Believe in the Evangelion 2.22: You Can (Not) Advance that Believes in You

I watched Evangelion 2.22: You Can (Not) Advance over the weekend and I have a whole smattering of thoughts to put down on the subject. It’ll be part-review, part-editorial, and it will contain a ton of spoilers, so watch out.

Evangelion 2.22: You Can (Not) Advance is the second of four movies whose purpose is to retell the story of Studio Gainax’s Neon Genesis Evangelion, one of the most influential works ever in anime history. Fueled by hindsight and merchandise profits, Rebuild brings it all back while taking into account changes that have occurred in the world and in anime since the original series ended back in the 90s.

The basic premise of Evangelion is that a cataclysm in the early 21st century has left most of the world unpopulated. Ikari Shinji, a quiet, passive teenager, is tasked  with defeating otherworldly monsters known as “Angels” through the use of unusually organic-looking robots called “Evangelions.” However, his nature and personality make him perhaps the least qualified person in the world to be engaging in battle, let alone defending the Earth. He is supported by the organization NERV, which houses the Evangelions as well as his fellow pilots, the mysterious, stoic Ayanami Rei and the aggressive and competitive Sohryu Asuka Langley.

The idea seems fairly simple, but Evangelion would eventually become a whirling dervish of emotional trauma and introspection that sucks you into the characters’ thoughts and fears, and that characteristic of the series is by far its main strength, and according to some, also its main weakness.

Shinji especially is a pile of neuroses and doubts, which can make him an aggravating main character but also establishes him as quite a bit of an “anti-protagonist.” In watching the first Rebuild of Evangelion movie I found myself unable to engage Shinji, as they tried to build him up to have just an ounce more confidence and determination, but failed to spend enough time on his inner thoughts. His change of heart at the end of the movie comes so suddenly that it rings false to some extent as a result. Luckily, You Can (Not) Advance solves this problem with grace and artistry, which is to say, I liked this second movie. Now on to why.

While the movie opens with a fight between brand new character Makinami Mari Illustrious and an equally brand new Angel, I feel like the movie truly “begins” with the scene immediately after. Here, Shinji and his father Gendou, who is also the head of NERV, are at the grave of Shinji’s mother. Prior to the first movie, father and son had not seen each other in years, and so their relationship is justifiably awkward. Walls have been erected towards each other. However, here at the grave of Ikari Yui, both show that the walls are not absolute, that they are willing to express their feelings towards each other, if only briefly.

While Evangelion has always been about humans relating to one another, this idea of taking just that one tiny step towards trying to connect with others is what really sets apart the Rebuild of Evangelion from the original TV series. The characters aren’t significantly different from who they were in previous incarnations, but by attempting to reach out to others they encourage others to do the same as well, which keeps everyone from retreating into the comforting shell of personal insecurity. Ayanami Rei is seemingly without personality in the first film, and could have very well remained that way, but Shinji is able to reach out to her. In turn, in this film when Asuka (now sporting the surname “Shikinami”) confronts Rei and accuses her of being a “doll,” Rei is able to reply that she is not, but more importantly tries to help Asuka, who she sees as being much more human than herself and thus able to foster relationships outside of their “work.”

I really became aware of this element when Rei invites Shinji and Gendou to dinner to try and have them grow closer (or perhaps less distant). Amidst all of the talk of Angels and Human Instrumentality, I began to care a little more about this dinner, as I felt it skirted closer to the heart of the movie than anything else. The film follows a minor variation of the motto for success from another Gainax work, Gurren-Lagann, “Believe in me who believes in you.” Everyone is portrayed as a thinking and feeling being, even the Angels, who are not one-trick ponies but instead contain backup plans which are augmented by contingencies, hinting at the idea that they have brains underneath those monstrous facades.

The dinner ends up being canceled, as a disaster leads to Asuka and her new experimental Evangelion being possessed by an Angel. Shinji is sent out to fight the compromised EVA, but cannot act out of fear of hurting Asuka. Despite Shinji’s protests however, Gendou is able to override his controls, causing Shinji’s unit to go on auto-pilot and crush the Angel, with Asuka still inside. Shinji is justifiably upset at the whole ordeal, but what he curses most is that he ended up doing nothing. When Shinji is faced with a similar situation again, this time with Rei being the one at risk, Shinji is determined to not repeat the same mistake. Even if something terrible happens as a result, it’s better than having stayed on the sidelines.

The final scene of the movie mirrors one of the most famous scenes in Evangelion, that of Shinji falling unconscious and the EVA rampaging out of control, ultimately leading to it consuming the Angel in an orgy of violence and “evolving.” In this instance however, Shinji does not fall by the wayside and instead is fully in control. His desire to do something and make a difference where he once could not causes the EVA to transcend into a god-like state, visually captured by the movement and posture of the EVA. Neither hunched like normal, nor craven like when berserk, this divine manifestation stands with shoulders apart and head raised, as if to say that it has transcended into another level of existence. Its movements are steady and deliberate, with a clearly conscious mind behind them. In the end, Shinji is able to succeed because he has grown as a person with the help of those around them, who were themselves made better by knowing Shinji.

Whether or not I like this more than the original TV series is still up in the air, but seeing as there is so much to this film, so much to discuss and address, I am quite surprised that so much of the discussion going on about You Can (Not) Advance tends to be rather lacking. Instead of exploring the characters in-depth or talking about themes and story, the conversation revolves around talking about whether or not Asuka is tsundere, the levels of fanservice in the film, and how much merchandise the whole thing generates, as if to say that the movies do not contain any merit beyond being cash grabs. Why is that? I understand that Evangelion, being the classic it is, has been discussed to high heaven by anime fans the world over, but I don’t think any of us are too cool for school that we cannot bring about that fervor again.

Actually, a better way to put it would be to say that people seemingly do not allow the discussion to move beyond the idea that Rebuild of Evangelion is tapping into that pool of devoted fans. It is doing that of course, but no one ever said that they cannot still put heart and effort into the whole project.

So let’s talk!

(And if you’ve talked already, kudos to you.)

12 thoughts on “Believe in the Evangelion 2.22: You Can (Not) Advance that Believes in You

  1. I thought the dinner was a nice touch and it’s good that you spoke of it in those terms.

    Our (mine and otou-san’s) discussions on this matter (on THAT Anime Blog and We Remember Love respectively) tend to focus on changes in Shinji’s behavior (towards being more proactive perhaps, but we are uncertain).

    In any case I think neither of us think Rebuild is superfluous or lacking of merit. The fact that we’re asking ourselves whether we prefer it over the original TV series speaks much of its merit.

    Otou-san’s post:

    Here’s mine:


  2. EVA 2.0 (and 2.22) is the first action anime that I watched in the cinema. Being an EVA fans for over 10 years. Rebuild does refresh my mind with new story developments and exciting battles.

    Maybe the original series have slower pace, so I like how the 2 girls in the movie “fight” over the boy they liked, how Rei become more feminine and Asuka open her hearts.


  3. I really want to show Rebuild to someone who isn’t an anime fan and knows nothing about Evangelion. It might make things clearer to have someone who can just approach the work as itself, without all the baggage intertwining it with the original, the arguments, fandom in general, ANIME in general…


  4. There were two things I took away most from this second film. The most important of which is the idea that once one person steps forward (in this case Shinji) everyone else can move. In many ways it’s very true to life, someone has to make the first move. It furthers the idea of how connected everyone is, whether they know it or not, and how each is paying attention to the actions of others.

    Second, there is a big, BIG difference between wanting to fight and not wanting to be stagnate. Shinji does not turn into a hot-blooded robot pilot at the end of the film, he just refuses to do nothing. I felt his mindset to be: even if I can’t save Rei atleast I know I did all that I could. It is more about him not being idle than saving the day.



    • Narutaki the thing is, at around episode 19, Shinji pretty much does the SAME thing.

      Basically, Mari’s speech replaced Kaji’s on the watermelon patch, but otherwise Shinji runs back the same way, confronts Gendo the same way, and pilots Unit 01.

      We are so conditioned to think of Shinji as a wimp that we forgot that this moment had always existed.

      Well, it could be that we forgot because Shinji didn’t become the hot-blooded pilot that this moment indicated he would become. And Rebuild may just smash Shinji once again for some delicious cruelty.


      • I found the scene similar but not exactly the same. There is a different sort of will at work that stems from the minor steps taken in the film previous to that moment. Shinji is already a different character from his TV counterpart when he approaches Gendo in the film. His decision seems more thoughtful than impulsive and because of that the next scenes play out very differently.



  5. Interesting…I’ve read a couple of reviews of this film that are really negative, and some that are positively glowing with admiration for it. More often than not, they boil down to that question of whether it’s about the hindsight or the merchandise profits you mention.

    I tried to avoid thinking about that, but still came away with mixed feelings over the film. I have to say though that your arguments here make a lot of sense, and taking the observations you’ve set out here into account, I’m a little more forgiving towards it. I felt it placed too much emphasis on moving the story along to each successive battle and skimping on characterisation in the process. Which was a shame, because I appreciated the character study of the story above all else and the first Rebuild film seemed to be on the right track in that regard.

    The visual spectacle can be distracting I think – hell, I watched the movie twice, thought “wow, this looks amazing!” but still thought it was missing something important. How that ‘something’ has eluded me not once but twice, I don’t know! My conclusion in the end was that it’ll all come together when I’ve watched the concluding movie(s) and can make a judgement on the entire thing, as opposed to jumping to premature conclusions.


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