Rei Ayanami
Rei Ayanami | |
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Lilith (Biological Source) (son of Yui)Shinji Ikari |
Rei Ayanami (
Rei has been well received by critics and in reviews. She has maintained a high ranking in every popularity poll of the series and has also appeared in polls to decide the most popular anime characters in Japan. Reviewers have praised Rei's mysterious aura and her role in the story. Merchandising based on her has also been released, particularly action figures, which became popular. Critics linked her success to a series of moe traits that proved popular with anime fans, influencing the creation of subsequent female anime characters.
Conception
Design
According to the Neon Genesis Evangelion: The Unofficial Guide by writers Kazuhisa Fujie and Martin Foster, director Hideaki Anno instructed Yoshiyuki Sadamoto on Rei's character design saying, "Whatever else, she needs to be painted in as a bitterly unhappy young girl with little sense of presence."[3] The band Kinniku Shōjo Tai's theme song "Doko e demo ikeru kitte" and its line "hotai de masshiro na shojo" (包帯で真っ白な少女, lit. '"the white girl with bandages"') inspired Sadamoto to draw Rei.[4] The same band produced a song named "Fumimi no kodomo" (福耳の子供), in which a female monologue is audible, and Sadamoto tried to portray a girl with a similar voice.[5] Ukina, a character from Sadamoto's previous work Koto, served as Rei's model, and the artist gave her "shaggy, bobbed, wolf-like hair".[6] Another source of inspiration was The Snow Goose, a novella written by Paul Gallico; the story describes a painting portraying the protagonist, a thin and pale girl in an empty room, and the artist tried to create a character similar to her.[5]
Anno required a "gloomy",
Development
I don't really understand [Rei]. The truth is, I have no emotional attachment to her at all. [...] At the end [of the sixth episode], when Rei says, “I don't know what kind of expression I should have at a time like this,” and Shinji says, “I think you should smile,” and Rei smiles. [...] When I thought about it afterwards, I cursed. I thought, in short, that if she has [already] communicated with Shinji there, then isn't she over with? At that moment, Rei, for me, was finished, all at once.
–Hideaki Anno[14]
Like other Evangelion characters, Ayanami's surname comes from a Japanese
During Evangelion's production and first broadcast, Anno encountered difficulties writing the character, not feeling "particularly interested" or relating to her, but he thought of her as a representation of his unconscious mind,[14][22] conceiving Rei as "the unconscious Shinji".[23] In the fifth episode, "Rei I", explicitly dedicated to her character, Rei speaks seven lines and fifty-two words, while in the sixth she has twenty-five lines.[24] Not feeling particularly close to her, the director for a long time forgot to explore Rei's personality, ignoring it or giving it marginal space. In the eighth episode, "Asuka Strikes!", for example, she does not appear in any scene, while in the seventh installment, "A Human Work", he remembered her and he added a scene with Rei.[14] As with other Evangelion characters, he transposed aspects of his life into her character, including the choice to not eat meat and maintain a vegetarian diet.[25][26] At the beginning of the production he also stated that he did not know what would happen to Rei or to the other characters, "because I don't know where life is taking the staff".[27]
Her history has eventually undergone changes. According to Sadamoto and assistant director
Voice
Megumi Hayashibara voiced Rei in all her appearances in the original series, as well as the later films, spin-offs, video games and the Rebuild of Evangelion saga. In 1995, Hayashibara said she was somewhat "surprised" by her role and her laconic character saying, "I have to challenge something new."[34] Hayashibara also attended auditions for Asuka and Misato Katsuragi,[35] but after hearing her performance in an OVA named Chigatsu ni wa Christmas (一月にはChristmas) Anno felt her voice more suited to Rei.[36] She noticed that before Neon Genesis Evangelion there were few taciturn and cold characters to deal with, so, in the absence of examples to imitate, she tried to characterize her "as best I could".[37] During the dub sessions, Hideaki Anno instructed and guided her, advising her to read her lines in the flattest tone possible: "When the director explained her character to me, he said, 'It's not that Rei doesn't have any feelings, it's just that she doesn't understand'."[38] According to Hayashibara, since Rei "doesn't know emotion, there's no difference between what she says and feels". At first glance, her "great beauty" comes from "this surface, not without depth, but with the absence of its necessity". She added, "Rei's beauty comes from the truth that she has feelings", and "when I found the warmth below the coldness in her words, I synchronized with Rei for the first time".[38]
Voicing the mahjong game Shinseiki Evangelion: Eva to Yukaina Nakamatach (新世紀エヴァンゲリオンエヴァと愉快な仲間たち, lit. 'Neon Genesis Evangelion: Eva and Good Friends'), she stated that she understood the difference between "lack of intonation" and "absence of emotion" in words. She linked the lack of intonation as a sign of "self-confidence"; an insecure or bad-faith person, in her opinion, would tend to emphasize words, while Rei is completely honest and only tells the truth.[40] The voice actress also reprised the role for the Rebuild. While filming for the third film in the saga, Evangelion: 3.0 You Can (Not) Redo (2012), she worked on parts that weren't fully animated, so she had to ask the director what was happening in the scenes. Hayashibara stated she had to do "countless takes" for Rei's short lines and find the right nuance the staff wanted. She had to dub her as she was indifferent and be careful in conveying her character's feelings of happiness "without overdoing it".[41]
Regarding the final installment, Evangelion: 3.0+1.0 Thrice Upon a Time (2021), a difficult part for her was showing another Rei clone who is slowly growing up; when she tried to be pure she was criticized, and when she tried to be less emotional she was criticized anyway. Anno tried to make the characters younger and with fuller emotions, so it was difficult for the voice actress to get the nuances the director wanted.[42] With Rei's role, Hayashibara's popularity as a voice actor grew, and she became an icon of anime fandom.[43][44] Shunsuke Nozawa, assistant professor at Hokkaido University, noted how in the 1990s there was an explosion of interest in Japanese voice actors, believing the figure of Hayashibara to be at the center of this change, thanks to the "enormous, societal-level fascination" exerted by Ayanami. Hayashibara thus began to be interviewed about the series and to be regularly invited on television as a celebrity.[45]
Amanda Winn-Lee voices Rei in English in the original series and in the Amazon dubs of the Rebuild of Evangelion films.[39] According to Winn-Lee, despite the cold and detached appearance, there is still "a small spark of humanity" in Rei, "clouded by this huge sense of negative self-worth and the realization that she is expendable".[46] She also stated: "She knows she's expendable, but the thing is, she's still human."[47] In the Funimation dub of the Rebuild of Evangelion films, her role is entrusted to Brina Palencia, while in the Netflix dub she is voiced by Ryan Bartley.[39][48]
Appearances
Neon Genesis Evangelion
Rei Ayanami's birth date is never specified in the original series.
In the battle with the Angel
After her sacrifice, Rei II is replaced by a third and final clone. All the other bodies in Terminal Dogma are later destroyed by Ritsuko.[63] Thanks to her close relationship with Shinji, the last Rei decides to rebel against Gendo's will. Rei III thus acts as the main catalyst behind an apocalyptic event named Third Impact. She merges with Lilith, letting Shinji freely decide the course of a process named Human Instrumentality, during which all of mankind unites into one collective consciousness.[64][1] A giant white and naked Rei emerges into open space during the process, holding Shinji's Eva-01, and, when Shinji rejects Instrumentality, this figure decomposes. After Shinji rematerializes, he briefly sees a version of Rei watching over him from a distance before vanishing.[65]
Rebuild of Evangelion
Rei returns as a primary character in
In the third installment,
In other media
In the official Neon Genesis Evangelion manga, by Yoshiyuki Sadamoto, further differences are evident in the characterization of Rei. In the manga, she is generally more empathetic and open to human contact compared to her animated counterpart. In the comic, moreover, the character has more space than Asuka, who in the anime has a predominant role. Compared to the classic series, Sadamoto tried to tread his hand on her relationship with Shinji, particularly insisting on the symbology of the touch of the hands and the theme of motherhood, inspired by Kazuo Umezu's The Drifting Classroom.[77][78] As in the series, she at first considers herself empty and useless, created solely for piloting the Evangelion under Ikari's orders; Shinji's touch changes his attitude. In a scene from the fifth volume of the manga where they are both at Rei's house, Rei gets burned while preparing tea with Shinji and their hands touch for a moment. Taking advantage of the opportunity, Rei invites Shinji to speak to his father and open up to him; in another chapter, thinking back to that moment, she wonders if her hands will one day be able to touch Shinji again.[79] During the clash with the Angel Armisael, Rei becomes increasingly aware of her feelings of sadness and affection towards Shinji,[80] towards whom she demonstrates a certain romantic interest.[81] Sadamoto himself described Shinji and Rei's feelings as mutual love.[78]
In a scene from the last episode of the animated series, an alternate reality is presented with a different story than the previous episodes; Rei is presented as a girl who has just moved into the class of Asuka and Shinji, with a cheerful, distracted and irascible personality.
In addition to games based on the original series, Rei has appeared in media not related to the Evangelion franchise, such as Monster Strike,[100] Super Robot Wars,[101] Tales of Zestiria,[102] Puzzle & Dragons,[103] Keri hime sweets, Summons Board,[104][105] Puyopuyo!! Quest,[106] Line Rangers,[107] Unison,[108] MapleStory,[109][110] Valkyrie Connect,[111][112] Ragnarok Online,[113][114] The Battle Cats[115] and in an official Shinkansen Henkei Robo Shinkalion crossover episode.[116]
Characterization and themes
Rei-chan is very popular. I think that she's very quiet and doesn't wish to talk very much, and doesn't complain. In Japan, I suppose that girls like that are very much desired. [...] She was created solely for the purpose of being an Eva's pilot and I'm not quite sure if she's happy.
Rei Ayanami is a taciturn girl[118] who limits relations as much as possible and mechanically executes any order given to her, even if particularly cruel.[119] She is introverted,[120][121] socially detached and laconic.[122] Sociologist Satomi Ishikawa noticed that in a scene from the sixth episode of the series, "Rei II", her companion Shinji asks her the reason that pushes her to want to pilot Evangelion 00; Rei replies saying she finds her only "bond" with other people in this, thus demonstrating that she is committed to the struggle against the Angels "as if it were the only reason why she exists".[123][124] Throughout the series she proves to be indifferent to life and engages herself in drastic acts that could cost her life. The Artifice's writer Justin Wu noticed that, unlike other characters from the series, she does not care if she dies, and embraces death "as if death is the only way to prove that she has lived".[122]
For the critic Gerald Alva Miller, despite her cold attitude, Rei experiences feelings of alienation and existential angst.[125] Gualtiero Cannarsi, who cured the Italian adaptation for the series, similarly described Rei as a girl "unaware of the most basic rules of life and hygiene", as she has had no one to teach them to her, resulting in her being disinterested in them. Her attitude is reflected in her apartment, where hygiene is neglected. In one episode Ritsuko Akagi says, like Commander Ikari, she "is not very adept at living".[126] Scattered on the floor of her apartment are scientific texts on biological interactions and genetics written in Latin alphabet in the original series,[127] and The Happy Prince and Other Tales in the Rebuild of Evangelion series.[128] Critic Susan J. Napier also noticed that in the last two episodes she confesses to wanting to die and "go back to nothing".[129] According to Evangelion character designer Yoshiyuki Sadamoto, she is "translucent", like a shadow or "the air": "The kind of girl you can't touch. The girl you long for, but there is nothing about her that you can grab a hold onto."[6] He also interpreted Asuka and Rei as "strong characters, in their own separate ways".[130] Furthermore, Hayashibara described her as an "ethereal character"; according to her: "Her emotions are like waves, so if I was off by even one millimeter it would affect her character, and I'd have to redo it".[41]
During a show a little girl asked Hideaki Anno what Rei likes, and he replied that he never thought about it.
For the scholar
Critics linked her silent and inexpressive personality to
Academic
Cultural impact
Popularity
Reception to Rei's character has been positive.
Rei Ayanami also won first place in Newtype magazine popularity charts.[189][190][191] In July 2005, for example, she emerged tenth,[192] and the magazine itself wrote that: "Her many charms and mysteries continue to shine and captivate fans even now, ten years after the broadcast".[193] In August and September 2009, after the release of Evangelion 2.0: You Can (Not) Advance, she ranked in fourth and second place.[194][195] In October, she took third place, becoming the most popular Evangelion female character.[196] Rei was also voted the most popular female anime character from the 1990s in a Newtype poll in March 2010.[197] In 2015, almost twenty years after its debut, she conquered the first place among the female characters favored by fans, thus beating all the heroines of the anime of the season, while in 2018 Rebuild Rei was included among the best thirty characters of the previous decade.[198][199] In 2013 the NHK Shibuya Anime Land radio show ranked her among the ten top anime heroines of all time.[200]
For
Critical reception
Rei has been well received by anime critics. Japanese cultural critic
When Rei Ayanami first appeared, the self-esteem of the Japanese population was at an all-time low, as the economic bubble had just burst. The empathy towards Ayanami, a wounded girl who climbs onto an artificial humanoid and silently fights her enemies, is rooted in that particular era. A figure is a modern idol that embodies unconscious faiths. Although the economy recovered, maybe Japanese people still have a hollow in their heart.
–Nihon Keizai Shimbun[204]
Other critics expressed a negative opinion of the character. The Anime-planet.com site, while appreciating some interesting revelations about her past and still considering her "by far the most interesting character", was critical that her character had not been "explored as much as she should have been".[216] Animecritics.com wrote, "[Rei] has absolutely no personality to speak of, and she remains an enigma for most of the series. Part of the intrigue in the series is discovering the secrets she holds."[217] THEM Anime Reviews' Raphael See criticized the characterization of the whole Evangelion cast for being "cliche", saying he did not understand the reasons for her great popularity.[218] Anime News Network's Kenneth Lee considered her character arc a wasted opportunity, as he considered that "a 'dummy shell,' gaining a soul could had an entire series devoted to it".[139] Comic Book Resources' Anthony Gramuglia praised her character design but criticized her lack of development, especially in the 1997 cinematic finale.[219]
While reviewing the Rebuild of Evangelion films, writers from Anime News Network praised Rei's character development. On Evangelion 1.0, Carlo Santos noticed that Rei's personality is the same as in the TV series, and "those who hated the original Evangelion for its highly dysfunctional characters still won't find anything to like in this version", while Justin Sevakis praised her response to Shinji's kindness in Evangelion 2.0.[220][221] UK Anime described Rebuild's Rei as a more human character who is easier to empathize with.[222] The Fandom Post appreciated the fact that she becomes progressively more independent from Gendo,[223] while Anime News Network's Mark Sombillo wrote: "Her personality and plight form much more of the core motivation of the story and despite her still tryingly hesitant attempts at communication, there's genuine warmth beneath her actions and it's hard not to be won over by her".[224]
Her role in the last installment of the saga, Evangelion 3.0+1.0, received a particularly positive reception from critics and reviewers, especially for its optimistic view.[225][226][227] Critics praised her journey and campy scenes in the first part of the film as "immersive"[228] and "moving".[229] Crunchyroll's Daryl Harding described them as "one of the nicest parts of the film".[230] The Otaku Revolution website positively compared Rebuild's Rei with the one of the television series, also praising the warmth of her actions and her growth path: "She's allowed to be more animated, even as she is alien, a wonderful dichotomy that makes her part of the story irresistible".[231] Geek Ireland praised how Thrice Upon a Time gives a sense of conclusion to Rei, Shinji, and the other characters,[232] while Paste magazine lauded the fact that the movie shows Rei and the other pilots outside the militarized and violent context of the battles.[233] According to Gizmodo, she has "the most complete journey" among those presented by 3.0+1.0,[234] while Otaku Voice wrote that: "Watching Rei discover the real world through her childlike eyes of wonder is one of the greatest pleasures of the film".[235] Otaquest's Chris Cimi similarly praised her character development, saying that her actions "make for something different and warm", but "still Evangelion".[236]
Merchandise
Mania.com's Thomas Zoth wrote, "Rei Ayanami proved such a popular character that she started a
In 2007 her costumes ranked first among the best selling cosplay costumes of the year by the company
In 2005, to celebrate the tenth anniversary of the first airing of Evangelion,
Legacy
When referring to a ‘mysterious character’ in the pre-Evangelion era, it was usually about someone with a twisted and often tragic past that would be slowly revealed as the plot progressed. What is mysterious about Rei is that she has no past. ... Before Evangelion, anime merchandises were not considered a big market for producers to profit on. However, it changed when Evangelion came out. Rei expands the market, and Gainax capitalizes on that. ... Evangelion is a very doujin-friendly series, for many scenes are not explained in details that fans can create their own versions of what the scenes entail. Rei's mysteriousness definitely helps in this aspect, as she allows fans to write about many ‘what-if’ scenarios, especially her relationships with other characters. .... Furthermore, Rei is a common character used in hentai doujin.
–Justin Wu (The Artifice)[122]
Rei Ayanami had a significant influence on Japanese animation and subsequent fictional characters.[261][262] Following the fame gained by Evangelion, other characters with its aesthetic and character traits were created.[205][263] Critics regarded Rei and her success as the beginning of the moe phenomenon,[205] with the creation of characters according to definite stereotyped features easily recognizable and consumable by the Japanese otaku audience. In the late 1990s, characters bearing a close resemblance to Rei have been produced and consumed on a massive scale in comics, anime, and novelizations, both in the commercial market and the fanzine market.[264]
According to Japanese scholar
Critics compared other characters to her, including Miharu in
The Artifice writer Justin Wu regards Rei as the prototypical mukuchi (無口, "mouthless", "silent"), a term used by anime fans to describe reticent and emotionless characters, usually with a monotone voice who speak to-the-point, and avoid unnecessary conversations. This moe element, which gained wide popularity only after Rei's success, can be found in numerous subsequent female characters, including Eva in
Japanese band
See also
References
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