in order to centralize my unrefined NGE-related thots
The child, in NGE, is positioned towards the border of a kind of humanity, which allows its intimacy with its mecha, a quasi-human materialization of his or her mother’s soul. If we conjure the stereotypical figure attached to what Sylvia Winter has called “monohumanist Man,” we see quickly that he is a tall, muscular, European man, not unlike that depicted in Da Vinci’s Vitruvian Man. Specifying this generality further, we envision his full control of language, bodily ability and a divide between self-and-other. Sexualized and slimmed out, as in many anime depicting the young teenage age group, NGE’s children are visually marked as other to this imagery, a point that is dramatized whenever we see one of the characters next to one of the humanoid robots. In dominant ideology, the child is positioned on the way towards this position, but not yet with full access to its promises.
In Lacan’s psychoanalysis, the child does not fully suffer the “human condition,” insofar as he has not fully fallen into language, nor fully coordinated his body in aggressive relation to the mirror’s image and the other. Positioned on the road to the human but not yet at its high peak, the child also stands near the border of a distinction between bios and zoe, the Greek terms for life Giorgio Agamben developed as the qualified life of the citizen on one hand, and the natural life and life processes categorized as outside of political on the other. Weaponized in service of political maneuvers, yet with no ability to advocate for themselves politically, children in NGE contrast Agamben’s figure of the homo sacer, or the man who can be killed by anyone but not sacrificed. In their paradoxically protected status, Shinji and Asuka cannot necessarily be killed by anyone, and are irreplaceable, but they are positioned as sacrificial in the broader political machinations of Gendo, NERV and Seele; Rei similarly cannot be killed by anyone, but her life is produced in the space of the show as reproducible and fungible, and thus not her life at all. As numerous moments in the show demonstrate, because of her life’s artificiality, she is also not ideally suited to operate the EVAs, in a sense because she shares too much in common with them, on the level of existence. This fact is additionally what produces the final failure of the adult-driven, world-ending project. In thinking about the shows discontinuous borrowing from Christian mythology, then, Asuka and Shinji are conceived of as chosen forms of life, not unlike agnus dei, Christ-like figures or Lambs of God. While Asuka’s body cannot fulfill this holy program due to a mental breakdown and subsequent battle defeat (though she is pierced with the Lance of Longinus, like Jesus…), Shinji’s body and the EVA he operates ultimately do come to the precipice of this sacrificial glorification, where he are elevated above the earth on a glowing crucifix. (The swift disjuncture between Asuka and Shinji’s storylines and mental states towards the end of the TV series ultimately comes down to gender, as yet another factor that determines the child’s proximity to or distance from capital-m Man).
In other words, NERV’s project requires human blood, but of a specific kind. The notion of the cyborg might also be said to need the same, since the hybridity on which it rests must first conceive as its constituent parts as fundamentally distinct prior to their glorified combination. This is intimated by the genesis of the Eva’s themselves, which are driven by “engines” containing the souls of the pilots mothers, extracted once their bodies disintegrate into the fluid called LCL. (As exemplified in the infamous scene where Unit-01, motored by Shinji’s mother’s soul, goes berserk, mothers are also depicted as short of the status of Man). While it’s hard to call NGE a critique of anything, it’s clear that its position on the possibility of a post-human or cyborg future is ambivalent at best. The result of the attempt, driven by adults, is continual death, precarity and, ultimately, desolation. The show seems to meditate on how children fare in actually any imagination of the future, and the ways in which they are violently instrumentalized to bring about such futurity.
[lol what next…]