Wikipedia

Lilliputian Hitcher

"Lilliputian Hitcher"[a] is the thirteenth episode of the Japanese anime television series Neon Genesis Evangelion, which was created by anime studio Gainax. The episode, written by Hideaki Anno, Mitsuo Iso, and Akio Satsukwa and directed by Tensai Okamura, was first broadcast on TV Tokyo on December 27, 1995.

"Lilliputian Hitcher"
Neon Genesis Evangelion episode
Dr. Ritsuko Akagi among the cables of the Magi System. Critic Mariana Ortega compared Ritsuko's image in the Magi to Evangelion's pilots in their mecha, describing the mother figure in Neon Genesis Evangelion as metaphorically and literally cannibalistic.
Episode no.Episode 13
Directed byTensai Okamura
Written byHideaki Anno, Akio Satsukawa, Mitsuo Iso
Original air dateDecember 27, 1995 (1995-12-27)
Running time22 minutes
Episode chronology
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The series is set fifteen years after a worldwide cataclysm known as Second Impact and is mostly set in the futuristic, fortified city of Tokyo-3. The series' protagonist is Shinji Ikari, a teenage boy who is recruited by his father Gendo to the special military organization Nerv to pilot a gigantic, bio-mechanical mecha named Evangelion into combat with beings called Angels. During the episode, a microscopic Angel called Iruel begins to penetrate Nerv headquarters, and after a quick evolutionary leap acquires the characteristics of a computer by attempting to hack into the agency's central supercomputer, the Magi System. Ritsuko Akagi, in charge of the Magi, tries to thwart his advance with a reverse hacking.

The episode, in the animation of which Production I.G. studio was involved, initially contained many more science fiction concepts, added at the writing stage by Mitsuo Iso. In its final version, "Lilliputian Hitcher" contains several references to biology, particularly genetics, including polysomes, the Pribnow box, the central dogma of molecular biology and the sigma factor. Its title is also a reference to the Lilliputians, the microscopic men introduced in Jonathan Swift's Gulliver's Travels.

"Lilliputian Hitcher" drew a 3.4% audience share on Japanese television. It received a generally positive reception. Reviewers praised hacking's sense of suspense, the aesthetics of the Nerv headquarters, the focus on Ritsuko's character and the computer battle against Iruel.

Plot

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Shinji Ikari, Rei Ayanami, and Asuka Langley Soryu, three pilots in charge of the Evangelion mechas, are subjected to an experiment by Dr. Ritsuko Akagi, head of the technology department of the special paramilitary agency Nerv. The three pilots are placed naked inside some pseudo Evangelions called Simulation Bodies. As the pilots undergo the test, an anaerobic bacterial Angel called Iruel begins to infiltrate through the blocks in the walls of Nerv's Pribnow Box room. The pilots are ejected as an emergency from headquarters. Nerv staff notice how Iruel did not infiltrate the areas with high oxygen presence, so they attempt to eradicate the Angel by increasing the presence of ozone in the area. Iruel, however, quickly undergoes an evolutionary transformation so fast that he acquires the characteristics of a computer, thus attempting to hack into the Magi System supercomputer, Nerv's beating heart.

Iruel infiltrates the supercomputer and tries to induce the headquarters into self-destruct mode. Its hacking is temporarily slowed down by Ritsuko, who devises a strategy called "reverse hacking" in an attempt to defeat him, believing it is better to increase the enemy's evolution and insert a program to make Iruel choose to coexist with the Magi System. During the operation, Dr. Akagi talks to Nerv's Major Misato Katsuragi discussing her relationship with her mother Naoko, whom she respected but hated at the same time. Ritsuko's program defeats Iruel, the headquarters is saved and the central computer returns to ordinary mode.

Production

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In 1993, Gainax worte a presentation document 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), containing the initial synopsis for the planned episodes.[1][2] The Proposal document was then published in 1994.[3][4] For the first twelve episodes aired, the company roughly followed the schedule envisioned by the first draft, with only a few minor script differences.[5][6] From the thirteenth episode onward, however, the production deviated from the original plan of the writers and from what was initially envisioned in the submission document. The thirteenth episode of the series was to be titled "What comes after fear" (恐怖の後に来るものは, Kyōfu no nochi ni kuru mono wa);[7] during the installment Shinji would be defeated in combat and trapped inside an Angel, beginning a trilogy of episodes with the same basic theme. The staff in progress abandoned the original project, and some of the ideas for the trilogy were later transferred and condensed into the sixteenth episode.[8] According to Michael House, translator at the time for Gainax,[9] the phrase "The end point of evolution is death," uttered by Gendo during "Lilliputian Hitcher," represents a watershed within the series' production. Neon Genesis Evangelion's main director Hideaki Anno in the making initially intended to give the story a happy ending, but during production he realized that he had created characters that were too problematic, so he changed his plans.[10][11] According to Hiroki Azuma, a culture critic who personally interviewed the director, Anno during the airing of the series began to criticize otaku, whom he considered too closed-minded and introverted, so he changed his original plans by creating a more dramatic and introspective story[11] toward the middle of the series.[12][13]

 
Neon Genesis Evangelion director Hideaki Anno

Mitsuo Iso,[14] Akio Satsukawa, and Anno wrote the script;[15][16] Tensai Okamura handled the storyboards[17] and served as director,[11][18] while Masahiko Otsuka worked as assistant director.[19][20] Kazuya Kise took the role as a chief animator,[21][22] and worked with Ise as assistant character designer.[23][24] Mitsuo Iso originally joined the project as an animator, but he actively entered other jobs by freely coming up with various ideas and writing about them to the director every day.[25] Iso initially wrote a very long original script full of science fiction concepts, but Akio Satsukawa had to rework it and remove some concepts. Only later did Anno take over, who made other changes before drafting the final script.[26] The ending of the final draft was a little disappointing for Iso, because it was forcibly connected to a plot that he had planned to use in another episode.[27]

Yūichirō Oguro, the editor of supplemental materials included in the Japanese edition of the series, noted how Kise has a particular style with respect to the graphical rendering of characters' faces, as he adds detailed shadows and tries to make the characters' bone structure evident.[26] For his work as an animator, Kise was also particularly inspired by the manga version of Yoshiyuki Sadamoto, the character designer of the series, giving a different interpretation of Sadamoto's directives than the other animation directors of the anime.[26] Evangelion Chronicle magazine, on the other hand, noted how Okamura, in charge of producing the storyboards, blends science fiction and human drama into his works.[28] Furthermore, in the final version of the episode, Gendo and Fuyutsuki say that the Angel Iruel is "too close to Adam", the first Angel, who is believed to be kept into the Nerv's headquarters; in the series finale it is revealed that Lilith, the second Angel, is secretly kept into the deepest section of Nerv, not Adam.[29] According to character designer Yoshiyuki Sadamoto, the original story for the series did not feature Lilith, but was included following the premiere of the series and some staff research performed on Christianity;[30] Sadamoto stated that Lilith's inclusion occurred because "not touching [her] seemed to hurt Anno's pride".[31]

The production of "Lilliputian Hitcher" involved other companies outside Gainax, including Studio Deen, Tezuka Productions,[21] and Production I.G. At first, Production I.G. was supposed to produce the whole anime, and the company president, Mitsuhisa Ishikawa, was willing to do so; for various reasons, including Mamoru Oshii's apparent refusal, the original plans were changed, so Production I.G. only took care of "Lilliputian Hitcher" and other individual episodes.[26] The crew made extensive use of computer graphics throughout Evangelion, but they were all processed in a flat two-dimensional manner, as in the case of computer screens.[32] The CGI was used as raw material for the final drawings produced by traditional manual methods, so as to create images that were more accurate than the average level at the time. The staff therefore, although the use of computer graphics was difficult and expensive for television animation, made new attempts with technology and experimented with solutions that were innovative during the first Evangelion broadcast.[33] The computer-scanned images of the Evangelion pilots' bodies, for example, were retouched with a Macintosh computer by a section of Gainax called Gainax Shop.[34] To draw the Nerv's bridge instead, Gainax through a company called General Products made thirty-centimetre paper models and shot them from various angles to represent it more realistically.[35] For the appearance of the command centre, the staff also took inspiration from the decks of battleships.[36] Koichi Yamadera, Koichi Nagano, Megumi Ogata, Fujiko Takimoto and Megumi Hayashibara played the announcers udible on the command center for "Lilliputian Hitcher".[37][38] Yoko Takahashi, who had already sung the opening theme song, also sang an "Acid Bossa" version of "Fly Me to the Moon" which was later used as the episode's closing theme song.[39][40]

Cultural references and themes

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Tensai Okamura produced the storyboards for "Lilliputian Hitcher".

Evangelion Chronicle magazine identified several references to biology in "Lilliputian Hitcher", particularly genetics, although these take on a different meaning than real-world biology.[41] In one scene, machines called Polysomes,[42][43] named after the polysomes from molecular biology,[44][45] are presented. The room in which the initial Nerv test is carried out is called the Pribnow Box,[46][47] also a reference to the biological concept of the same name.[48][49] Other references include the Central Dogma,[50][51] whose name is taken from the central dogma of molecular biology,[52][53] and the Sigma Unit, whose name refers to the sigma factor, a factor in the initiation of RNA synthesis.[54][55] Evangelion Chronicle also likened Iruel's properties, such as self-replication, data processing, and colony self-regulation, to micromachines[56][57] and K. Eric Drexler's universal molecular assembler.[58][59]

Ritsuko's strategy to annihilate Iruel, in which the Angel is induced to choose coexistence with the Magi and annihilate itself, has instead been compared to the biological concepts of apoptosis[60] and symbiosis.[61] Apoptosis itself[62] and heavy water[63] are also mentioned in the episode. "Lilliputian Hitcher" even mentions a "pituitary system" of the Simulation Bodies, an internal system that mimics the pituitary gland; the pituitary gland resides in the brains of living beings, but since the Simulation Bodies do not have heads, the pituitary system is thought to reside in the bodies of the units.[64] Ritsuko and Misato speaking during Iruel's attack discuss on "personality transplant OS",[65] a system by which an individual's personality is transferred into a seventh-generation organic computer,[66] so it can think.[67] The book Evangelion Glossary (エヴァンゲリオン用語事典, Evangerion Yougo Jiten) by Yahata Shoten likened the concept of personality transcription to Hans Moravec's studies on artificial intelligence[68] and identified a reference to the actual generations of computers, stopped at the fifth at the time the series aired.[69] Furthermore, "Lilliputian Hitcher" mentions the concept of protein barrier. Evangelion Glossary compared it to protein engineering, a discipline that uses genetic engineering to produce proteins with new functions.[70]

The title of the episode is a reference to Iruel and the Lilliputians,[71][72] a race of tiny men mentioned in Jonathan Swift's Gulliver's Travels.[73][74] The names of the three Magi constitute a reference to the three wise men[19][75] from the East mentioned in Matthew's Gospel,[76][77] whom tradition indicates as Balthasar,[78] Gaspar,[79] and Melchior.[80][81] According to the official Evangelion film books, like the three astrologers from whom it takes its name, the supercomputer is composed of three independent calculators that to solve any kind of problem consult each other and make a decision by majority.[82] Writers Víctor Sellés de Lucas and Manuel Hernández-Pérez similarly wrote that, as later Christian traditional identified Magi as astrologers and scholars, the Magi System "operates as a council of the wise and sometimes even as an oracle of sorts".[83]

According to the Evangelion Encyclopedia, published along with the Italian Platinum Edition of the series, the staff wanted Iruel to suggest an answer to the debate between evolutionism and creationism.[84] "Lilliputian Hitcher" through the operation of the Magi also deepens the mother-daughter relationship between Ritsuko and Naoko,[85] whose personality is imprinted in the supercomputers.[86] The Magi System looks like a human brain[87] and has been compared to the concept of artificial intelligence.[19] Academic Mariana Ortega noted how Ritsuko enters the Magi System in the course of the operation just as Evangelion's pilots enter the mechas, inside of which the souls of their mothers are stored. Ortega therefore described the mother figure in Evangelion as metaphorically and literally "cannibalistic".[88] Sharalyn Orbaugh similarly noted how "it's noteworthy that, in every case, it is a woman whose complete intercorporation with the inorganic has produced the weapons powerful enough to resist the Angels".[89]

Writer Leonard Sanders wrote that the Magi "perhaps evoke a Trinity".[90] Writer Dennis Redmond similarly described the three Magi computers and the three aspects of Naoko's personality as a "clever gender bend" of the patriarchal trinity of the Father, the Son, and Holy Ghost. He also traced the themes of "Lilliputian Hitcher" to influences of William Gibson's Neuromancer, speculating that Naoko herself is based on Neuromancer's Marie Tessier-Ashpool.[91] The episode director, Tensai Okamura, is himself a fan of science fiction and Gibson.[11] Japanese magazine Newtype noted how the last Magi to resist to Iruel's attack represents Naoko as a woman.[92][93] Japanese academic Daichi Nakagawa argues that the science of Evangelion does not portray inorganic physics and mechanical engineering typical of conventional science fiction released before it, but moves toward the "science of life and complex systems".[94] According to Nakagawa, the idea of brain-like Magi, personality transplant OS, and Iruel overlap with earlier technological depictions of the cyberpunk current, but "creates a new image that goes beyond".[94] Such devices based on complex systems science for Nakagawa create a mysterious atmosphere and effectively portray the "inner drama of the protagonists" who struggle in a mysterious world that does not go according to their wishes. The inclusion of topics such as apoptosis and biocomputers in fact plays the role of making "the themes and contents of the plot more impressive and persuasive".[95]

Reception

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"Lilliputian Hitcher" was first broadcast on December 27, 1995, and drew a 3.4% audience share on Japanese television.[96] Merchandise on the episode has also been released.[97][98]

The installment received a positive reception from anime critics and reviewers. The Anime Café's Akio Nagatomi, while finding the "human interest" of the episode "simplistic and contrived", praised the sense of suspense, saying, "Very clever and fast-paced direction keep the tension levels high, in what I believe is the best episode yet".[99] Writer Dennis Redmond positively commented the "extraordinary aesthetic beauty of Nerv's instrument panels".[100] Film School Rejects' Max Covill similarly lauded "Lilliputian Hitcher" as a "great episode", especially for the "interesting" focus on Ritsuko's character.[101] For Digitally Obsessed's Joel Cunningham the installment "makes a character that was previously bossy and annoying very sympathetic".[102] SyFy Wire website's Daniel Dockery cited the battle against the Angel among the show's best "non-depressing" moments.[103] Comic Book Resources' Ajay Aravind also praised the computer battle against Iruel, ranking it as the second best fight in Neon Genesis Evangelion.[104]

References

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  1. ^ Japanese: 使徒、侵入, Hepburn: Shito, shinnyū, lit. 'Apostle, invasion'

Citations

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  1. ^ Evangelion Chronicle (in Japanese). Vol. 1. Sony Magazines. p. 26.
  2. ^ Nebbia (2023), Cap. 2: La Proposition
  3. ^ "History 1993-1999". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  4. ^ Nebbia (2023), Chap. 1: Lancement du Project Eva
  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.
  7. ^ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. p. 23.
  8. ^ Evangelion Chronicle (in Japanese). Vol. 19. Sony Magazines. p. 24.
  9. ^ "ミニミニゲリオンナ人達: Michael Houseの巻". Eva Tomo no Kai (in Japanese). Vol. 9. Gainax. 1996.
  10. ^ House, Michael (November 28, 2011). "Interviewing translator Michael House". Archived from the original on August 24, 2020. Retrieved July 23, 2020.
  11. ^ a b c d Nebbia (2023), Chap 1: Diffusion à la télevision
  12. ^ Azuma, Hiroki. "Animé or Something Like it: Neon Genesis Evangelion". NTT InterCommunication Center. Archived from the original on August 8, 2012. Retrieved August 13, 2012.
  13. ^ Krystian Woznicki (September 1991). "Towards a cartography of Japanese anime – Anno Hideaki's Evangelion Interview with Azuma Hiroki". Blimp Filmmagazine. Tokuma Shoten.
  14. ^ "ファッション/カルチャー/アート分野のXRコンテンツアワード「NEWVIEW AWARDS 2021」XRの社会普及を予見した伝説的アニメ『電脳コイル』の監督、磯光雄氏が審査員に追加決定！". prtimes.jp (in Japanese). PRTIMES. 8 October 2021. Retrieved 14 November 2024.
  15. ^ Platinum Booklet. Vol. 3. ADV.
  16. ^ "Explanation". Neon Genesis Evangelion Genesis 0:7 Laserdisc Encyclopedia (in Japanese). Starchild Stereo. 1995.
  17. ^ Gainax (1998). Neon Genesis Evangelion Newtype 100% Collection (in Japanese). Kadokawa Shoten. p. 178. ISBN 4-04-852700-2.
  18. ^ Evangelion Chronicle (in Japanese). Vol. 27. Sony Magazines. p. 25.
  19. ^ a b c Poggio 2008, p. 48.
  20. ^ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 22.
  21. ^ a b "Staff". Neon Genesis Evangelion Blue Ray Ultimate Edition Encyclopedia. 2021.
  22. ^ 新世紀エヴァンゲリオン 原画集 Groundwork of Evangelion (PDF) (in Japanese). Vol. 2. Ground Works. 2000. p. 251. ISBN 4903713016. Archived from the original (PDF) on 26 October 2023.
  23. ^ Porori 2009, p. 100.
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  25. ^ Animage 2008, p. 89-90.
  26. ^ a b c d Oguro, Yūichirō. "第46回 エヴァ雑記「第拾参話 使徒、侵入」". Style.fm (in Japanese). Archived from the original on November 9, 2021. Retrieved July 23, 2020.
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  28. ^ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 19.
  29. ^ Nebbia (2023), Chap. 2: Lilith et Adam, Rei et Kaworu
  30. ^ "Yoshiyuki Sadamoto Interview". 19 September 2013. Archived from the original on 17 April 2018. Retrieved 16 April 2018.
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  33. ^ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 22.
  34. ^ Neon Genesis Evangelion Film Book (in Japanese). Vol. 5. Kadokawa Shoten. p. 8.
  35. ^ Neon Genesis Evangelion Film Book (in Japanese). Vol. 5. Kadokawa Shoten. pp. 16–17.
  36. ^ Neon Genesis Evangelion Film Book (in Japanese). Vol. 5. Kadokawa Shoten. p. 70.
  37. ^ Eva Tomo no Kai エヴァ友の会 [Eva Fan Club] (in Japanese). Vol. 7. Gainax. 1996.
  38. ^ Gainax, ed. (2003). Data of Evangelion (in Japanese). Gainax. p. 63.
  39. ^ Evangelion Chronicle (in Japanese). Vol. 26. Sony Magazines. p. 26.
  40. ^ "Fly Me to the Moon". Neon Genesis Evangelion: Platinum Edition Booklet. Vol. 4. ADV.
  41. ^ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 15.
  42. ^ Neon Genesis Evangelion Film Book (in Japanese). Vol. 5. Kadokawa Shoten. p. 11.
  43. ^ Porori 2009, p. 102.
  44. ^ Evangelion Chronicle (in Japanese). Vol. 26. Sony Magazines. p. 22.
  45. ^ Glossary 1998, p. 151.
  46. ^ Neon Genesis Evangelion Film Book (in Japanese). Vol. 5. Kadokawa Shoten. p. 10.
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  48. ^ Evangelion Chronicle (in Japanese). Vol. 25. Sony Magazines. pp. 25–26.
  49. ^ Glossary 1998, p. 143.
  50. ^ Poggio 2008, p. 68.
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  52. ^ "用語集". Death & Rebirth Program Book (in Japanese) (Special ed.). Gainax. 1997.
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  56. ^ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 16.
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  60. ^ Evangelion Chronicle (in Japanese). Vol. 2. Sony Magazines. p. 23.
  61. ^ Evangelion Chronicle (in Japanese). Vol. 6. Sony Magazines. p. 23.
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  63. ^ Glossary 1998, p. 147.
  64. ^ Glossary 1998, p. 39.
  65. ^ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 20.
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  67. ^ Evangelion Chronicle (in Japanese). Vol. 10. Sony Magazines. p. 23.
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  69. ^ Glossary 1998, pp. 100–101.
  70. ^ Glossary 1998, p. 109.
  71. ^ Evangelion Chronicle (in Japanese). Vol. 45. Sony Magazines. p. 17.
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  76. ^ Fujie & Foster 2004, pp. 59–60.
  77. ^ Poggio 2008, p. 86.
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  83. ^ Sellés de Lucas & Hernández-Pérez 2024, p. 231.
  84. ^ Poggio 2008, p. 53.
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  86. ^ Nebbia (2023), Chap 2: Numériser une âme
  87. ^ Morikawa 1997, p. 109.
  88. ^ Ortega, Mariana (2007). "My Father, He Killed Me; My Mother, She Ate Me: Self, Desire, Engendering, and the Mother in Neon Genesis Evangelion". Mechademia. 2: 216–232. doi:10.1353/mec.0.0010. ISBN 978-0-8166-5266-2. S2CID 120554645.
  89. ^ Orbaugh 2002, p. 443.
  90. ^ Sanders, Leonard (2005). "Virtual Ephemeralities: Idoru and Evangelion, Popular Visual Cultures in Japan". Word and Image Interactions 4. Rodopi. p. 145. ISBN 978-90-420-1837-2.
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  92. ^ Newtype Complete Shinseiki Evangerion Newtype Complete 新世紀エヴァンゲリオン [Newtype Complete Neon Genesis Evangelion] (in Japanese). Kadokawa Shoten. 2005. p. 35.
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  94. ^ a b Morikawa 1997, p. 121.
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  99. ^ "Shinseiki Evangelion Review - Episode 13: Angel Invasion / Lilliputian Hitcher". The Anime Café. Archived from the original on 5 December 2022. Retrieved 23 July 2022.
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  101. ^ Covill, Max (June 17, 2019). "Every Episode of 'Neon Genesis Evangelion' Ranked". Film School Rejects. Archived from the original on January 8, 2021. Retrieved December 30, 2020.
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  103. ^ Dockery, Daniel (June 23, 2019). "The 10 most awesome (non-depressing) moments In Neon Genesis Evangelion". Syfy.com. Archived from the original on January 8, 2021. Retrieved July 23, 2020.
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Bibliography

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  • Morikawa, Kaichiro (1997). The Evangelion Style (in Japanese). Daisan Shokan. ISBN 4-8074-9718-9.
  • エヴァンゲリオン用語事典 第2版 (in Japanese). 八幡書店. 1998. ISBN 978-4-89350-327-5.
  • Orbaugh, Sharalyn (November 2002). "Sex and the Single Cyborg: Japanese Popular Culture Experiments in Subjectivity". Volume 88. Science Fiction Studies. Archived from the original on 4 September 2019. Retrieved 16 August 2013.
  • Redmond, Dennis (2004). The World is Watching: Video as Multinational Aesthetics, 1968–1995. Southern Illinois University Press. ISBN 0-8093-2535-7.
  • Fujie, Kazuhisa; Foster, Martin (2004). Neon Genesis Evangelion: The Unofficial Guide. United States: DH Publishing, Inc. ISBN 0-9745961-4-0.
  • Poggio, Alessandra (2008). Neon Genesis Evangelion Encyclopedia (in Italian). Dynit.
  • "『電脳コイル』 磯光雄の世界" [The World of Mitsuo Iso in "Den-noh"]. The 2008 February issue of Animage (in Japanese). Vol. 31, no. 2. Tokyo, Japan: Tokuma Shoten. January 10, 2008.
  • Porori, Syunsou (2009). The Essential Evangelion Chronicle: Side A. Glénat Editions. ISBN 978-2-7234-7120-6.
  • Porori, Syunsou (2010). The Essential Evangelion Chronicle: Side B (in French). Glénat. ISBN 978-2-7234-7121-3.
  • Nebbia, Virginie (2023). La Saga Evangelion: L'oeuvre d'une vie (in French). Third Editions. ISBN 978-2-3778-4430-2. Archived from the original on 2023-10-25. Retrieved 2023-10-25.
  • Sellés de Lucas, Victor; Hernández-Pérez, Manuel (2024). "Exegesis and authorial agency through Judeo-Christian iconography in Japanese anime: Neon Genesis Evangelion (1995-97) as an open work". Imafronte (31). Universidad de Murcia: 224–237.
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