CATDOLL: EVA new animation author: We just want to challenge Pacific Rim

The 12th work of the "Japan Animation Exhibition" jointly planned by DWANGO Co., Ltd. and Khara Co., Ltd. to explore the infinite possibilities of Japanese animators, the animated short film "evangelion: Another Impact (Confidential)" directed by Shinji Aramaki, the director of "Appleseed", was recently released. Although it is only a few minutes long, the shocking scene of the mysterious "Unit-0" running wildly in the ruins of the city still brings us infinite shock.

I believe everyone has seen this brand new 3DCG version of "Neon Genesis Evangelion". Now the REPO of the three main creative staff members, Director Shinji Aramaki, CG Director Masaru Matsumoto, and Producer Tomohiko Ishii, who introduced the secrets of the creation of this work in the online program, has been released on the official website, and Anime Star Sky will deliver it to you as soon as possible. In addition, there is also a short interview with Director Shinji Aramaki at the end, so don't miss it.

About Evangelion: Another Impact (Confidential)

The reason why this project was launched was because "Ishii suggested that we do something together." Director Aramaki said, "Works that were born in Japan, such as Pacific Rim and Godzilla, went to Hollywood, USA, and were made into great works before returning to Japan. Although these are all good things, can we filmmakers feel at ease and happy? So we need to show the strength of the Japanese."

It was this idea that led to this project. Director Aramaki and Director Anno Hideaki knew each other a long time ago. Director Aramaki asked Anno to draw the opening animation of his debut work Metal Skin Panic Madox-01 (1988), and Aramaki designed some of the robot operation rooms in Anno Hideaki's debut work Peak (1988). Because of this, when Director Aramaki wanted to make this animated short film that could be said to be an official fan work, Anno Hideaki immediately agreed. After getting permission, this work officially entered the production process.

When Director Aramaki asked, "How about we make it Neon Genesis Evangelion?", Director Anno readily agreed and said, "You don't need to give it to me for review." Director Aramaki: "But I feel more stressed because I don't need to review it." Producer Ishii said, "Anno replied that since it's a spin-off, you can do it freely and boldly, so we had to start working on it."

This full 3DCG animation was originally planned to be only about 1 and a half minutes long. Director Aramaki said: "I originally planned to just make it burst out of the ground and end it, but when I listened carefully, it turned out to be 4 and a half minutes (laughs)... Then I started to contact the production staff, and everyone agreed immediately when they heard that it was "Neon Genesis Evangelion" (laughs)."

So the most important design of Another Eva was given to Atsushi Takeuchi. With high hopes from Director Aramaki, Takeuchi used "blind EVA" as the keyword to design this new machine that inherited the essence of the original. Director Anno guessed that it was made by Takeuchi as soon as he saw the design drawing. Director Aramaki said: "When EVA stands up, people feel excited. EVA is so photogenic."

In terms of CG production, CG director Matsumoto said: "The (CG) world we made is too regular and too clean. So we need to add some debris to make the picture more realistic. When doing it, we always have to consider how to look more natural."

At the end of the show, the host asked the three guests, "What is animation to you?" Ishii answered, "It is a passport to the world. Animation is the only way for Japanese people to go global. After seeing this work, the staff of Pacific Rim also came to Aramaki to work with him." Matsumoto answered, "I haven't thought about this question. Because since I was a child, animation has existed naturally." Supervisor Aramaki's answer was "soul." "Animation is the seat of my soul. When making CG animation, I must always keep animation in mind."

A short interview with Supervisor Huangmu

——You said in the program that "the story should not be told too clearly to have the style of "EVA"" and "EVA is photogenic". So what is the EVA style for you?

Aramaki: Ah, that's a hard question to answer (laughs). In my mind, I really want to make an EVA-style move. It should make people think it's EVA, but also have its own characteristics. I have this awareness when I'm making it. The head-to-body ratio of that EVA, as well as its unique body shape, can be felt when it actually stands in the building complex.

- In this project "Meet Japanese Animators in Honichi", the hand-drawn animation, which is considered the mainstream animation in Japan, the 2D animation expressed with CG that has gradually emerged in recent years, and the CG drawn by real people, are the requirements for animators the same?

Aramaki: This question may sound like I'm trying to evade you, but if I have to say it, I think everyone is the same. Because the basic technology remains unchanged. In essence, it is still the basis of animation, but it is just a matter of combining the appearance to change where to change and where to show the difference in tension and relaxation. For us, motion capture technology alone is not enough. Having said that, animation made from scratch is ultimately just imitating human movements. It is necessary to master this degree.

——How has the response to this work been?

Aramaki: Because it's EVA, the response was very strong. In fact, I had expected the response to be huge, but the result was far beyond my imagination. I was shocked by the greatness of this work. In addition, I haven't directly asked Anno's opinion, which is too scary, so I'd better ask secretly.