When you take a lot of this into consideration, it should have been a complete disaster. Midway through production, Anno hit a wall of frustration and suffered a mental breakdown. On top of the national tragedies, Anno’s depression simply wouldn’t leave him alone during the show’s development.
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Real-life events, namely the Tokyo subway sarin gas attacks forced Anno to make several key changes to the plot of his show, as his original ideas were deemed too controversial and realistic to be featured in an animated sci-fi series about giant robots. Mainly because there was one huge risk at play: that Eva was to be a short anime television series, neither based on an already-existing property nor made for the sole purpose of selling toys and merchandise. This isn’t to say that the production of Anno’s series ran smoothly. So he brought on a team of like-minded nerdy, otaku animators to take influence from older anime series like Devilman, Ultraman, and Space Battleship Yamato. Anno also intended to make THE otaku-bait show, as he wanted to get hardcore and casual anime fans alike more interested in the medium of anime. Something that captured the ennui that he and countless other Japanese citizens had faced during the dire economic downturn. Inspired by his depression, Hideaki Anno set out to create an anime that captured the nation’s zeitgeist. That was until King Record representative and fellow Gainax co-founder Toshimichi Ootsuki gave Anno one last shot: to make an original anime about ‘something, anything.’ It seemed that Anno’s career as an aspiring animator was coming to a screeching halt. The Gainax co-founder was in the middle of a tumultuous stretch with depression following the release of his television series Nadia: Secret of the Blue Water, a series he barely had any creative control over.Īnno would then slave over a bunch of other projects, none of which ever saw the light of day. And it was an even worse time for Hideaki Anno.
Even the up-and-coming boy wonders at Gainax was suffering from financial losses so heavy that they were on the verge of bankruptcy. It seemed like a pretty bleak time to be an otaku. Anime studios declared bankruptcy and were forced to shut down their doors, marking the end of what was shaping to be a golden era for anime.
A decades-long era of prosperity was abruptly put to an end by the burst of Japan’s bubble economy, leading to a recession that would grip the nation for years to come. It was the early 1990s, and the Japanese Economic Miracle had reached its final days.
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And now that at the time of writing, it’s two-and-a-half decades old, it’s even bigger and more unavoidable than ever.Įvery anime fan is destined to watch Evangelion at some point, like some sort of rite of passage. Its influence on Japanese media is felt in every single corner and is as culturally relevant as anything Akira Kurosawa or Osamu Dazai have made. Pepper’s Lonely Hearts Club Band tops the greatest albums lists of every rock magazine ever, or how film connoisseurs still eagerly insist that Citizen Kane is cinema’s magnum opus.Īnd yet, nobody on Earth can ever deny the impact of Neon Genesis Evangelion. Nowadays, a deafening groan can be heard throughout the Internet whenever the dreaded (but always inevitable) ‘Eva discourse’ is brought up. It’s become oh-so fashionably cliche to say that Neon Genesis Evangelion completely changed anime forever.
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