To address your request for "paper" related to Neon Genesis Evangelion: The End of Evangelion (1997)
Act I: The Descent The narrative resumes immediately after Episode 24. The 17th Angel, Kaworu Nagisa (the angel who loved Shinji), is dead by Shinji’s own hand. Asuka is catatonic after her psychic violation by the 15th Angel. Rei Ayanami is losing her sense of self. NERV Commander Gendo Ikari is betrayed NERV and SEELE, who have labeled NERV as rogue.
Kom Süsser Tod. The mass-produced Evas grow wings of light. The Black Moon rises. Third Impact begins. Rei, now a towering, white giant, descends. She opens her hands, and every soul on Earth dissolves into LCL—a warm, orange soup. All borders fall. Every heart is an egg cracked open, its yolk spilling into the sea of humanity. No more walls. No more other people. Only the warm, red tide of oneness. neon genesis evangelion the end of evangelion -1997-
In the center of this cosmic womb, Shinji floats. He sees it all: the perfect, silent peace of non-existence. No loneliness. No betrayal. No one to hurt him, and no one for him to hurt.
The film begins with a brief summary of the events leading up to the story: the Angel threat, the formation of NERV, and Shinji's recruitment as an Evangelion pilot. The story then jumps forward to the point where Shinji's mental state has deteriorated due to the trauma of fighting the Angels and the pressure from his father, Gendo Ikari. To address your request for "paper" related to
The central metaphor of the series. Humans are like hedgehogs seeking warmth; if they get too close, they prick each other with their quills. If they stay apart, they freeze. Instrumentality offers a solution where quills no longer exist (loss of individuality), but Shinji chooses the pain of the quills over the loss of self.
Reception and Legacy
Whether you see it as a masterpiece of psychoanalysis or a spiteful act of artistic destruction, one fact remains: In 1997, Hideaki Anno ended the world. And we have never stopped watching it burn.
Director Hideaki Anno used the film as a canvas for his own psychological state, often described as "confessional literature" (shishōsetsu). Rei Ayanami is losing her sense of self