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Fourth Child

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"Fourth Child"
Neon Genesis Evangelion episode
The Dummy Plug implant with Rei Ayanami.
Episode no.Episode 17
Directed byMinoru Ohara
Written byHideaki Anno, Shinji Higuchi
Original air dateJanuary 24, 1996 (1996-01-24)
Running time22 minutes
Episode chronology
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"Splitting of the Breast" 		Next →
"Ambivalence"
List of episodes

"Fourth Child"[a] is the seventeenth episode of the Japanese anime television series Neon Genesis Evangelion, created by Gainax. Hideaki Anno and Shinji Higuchi wrote the episode, which was directed by Minoru Ohara. The series' protagonist is Shinji Ikari, a teenage boy whose father Gendo recruited him to the special military organization Nerv to pilot a gigantic, bio-mechanical mecha named Evangelion into combat with Angels. In the episode, Eva-04 and Nerv's Second American Division disappears and Toji Suzuhara is selected as the pilot of Eva-03. Hikari Horaki, class leader of Toji and Shinji's class, asks Toji to prepare something for him to eat.

"Fourth Child" has references to scientific and religious concepts such as nucleotide bases, apoptosis, the Dirac sea, the God Marduk, and crucifixion. Writer Shinji Higuchi was inspired by the Ultraman franchise, conceiving the episode as the "calm before the storm" of "Ambivalence" (the following episode).

It was first broadcast on January 24, 1996, and had a 7.3-percent audience share on Japanese television. The episode had a mixed reception from critics. The Anime Café and Film School Rejects disliked its poor pacing and animation quality, and Newtype, Anime News Network, and Digitally Obsessed appreciated Hikari's characterization and script.

Plot

[edit]

The Instrumentality Committee – which is behind a sect called Seele – interrogates Nerv Captain Misato Katsuragi about Leliel (twelfth of a series of beings named Angels) and his attempted contact with the Eva-01 mecha and its pilot, Shinji Ikari. Misato denies any attempt. After the interrogation, Nerv captain Gendo Ikari says that the Angels are beginning to gain consciousness.

Toji Suzuhara visits his sister in the hospital. The second U.S. section of Nerv in Nevada disappears after an experiment with the Eva-04, and the US government decides to transport Eva-03 to Japan. Dr. Ritsuko Akagi discusses the Dummy System, a new piloting system, with Gendo. At school, Toji is assigned to bring overdue homework to Rei Ayanami (who has been absent for several days). Shinji accompanies him and, noticing Rei's dirty house, cleans her room; Rei blushes and thanks him.

Gendo and Nerv deputy commander Kozo Fuyutsuki discuss the Eva-04 incident and the Dead Sea Scrolls on a train. Ryoji Kaji, an investigator and Nerv member, tells Misato that the Marduk Institute (believed to be in charge of choosing Eva's pilots) does not exist. Kaji goes out with Shinji, discussing life and unpleasant situations in Kaji's garden. At the school in Tokyo-3 city, Toji is called to be president. During the afternoon he meets with class leader Hikari Horaki, who offers to prepare him something to eat. In the final scene, as Eva-03 travels through the skies of America, Toji silently throws a ball into the basketball court.

Production

[edit]

Genesis and staff

[edit]
Hideaki Anno, wearing glasses and a suit, in front of a microphone
Neon Genesis Evangelion director Hideaki Anno

In 1993, Gainax submitted a presentation for Neon Genesis Evangelion entitled New Century Evangelion (tentative name) Proposal (新世紀エヴァンゲリオン (仮) 企画書, Shinseiki Evangelion (kari) kikakusho) with synopses of the planned episodes.[1][2] The proposal was published the following year.[3][4] For the first twelve episodes, Gainax followed it with only a few minor script alterations.[5][6] From the thirteenth episode onward, the production deviated from the writers' original plan and the proposal.[7] According to Michael House, American translator for Gainax,[8] Neon Genesis Evangelion's main director Hideaki Anno initially intended to give the story a happy ending; during production, however, he realized he had created problematic characters and changed his plans.[7] Hiroki Azuma (a cultural critic who interviewed Anno) said that Anno began criticizing obsessive anime fans – known as otaku – he considered closed-minded and introverted as the series aired[9][10][11] and created a more-dramatic, introspective mid-series story.[12]

In the original 1993 draft, the idea of an American division suddenly disappearing[13][14] and an accident during the construction of Eva-04[15] were already planned. The names of Hikari's sisters[16] and the Marduk Institute were also in the proposal. The Marduk Institute was described an organization that acts on the "hypothesis of new mental cranial nerve vibrations", and only orphaned teenage boys could synchronize with the Evangelions; in the final broadcast version, it is a fictitious society behind which Gendo Ikari is hiding.[17] The seventeenth episode was supposed to depict Asuka's first date and Misato's past, intended as a light episode before the series reaches its climax. Elements of the initial idea later flowed into "Magmadiver", with Asuka and Kaji at a shopping mall in the opening scene, and into the episode "He Was Aware That He Was Still a Child."[18] The original script of the eleventh episode, "The Day Tokyo-3 Stood Still", included a mention of the S2 engine taken from Shamshel's body; Ritsuko says that the S2 engine is an unknown energy whose basic theory is "only a hypothesis".[19]

Shinji Higuchi[20] and Hideaki Anno wrote the screenplay for "Fourth Children",[21] and Akira Oguro produced the storyboards.[22][23] Minoru Ohara directed the episode, and Mau Hanabata was its chief animator.[24] Production involved studios other than Gainax, including FAI International, Neox and Cockpit Studio.[25][26]

Development and writing

[edit]
A smiling, bespectacled Shinji Higuchi at a formal event
Shinji Higuchi wrote the script for "Fourth Child".

Shinji Higuchi, who worked on the episode's script,[27] had written the storyboards for "Asuka Strikes!"[28][29] and "Both of You, Dance Like You Want to Win!".[30] Higuchi wrote "Fourth Child" as the "calm before the storm" of "Ambivalence" and "Introjection," focusing on the character's interpersonal relationships before showing Shinji losing the emotional support of Toji and Misato.[31][19] The story is preparation for the following episode in which Gendo betrays Shinji;[32] according to writer Virginie Nebbia, Higuchi borrowed the technique of two linked episodes from the Ultraman franchise.[33] Because of his commitments to Gamera 2: Attack of Legion (1996), he left the rest to Anno after writing the draft for "Fourth Children" and Ambivalence"; this caused problems for the production.[32]

Higuchi wanted to emphasize the fragility of Tokyo-3 city and its infrastructure at this stage of the series, with Shinji's school a building that can be dismantled at any time.[19] Nerv, by contrast, is depicted as increasingly powerful.[27][31] According to Higuchi, the relationship between Shinji and Misato is as fragile as Tokyo-3.[32][19] He compared this scenario to the Return of Ultraman series. In Return of Ultraman, Hideki Go alternates between the Monster Attack Team and the Sakata family, his civilian friends and recurring characters in the series. His friends Ken and Aki Sakata, however, suddenly die in a car accident. Enjoying plots with an "overwhelming sense of impermanence," Higuchi tried to recreate a similar story; however, he regretted making Hikari a stereotypical "young girl in love".[32] He wanted to recreate a "vacillating" adolescent mind, since he could not express himself in junior high school when he fell in love with someone. According to Higuchi, Neon Genesis Evangelion characters usually do not trust other people. Hikari falls in love with Toji, however; this contrast underscores the tragedy of Toji, who is severely injured in battle in the following episode.[32]

Evangelion Chronicle magazine noted that it has many scenes set at dusk and distant shots, creating a third-person perspective; this directorial device presents events in an objective, detached manner, in contrast to the introspective, subjective perspective of other scenes in the series.[34] Higuchi said in an interview that he disliked plots driven only by character emotion, and wanted to make something similar to Jun Ichikawa's films.[32] Azuma noted that from the seventeenth episode onward Anno used directorial techniques similar to those of Jean-Luc Godard.[9] According to Azuma, however, Anno was not directly influenced by Godard; Anno named Kihachi Okamoto (a director influenced by Godard) among his influences.[10] The episode's filmbook noted that Kaji is possibly modeled on UFO's Captain Foster.[35] Higuchi said that Anno asked him to portray Kaji like Masao Kusakari, who played Shunsuke Ryuzaki in the television series Pro Hunter.[32] The episode has a vending-machine scene typical of Gunbuster, an earlier work by Anno.[36]

Voice acting and soundtrack

[edit]

Takashi Nagasako, Motomu Kiyokawa, Katsumi Suzuki, and Takehito Koyasu returned in "Fourth Child" to voice members of the Instrumentality Committee, who interrogate Misato in the first scene. Junko Iwao, Megumi Ogata, and Miki Nagasawa (who voice other main characters in the series) played the unnamed nurses at Toji's sister's hospital and, with Koichi Nagano and Megumi Hayashibara, voiced the announcers and operators of Nerv.[25][37] Singer Aki[38] sang "Jungle Version", a "Fly Me to the Moon" cover, as the episode's ending theme.[39][40]

Cultural references

[edit]

The original title of the episode is actually "Fourth Children."[41] In the series, in fact, pilots are called "Children," even in the case of a single subject.[42] According to writers Kazuhisa Fujie and Martin Foster, the term may refer to the expression "children of God" mentioned in the New Testament.[43] The choice to keep the plural even for individual pilots has been interpreted as foreshadowing the fact that Rei actually has many clones[44][45] and an homage to the Space Runaway Ideon series.[46] Academic Masaki Miyakawa compared the scene in which Nerv's staff is around a table after the Second Branch incident to a similar scene from Space Battleship Yamato.[47] During the installment, the Dead Sea Scrolls of Seele, inspired by the actual Qumran scrolls,[48][49] are mentioned.[50][51] In the original storyboard, the Seele was actually supposed to be called by the name "Essenes", a name for a Second Temple Judaism sect.[52] Writers Kazuhiza Fujie and Martin Foster noted that it is said the Dead Sea Scrolls were deposited by the Essenes themselves.[53] The names of Hikari's sisters, Nozomi and Kodama, are names of Japanese high-speed trains.[54][55] "Fourth Child" also names the JS Myōkō, an actually existing destroyer.[56] A Nerv site located in Matsushiro is also named; in reality there is an underground Japanese imperial headquarters in Matsushiro,[57] whose space Nerv used.[58][59]

"Fourth Child" also contains references to scientific concepts and religion, particularly Christianity. In the early scenes of the episode, Dr. Akagi claims that the second U.S. branch of Nerv was probably swallowed by a Dirac sea[60] and disappeared.[61][23] The expression refers to Paul Dirac's vacuum theoretic model of the same name;[62][63] critics have linked Evangelion depiction of the Dirac sea more to the version presented in the novel Ten Billion Days and One Hundred Billion Nights (億の昼と千億の夜, Oku no hiru to sen oku no yoru) by Ryu Mitsuse rather than the real Dirac sea.[64][65] In another sequence of "Fourth Child," some portfolios of Shinji and other characters are seen in which the terms apobiosis and apoptosis are mentioned.[66]

Throughout the episode, it is visible a scene with Rei in the Dummy Plug Implant, which is formed by a test tube-like implant and brain-like tubes.[67][68] There is a magic square on the floor,[69] while the letters A; C; G and T, corresponding to the four nucleotide bases, are visible in the room.[70][71] The magic square comes from The Psychological Attitude of Early Buddhist Philosophy by Lama Anagarika Govinda and represents the structure and development of human consciousness. It also shows an outer rime and four stars which writers Víctor Sellés de Lucas and Manuel Hernández-Pérez compared with The Lesser Key of Solomon.[72] According to academic Tomoko Sakamoto and series staff, the device serves as a backup to Rei's memory.[73][74] The Evangelion Glossary (エヴァンゲリオン用語事典, Evangerion Yougo Jiten) by Yahata Shoten linked the Dummy System, based on Rei's personality, to Karl H. Pribram's holonomic brain theory, according to which memory is not an activity limited to a specific brain area.[75]

Ritsuko names the Super-Solenoid engine, also known as S2 engine, in "Fourth Child".[40][76] Evangelion Chronicle magazine likened the S2 engine to a perpetual motion machine, such as Archimedean spiral, believed to be incompatible with the laws of thermodynamics, and to the anthropic principle, according to which there is a hidden energy in genes that has advanced life.[77] It is acquired through the findings of the Angel Shamshel[78] and gives great powers to the Angels;[79] it can be linked to the Biblical fruit of life[80][81][82] and the tree of life.[83] Kaji also reveals to Misato that the Marduk Institute is a fictitious corporation behind which Nerv hides.[84] The name of the institute refers to the Babylonian deity Marduk,[85] known by dozens of different epithets;[86][87] Neon Genesis Evangelion Marduk Institute by analogy is composed of dozens of fictitious enterprises.[31][88] In the final scene, Eva-03 is carried crucified in the air.[40][89] The cross is a recurring motif in the series; according to an official program book on Evangelion, it has the double meaning of bloody death and self-sacrifice, but it is unclear which of the two meanings the series follows.[90] Neon Genesis Evangelion assistant director Kazuya Tsurumaki, said in an interview that Christian graphic symbols were used for artistic reasons by the main staff, because they were considered "cool" for the Japanese audience, and they were intended to differentiate Neon Genesis Evangelion from other mecha anime.[91][92]

Analysis and themes

[edit]

"Fourth Child" features tones of a typical scholastic romantic comedy,[93] focusing its attention on characters emotions and relationships:[40] Asuka, for example, scolds Shinji for forgetting their lunch,[93] and Toji teases them by saying that they look like two bickering spouses.[94] Hikari's feminine side,[95] Rei's emotions and Shinji's evolution are also explored.[40][76] Misato is perplexed when faced with a choice she has to make,[96] and unlike Ritsuko she tries to prioritize her feelings, something that has sparked disagreements in the past with Ritsuko herself.[97] In another scene, Ritsuko looks at Rei with a look that suggests frustration or jealousy.[40][76] Rei, on the other hand, who had hitherto remained cold, blushes at Shinji's kindness and notices how instead toward Gendo she never directed words of gratitude. This shows her evolution[98][99] and greater emotionality.[40] Newtype magazine also noted that when Shinji cleans Rei's room, Toji points out how he has changed from their first meeting,[100] in which he appeared as a lonely guy who "did not want to engage with other people".[101][102]

In a scene from "Fourth Child", Ritsuko and Commander Ikari discuss the Dummy System, a system that simulates the tracks of a soul, saying that "the soul cannot be digitized".[40][103] The concept of the soul is taken up later in the series, as in the case of the Guf's chamber,[104] and Nerv treats it as a concrete entity.[76] Dennis Redmond has interpreted this as a "stinging critique of East Asia's indigenous industrialism".[94] Moreover, according to Redmond, the disappearance of the Nerv base in Nevada is reminiscent of the post-Cold War scenario of Half-Life, which depicts a similar catastrophe at the Black Mesa Research Facility in Arizona.[94] In another scene, Commander Ikari argues with Fuyutsuki about the city of Tokyo-3, claiming that after the expulsion from Eden, Man, the weakest living creature, took refuge in the cities[105] with the help of science. The dialogue is a clear reference to the book of Genesis.[106] According to the official filmbooks of the series, the scene reveals many mysteries about the Evangelion plot.[107] According to Redmond, the dialogue implies that Gendo "is not the stereotypical mad scientist" and reveals an "unexpected vein of humanity" in him.[71]

In the first scene, Misato is questioned by the Instrumentality Committee;[108] Misato rejects the possibility of systematic action by the Angels, to which the Commission corresponds, "Their actions are independent, so far".[109] Gendo, at the end of the session, says: "The Angels are beginning to attain intelligence".[23] It is introduced the possibility of Angels learning and evolving.[110] According to academic Satoshi Tsukamoto, the sentence means that the Angels "are attempting to acquire abilities to compete against human beings and control them".[111] Writer Kitamura similarly stated that the Angels gradually make progress in communicating with the Evas they fight and send messages to Shinji during the series.[111] In another scene, Kaji takes Shinji to his melon field; Evangelion Chronicle noted how the shape of the melons resembles that of the Angel Leliel.[112] According to Redmond, Kaji's field shows that Nerv's geofront "is also the symbolic global ecology of Tokyo-3's multinational city".[113] Perhaps concerned about Shinji, Kaji begins to address the subject of unpleasant things and the pleasure of seeing something grow.[19][112] Kaji also tells Shinji that those who suffer show kindness to others.[114][115] The theme of "unpleasant things" was already covered in the previous episode.[40][19]

Another theme of the episode is masculinity, which has already been addressed in previous episodes of the series. In the early episodes, Misato tells Shinji to act like a man,[116][117] while Asuka's character takes him back with phrases such as "You are a man, aren't you?",[118][119] attacking his masculinity.[120][121] In the vending machine scene, for example, Kaji proposes to Shinji to go out, and Shinji replies, "I'm a boy".[76] This could mean that the boy is trying to find self-confidence and is accepting his masculine role.[40] By contrast, academic Cristopher Smith said that, after being trapped in Eva-01 cockpit and the womb-like Leliel in the previous episode, Shinji pretense at performing hegemonic violent masculinity collapsed, so in "Fourth Children" he returned to his normal speech patterns and happily cleans up Rei’s apartment.[122] Toji is also a boy trying to forcibly act masculine.[19] Yūichirō Oguro, editor of the extra materials for the home video editions of the series, noted how Toji constantly wears a track suit, although he is not good at sports and is not a member of the basketball club.[76] In the scene where Toji and Shinji clean Rei's room, Toji responds that cleaning is not something a real man should do. Oguro related this theme to the novel Ai to gensō no fascism (愛と幻想のファシズム, "The Fascism of Love and Fantasy") by Ryū Murakami, from which the names Toji Suzuhara and Kensuke Aida are taken; in Murakami's novel, in fact, macho masculinity is discussed, and masculinity is seen as an illusion.[123] After his selection as Eva pilot, Toji's behaviour changes, probably because he knows Shinji's pain of piloting the Eva.[124] According to Yūichirō Oguro, the final scene of the episode, in which Toji plays at basketball, represents his final decision.[19]

Reception

[edit]

"Fourth Child" was first broadcast on January 24, 1996, and drew a 7.3% audience share on Japanese television.[125] Merchandise based on the episode, including a line of official tee-shirts,[126] has been released.[127][128]

Film School Rejects Maxi Covill stated that there is a lot of world building that has to be accomplished in "Fourth Child", making the episode "a little on the slow side".[129] The Anime Café's Akio Nagatomi noted that the quality of the animation declined and criticized the quality of writing: "It almost feels as if the writers had run out of materials, and they're trying to fill in the time to make their allocated 24 episode slot".[130] According to Nagatomi, the writers could have set up the plotwist of Toji being the Fourth Child better; he also criticized the long scenes of Gendo and Fuyutsyki on the train, saying: "Their entire conversation could have been presented in far less time, without covering all the other extraneous garbage".[130] Other reviewers were more appreciative. Newtype magazine described the representation of Hikari's feelings as "touching".[131][132] Digitally Obsessed's Joel Cunningham gave a positive review of "Fourth Child" and its presentation of the plot, writing that the episode "nicely illustrates the balance this series is able to maintain".[133] Anime News Network's Martin Theron praised "Fourth Child" and the other episodes of the arc, noting that, "Nothing that happens in these episodes is coincidence. Even the smallest details matter".[134] GameFan magazine similarly praised "Fourth Child" and "Ambivalence", giving them an A for the story.[135]

References

[edit]
  1. ^ Japanese: 四人目の適格者, Hepburn: Yoninme no tekikakusha, lit. 'The Fourth to be Qualified'

Citations

[edit]
  1. ^ Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. p. 26.
  2. ^ Nebbia (2023), Chap. 2: La Proposition
  3. ^ Nebbia (2023), Chap. 1: Lancement du Project Eva
  4. ^ "History 1993-1999". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  5. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 88. ISBN 4-04-852700-2.
  6. ^ Neon Genesis Evangelion Theatralical VHS Box Booklet (in Japanese). King Amusement Creative. 1997.
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  12. ^ Nebbia (2023), Chap 1: Diffusion à la télevision
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  44. ^ Glossary 1998, p. 138.
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Bibliography

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