，並與之保持距離。在庵野這一例中，這個變化被嚴重壓縮了。在宮崎這一例中，變化則發生在《魯邦三世：卡里奧斯特羅城堡》（1979 年）和《龍貓》的成功之間，而在押井這一例中，他在電視版《福星小子》和《機動警察 2》之間花了大約 10 年。

According to Anno himself, this change of attitude came about while creating and producing the work. "Evangelion" was received enthusiastically among anime fans. He said that in noticing that autistic, enthusiast reception, he thought he should changed the entire conceptual structure of the work, and in the end that's what he did. After all of the episodes were broadcast, in what looks like a self-tormenting, auto-destructive critique of anime fans that ANNO would repeat many times in radio interviews, specialty anime magazines, etc., he would clearly reiterate the personal intellectual history of MIYAZAKI and OSHII. All three of them isolated themselve from "anime-like things" owing to their hate of the autism after they achieved overwhelming success among anime fans. But ANNO is completely different from them on two critical points. The first difference occurs in "Evangelion" with its simulataneous deep absorption in the anime-like and it's distance from it. In Anno's case the change was terribly compressed. In MIYAZAKI's case, the change occurred between the time of the success of "Lupin the Third, The Castle of Caliogstro" (1979) and "Totoro," and in OSHII's case he took about ten years between the time of the television version of "Urusei Yatsura" and "Mobile Police, Patlabor 2."

在第 2 個差異中，也許是時間壓縮一個不可避免的結果，在庵野那裡，對日式動畫的成功批判是由加速、增殖的邏輯帶來的，而在宮崎、押井的例子中，對日式動畫的批判則是由去除的邏輯而造就的。 《新世紀福音戰士》的後半部分通過發展所有的敘事可能性和日式動畫式的表達，並將其推向極限，而採取了批判之前的日式動畫作品的形式；換句話說，就是通過製作了一個日式動畫的整體。 簡單地說，在《新世紀福音戰士》的後半部分，庵野製作了一部超級複雜、超級高速的日式動畫，從而實現了一個質變。為了構建一個 90 年代的救世主敘事而作的幾個構成被迅速推翻，轉而被運用來將角色之間的互動式交流撕成碎片。這意味著，對於庵野來說，他故意切斷了與日式動畫迷的交流，因為日式動畫迷被認為只能通過將自己認同於角色、將情感投入角色來欣賞作品。

In the second difference, as perhaps an inevitable result of that temporal compression, in ANNO the successful critique of anime was brought about by the logic of acceleration and multiplication, while in the case of MIYAZAKI and OSHII the critique of anime succeeded because of the logic of removal. The last half of "Evangelion" takes the form of a critique of previous anime works through developing all the narrative possibilities and anime-like expressions and pushing them to their limits; in other words producing a totality of the anime-like. Simply put, in the second half of "Evangelion" ANNO produces a super-complicated and super-high speed anime and thereby achieved a qualitative change. Several compositions were made for the purposes of constructing a 90's savior narrative were rapidly inverted and were instead employed to tear to shreds the interactive communication among the characters. This means that for ANNO, he deliberately cut off communication with anime fans who supposedly can only appreciate works by identifying themselves with and investing their emotions into the characters.

在庵野作品的後半部分，沒有任何妥協。通過運用艱澀的臺詞、省略了場面調度、快速的場景轉換，以及數幀組成的快速剪輯（在動畫中這是極端奢侈的，因為需要在不到 1 幀/秒的速度下就有一幅新繪圖），他設法將通常需要幾集的敘事濃縮到一集裡。比如，麗在短短兩分鐘時間裡死去。我們被其速度所折服。 另一面，庵野同時會在故事第二部分接二連三地推翻在前半部分解決了的謎題。因此，如果我們每集只看一次，情節是幾乎不可能跟得上的。（換句話說，這意味著庵野完全不顧收看者的年齡，因為按照電視媒體的規則，那些收看者被期望會在那個播出時間觀看） 然而，在《新世紀福音戰士》的後半部分，在一個完全與敘事邏輯分離的維度上，他相當成功地傳達了焦慮感和角色的痛苦，使那些角色一個接一個地被傷害到了死亡的邊緣。他是如何完成這一點的呢？

There are no compromises in ANNO's second half. By employing difficult lines and the omission of mise-en-scene , quick scene shifts, and busy cuts with few frames (in animation this is extremely luxurious because it requires a new illustration for speeds less than one frame-per-second) he manages to condense the narrative which would usually have required several episodes into one. For example, Rei dies in the time of just two minutes. We are overwhelmed by its speed. On the other hand simultaneously Anno will one after another invert riddles in the second part of the story that had been solved in the first half. Therefore, if we only watch an episode only one time, the plot will be almost impossible to follow. (In other words this means that ANNO completely disregarded the age of the viewers who would have been expected to be watching at that broadcast time following the rules of the televisual medium. ) Nevertheless, in the last half of "Evangelion" in a dimension completely separate from that of the narrative logic, he was fairly successful at communicating the feeling of anxiety and the misery of the characters who are one after another wounded to the point of death. How did he accomplish that?

《新世紀福音戰士》的後半部分逐漸失去了與設置在前半部分中的複雜的預示的協調性，失去了虛構世界的構成的科幻的、模擬的合理性。（這是由方向改變而自然給定的） 然而，這並不意味著結構變得漫不經心。相反，一種密度和奇怪的必要性出現了。例如，在第 22 集，就展開了一個難解的故事，因為夏娃只用了投擲一根特別的長槍，就打下了衛星軌道上的使徒。故事內部甚至沒提供一個合理解釋。 但是，故事的展開顯然隨著場景的流動而具有了某種不可避免性。這種獨立於敘事策略而存在的“不可避免性”，是《新世紀福音戰士》後半部分的真正價值。這種不可避免性使絕望、張力得以傳播。很難設問它從何來。由於我只想密切關注這一點，我們可以把這種不可避免性的出現聯繫到日式動畫這一類型的崩潰和重生之過程上。在庵野作品的這個時期，他處理的是一些普遍性的問題。

The last half of "Evangelion" gradually loses the co-ordination with the complicated foreshadowing that was installed in the first half and loses the science-fictional, simulational reasonableness of the compostion of the fictional world. (Which is natural given by the change of direction) However, it doesn't mean that the structure became careless. Instead a density and strange necessity arises. For example in episode #22 there is the unfolding of an incomprehensible story as Eva brings down the angel on a satellite orbit only by the throw of a special spear. A rational explanation is not even provided inside the story. But certainly the unfolding of the story possesses a certain inevitability with the flow of the scenes. That "inevitablity" which exists especially independent from the narrative strategy is the true worth of the last half of "Evangelion." That inevitability allows for the dissemination of despair and tension. It's difficult to ask where it comes from. Since I only want to pay close attention to this, we can connect the appearance of this inevitablity with the process of collapse and rebirth of the genre of anime. In this period of ANNO's he is dealing with some univeral problems.

大膽地說，第 17~24 集（特別是第 18、19、22 和 23 集），在那個濃縮的展開達到最高點的時刻，他幾次讓我想到戈達爾。這不是一個與電影本身的質量有關的解釋。這也不意味著庵野試圖引用、戲仿戈達爾。任何人都可以借用刻板的“戈達爾式”圖像。（當然庵野自己也會這樣做。例如使用大量字幕） 問題比這更抽象。當我問小說家阿部和重時，他解釋說問題在於一種“密度”，即庵野的場面調度和編輯在那個時期擁有的密度。由於這種水平的濃縮所必然帶來的焦慮感，顯然會使他轉向戈達爾的方向。 日式動畫的敘事類型的規則被迅速旋轉、扭轉到崩潰的地步，無論這是否是有意識的，庵野都臨時取得了一個奇蹟般的成功。我想稱之為“戈達爾式”的，是他勉強平衡了所有這些東西。因此，這種張力提供了《新世紀福音戰士》後半部分的敘事的感覺。重複的轉折作為敘事的崩潰，催生了敘事的另一種感覺；這難道不是完全戈達爾式的嗎？

To put it boldly, from episode 17 until episode 24 (but especially in episode 18, 19, 22, and 23) at the moment when that condensed unfolding reaches its highest point, he several times makes me thing of GODARD. That is not an explanation related to the quality of cinema itself. That doesn't mean that ANNO tried to cite or parody GODARD. Anybody can borrow stereotypical "Godard-like" images. (Of course ANNO himself does it. For instance using lots of subtitles) The problem is more abstract than that. When I asked novelist ABE Kazushige he explained that the problem is a kind of "density" which ANNO's mise-en-scene and editing possessed during that period. The feeling of anxiety that is brought about neccesarily owing to that level of condensation, certainly turns him toward the direction of GODARD. The rules of the narrative genre of anime are rapidly spun and twisted to the point of their collapse and whether this is done consciously or not ANNO temporarily achieved a miraculous success. What I would like to call "Godard-like" is that he barely balances all of these things. Therefore that tension provides the sensation of the narrative of the last half of "Evangelion." The repetitive twist as the collapse of the narrative giving birth to another sensation of the narrative; isn't that totally Godard-like?