#i reuse sections for different options but the options that lead there can be wildly different

[horizonandstar]

ok so about the borrower game, i went and looked at a few other games to get a rough word count and i think i underestimated it. so like chapter 1 should be about 20k-30k once its done, so this is going to take. a while

the ide still says i have ~6k excluding command lines, which i now realized includes comments, so the actual playable word count is <6k currently

anyways would people want random out of context screenshots while i work on this? theres not going to be a lot of them but i also want to go “*gesturing* look i made this :D” because unlike with the fish fic, the development time for the borrower au game is hell of a lot longer and i cannot go back and fix whatever mistakes i find later after i release it

[very-grownup]

THE YEAR IS 2020 AND I WATCHED NEON GENESIS EVANGELION FOR THE FIRST TIME, PART 13

Episode 25.

I spend twenty minutes after the episode ends trying to articulate what I think happened to my friends, gesticulating wildly.

The episode starts with a condensed version of the last upsetting bits of the previous episode and thus sets the ground for my difficulty in expressing my thoughts on it because of the imperfect intersection of linear narrative and metaphorical examination of selfhood. I've been trying to follow the show as a narrative, even as things dissolve, but here everything just goes STOP NO CONTEXT JUST IDEA AND INTERNAL INTERROGATION which I think I follow but I have difficulty following WHILE ALSO thinking about giant robots.

Something bad happened after the events of the last episode and maybe in the overall narrative structure that's all that matters? I guess this episode is about the question of what the end goals of all the barely understood players are vis-à-vis humanity through Shinji et al.

How can we be our fullest self? What and who informs who that self is? The passive approach, as seen in Shinji, isn't it. You cannot only do what you are directly told to do and you can't intuit what other people want you to do as unspoken directions.

The isolationist approach, as seen in Asuka, isn't it, either. Trying to act and live above and without human connections or direction has made her sense of self the most fragile. She's just a shell projecting an ideal around a core of hatred.

Misato is there as, perhaps, the end result of trying to live life like Shinji into adulthood (the result of Asuka's approach is evident because she's shattered), a projected false self created to fulfill the outside expectations of others while the inner self gets lost.

Rei I feel is the one who is closest to having it 'right' insomuch as there can be a right way to be a human being (and perhaps part of what Evangelion and its characters are grappling with is that there isn't or if there is, it's not a simple thing). She recognizes that who Rei is is shaped by Rei's interactions with other people and the passage of time and I think that Rei 3's apparent rejection or turn on Gendo's influence is because she knows that's not the entirety of it. Everyone is confronted to some degree by the fact that the version of themselves seen by other people is flawed but in Rei's case she's able to know it in a profound way because she is aware of the previous Reis and their memories but also of herself as distinct from them. So Shinji knows her but he doesn't Know Her and much of what Rei knows of others is removed, the Rei deaths and recreations putting a barrier between a direct human connection. The human connection is key but perhaps the degree to which so much of it is abstracted in Rei is why she isn't fully emotionally engaged as a person, even when her understanding of personhood is so much fuller than the others. No human connection leads to Asuka: fragile and quickly destroyed. Shinji recognizes the importance of the human connection, maybe, but fails to enact the how and in its place he has the projections of what he thinks other people want guiding him.

The people in our hearts aren't real people but just manifestations of our self speaking through puppets that look like people we know and can't substitute for human connection and create a similarly false self for the benefit of the false people projections (Misato).

Shinji's fear of being hurt by human connections results in his inability to make human connections and his holding himself up to the standards of imagined human connections which are unsatisfying and disappointing to everyone, including him.

Gendo's Human Instrumentality Project seems to be about recognizing the need for human connections, specifically individuals filling needs for each other that cannot be filled by the individual alone, both for the pursuit of fulfilling the need to find the true self but also taking humanity beyond humanity. I think it's because Gendo has sublimated his grief and sense of loss with respect to his wife into viewing the ability of individuals to obtain fulfillment and then lose it as a weakness that can be overcome.

If all of humanity loses its individuality and turns into the orange tang all humans are always complete and cannot be made incomplete by losing part of themselves. This is too much connection and gross, indistinguishable. What is the point of this if there is no individual?

Right now it looks like all approaches are imperfect and lead to failure, certainly in the context of Evangelion and these characters.

Visually everything is very cool in this episode even though the budget limitations are obvious. The work arounds are creative and inform the substance of what's being said, I think? There's distortion and dissolving and isolated figures on foldout chairs under spotlights.

My favourite thing is how the false characters, the characters talking to the real characters in the chair, are clearly drawn differently, badly, off model. Something is done to indicate their lack of realness, especially the false Shinji in Misato's heart.

I'm sorry if this commentary has become increasingly boring, I'm sorry if I'm doing or talking about Evangelion wrong or badly or pointlessly. I've really enjoyed it. This concludes my report on the penultimate episode of Neon Genesis Evangelion.

The final episode behind the cut.

Episode 26.

I appreciate the honesty of opening the episode with text that basically announces "look we don't have the time to explain everything so we're just going to explain it as it pertains to this microcosm called Shinji". It's a very clever/honest sort of meta acknowledgement of MAN THE BUDGET OOPS but I feel it's also in a way of framing the psychological aspect of the narrative as something that is not unique to Shinji but Shinji is merely the lens through which something more universal is viewed.

The episode seems to be divided into four distinct sections. The first bit is a ramped up version of the meditative internal discussions that have become increasingly frequent during the series. Interrogation by on screen text asking questions like are you happy, why aren't you happy, what do you want, why do you want this, why do you do that ... some of them very basic therapy sort of questions, others being refinements of that, questions meant to prompt you to look inward for an answer only you have.

But although we're told that this is an examination of Shinji sometimes Asuka is answering, sometimes Rei is answering. Sometimes they're asking the questions. Sometimes other characters are asking or elaborating, unseen.

Previously I've talked about feeling like narrative-wise things have been dissolving, when I try to recall a sequence of events, but here what's dissolving is the distinction between the characters because the experiences are unique but the feelings are inherently universal.

There's a lot of different things going on here, visually. Still portraits, reused footage from previous episodes, repeated shots of a rotary phone with the cable cut really sticks in my mind for some reason, what seem to be actual black and white photos of contemporary Japan. There's a universal quality and it's also how everything around you, all the people and experiences, make up the you that you are, shown with an outline of Shinji that's filled with rapidly flashing poorly imposed images of others that don't fit in his outline. It's cool.

That's when the episode transitions to its second bit which is, like, I don't know. It's a bit student film, it's a bit like that Loony Toons bit where Daffy Duck is talking directly to the animator who can erase and redraw him at will. It's barely animated in parts.

I had this understanding that Evangelion ran out of money near the end and that the last episode was barely animated at all and I think I assumed it would be like how I understand the second disc of Xenogears to be, just ... text because we can't do assets? But it's not. It's unpolished and sketchy and minimal, in spots just pencil drawings or roughly coloured in with markers, at one point it's just wave forms? But it was sad and weirdly beautiful and it felt like an extension of Shinji's internal struggle for meaning and understanding. Maybe because the lack of budget gives it an aesthetic similar to a student or art school film, it informs the material with a sincerity that I feel would be lacking in a more polished, traditional product. The fewer hands that can be felt in something the more /authentic/ it feels.

I, at least, have a greater patience and a great appreciation for something when I feel an authentic quality from it, even though that's only my perception. Form and substance compliment each other here, even if it's just because of budget constraints.

There's a really good part where it's just Shinji in a white void and it's, you know, about how that's the safest because there's nothing constraining him because he's the only thing, but it feels empty because how do we know what we are if we have no references. So a horizontal line is drawn and that's the ground in this white void and Shinji is then standing on the ground and it's reassuring, it's a reality that simultaneously limits your options but in limiting them defines what they are. It's just ... good.

Once things have been completely broken down it's time to I think reassemble them and that's the third part of the episode where Shinji wakes up in an otoge game where everything is good and normal and Asuka's his childhood friend, his mother is alive (but still faceless) and his father ... also exists and is not being actively cruel but hidden behind a newspaper, similarly faceless, existing but known (he's at the table, Yui is in the kitchen with her back always to the camera), Misato's his hot teacher, Rei is the new transfer student ... There's running to school with toast in mouth (from otoge Rei). Shinji's just a Normal Teen (but the normalcy is false, this weird artificial hyper normalcy that contrasts with the sad, raw realness of Shinji's life in Tokyo 3).

That's on the stage that Shinji is watching from his stool in the empty gymnasium with Misato and it goes dark and it's like ... this is another reality but I don't think it's meant to be a quantum thing but an example of the potential of, like, /imagine/ a you who is happy. So this is the fourth part of the episode and it's characters, every single character, interrogating Shinji, pointing out Shinji's flaws, and giving him ... advice? Guidance? A lot of it is ... bad. The characters recognize real problems Shinji has, that Shinji knows he has and then they tell him things which are presented as, for lack of a better term, 'solutions' to his problems of self. But a lot of them are not actionable. Some of them are little more than 'you hate yourself but have you considered ... not hating yourself?'

Much like when Shinji gets praised, once, by his father for what he did in the robot and that is assumed to be good because it's good in comparison to the nothing he's received, the words Shinji gets here are presumed good because they're actual acknowledgement of his problems.

The result is Shinji standing on the earth, surrounded by the other characters, announcing that he is determined to care for himself, and they all applaud and congratulate him and it's weird. It's presented as happy but there's no emotion. No emotion in this climax of a series that has so effectively evoked so much emotion, raw and powerful and real and relatable. It's not happy. It's not sad, either. It's just an absence of sadness. It's this orange tang safety in muted absence of loneliness or danger. I think because Shinji is given good conclusions for his problems (self-worth and love have to come from within, you need to allow yourself to care for yourself or you'll never believe completely that others can care for you) but he's not shown a good path to get there. What people tell Shinji gives him an understanding of what the goal is (happiness) but none of the tools to get him to happiness, something he has no real personal experience with, so the ending he arrives at isn't authentic. It's a false construct, like the otoge realty.

It's not a good ending but I think it wants there to be a good ending and the viewer to recognize when a 'good' ending isn't really good. It's a lot to think about. This concludes my report on the final episode of Neon Genesis Evangelion.