Japanese Words: Repetitions
イライラ (ira ira) - irritated
ぺこぺこ (peko peko) - hungry
いちゃいちゃ (icha icha) - flirty
ふかふか (fuka fuka) - fluffy
べちょべちょ (becho becho) - soaked
ギリギリ (giri giri) - barely
へとへと (heto heto) - exhausted
ドキドキ (doki doki) - heartbeat
ぴかぴか (pika pika) - shiny
もやもや (moya moya) - gloomy
ムラムラ (mura mura) - horny
無駄無駄 (muda muda) -
Evangelion 1.11 - You Are (Not) Alone V/S NGE Episode 6 - Rei II
Seen a bitch wearing fake BOBS (fake TOMS) them shits said FRED
Who gives a shit what the hell kind of shit is this?
why u reblog it den u dork this humor fa tha real playas on tha dash u just got a ticket to da block zone lol sike na im mobile but u needa loosen up u jive turkey
Jakuzure Nonon’s songs of attack and the composers that wrote them
What do you wish for?
I would like to speak about an image that is shown in the End of Evangelion. It lasts just a second in screen but I think it’s a very emotional one.
The image is shown after Yui asks Shinji (moments after the formation of the Tree of Life with Eva – 01 and Longinus Spear) what does he wish for. Then, this appears:
and Shinji turns into LCL.
As I said in previous posts, Evangelion can be interpreted and deconstructed through some psychodynamic principles. This could explain how the romantic relationship between Shinji and Asuka is portrayed: Sexual impulses, utterly control, egocentric thoughts, need…but in the end it’s just the expression of the character’s conflicts. In the end, it’s just love, human love. Asuka and Shinji love each other but they don’t know how to communicate. This leads them to a path where the hedgehog dilemma is present.
Despite that, Evangelion can be interpreted without thinking in a psychodynamic way, arriving to the same conclusions. It just requires a bit more thinking and the intention of not taking Evangelion as a simple work.
I prefer to take this second approximation. Psychodynamics are much questioned in modern psychiatry (although it works in fiction) and I don’t think Evangelion staff was thinking much about it, maybe just sometimes to guide some scenes and conflicts. Moreover a wrong interpretation of pshychodynamics can guide us to think in the wrong way with this image.
So, returning to the point, we see this image. Let’s describe it: We see a long haired woman with her torso naked and, at first watch, covering her breasts.
This image can be deconstructed in three elements: Hair, arms and breasts. They can’t be interpreted alone although we can see a combination of only two for some information. For example:
- Hair + breasts give us the identity
- Breasts + arms give us the main information of the image
First off, what’s this image trying to tell us? Is the image saying that Shinji want to touch breasts ‘cause he is a pervert? No, of course it’s not this image’s point.
The breasts are not entirely covered by the girl’s arms, that can make our vision go there, but they are not drawn in enough definition for taking all our attention. They are important, but they don’t want us to look only at them. It’s the combination of the arm’s gestures with the breasts what is the key of the image.
What are the arms doing? I think they are making a hug-like gesture. They are not there to cover, take a look how hands don’t rest on the breasts (or at least, not just there for covering, because we see a lot of the breasts). Moreover, the arms are not in tension, they are relaxed and it communicates to us a calm feeling coming from the image.
It’s a scene that doesn’t show a girl covering her breasts due to someone watching, it’s an image that shows us an intimacy moment. A moment to share acceptance and love. What does Shinji wish for? He wishes for love and acceptance. Maybe he would like to be in that hug. But if this is true, why did they draw the breasts for? Because thanks to that we can narrow a bit more the love Shinji seeks for. It can be a generic love, but he is also interested in someone from the other sex. And this interest is not just in a friendship way, as all romantic love, it takes its sexual connotations. I think we can read more about the symbolism the breasts can give to the final message, but the central point is all what I’ve spoken about.
The final question is: Who is the girl? Who wishes Shinji for? This question has, in my opinion, a clear answer: Asuka Langley Soryu.
The hair the picture shows can only be Asuka’s one. Misato is the only other possibility and, first, it doesn’t fit the movie’s message and plot and, second, Misato’s hair is not a scaling hair and never is depicted in the two tufts way. However Asuka shows these two tufts in the movie some scenes later, naked, lying on Shinji.
We can take a better look to Asuka’s hair in other screenshots:
In the end, Shinji’s wish is to be accepted and loved by the person he loves and wishes for. This is represented through intimacy, kindness and sexuality. This is not stated only with this image, this is represented during all the film in different scenes. I’m not going to talk about them now and how they are connected, but I will speak about how this image and the “I need you” ending are connected:
The “I need you” scene is where we see the fulfillment of this wish. In the world where hurt exists, love can be found too. The position Shinji and Asuka ends up shows us that Shinji’s wish is fulfilled: He has found the love and acceptance he looked for: Asuka lets him to enter the private and intimate place we saw before.
All of this is supported also by the Eva Cardass Masters.
The Eva Cardass Masters card states:
"In the sea of LCL, Shinji wished for a world with other people. He desired to meet them again, even if it meant he would be hurt and betrayed. And just as he had hoped/wanted, Asuka was present in the new world. Only Asuka was there beside him. The girl whom he had hurt, and who had been hurt by him. But even so, she was the one he had hoped/wished for….”
I wish you, I need you.