Mostly, she felt like an extraneous addition included mainly for the sake of fan service. Evangelion: 3. Mari's first major scene in Thrice Upon a Time is, like many of her showcase moments in the previous films, a big battle scene with little direct bearing on the plot. After saving Paris in the opening sequence, Mari disappears from the movie for the next hour or so, which focuses on Shinji, Asuka and a Rei clone living among Third Impact survivors.
However, when Mari returns on the Wunder ship, she begins to serve a real narrative purpose. Her flirty interactions with Asuka may be filled with fan service, but she's actually able to mend the rift between Asuka and Shinji, getting them both to confess their complicated feelings. When Shinji is on the disappearing beach, her presence restores color to his perception.
In the movie's final scene, she meets Shinji at a train station, taking his hand as they explore the new world. The implications of Shinji possibly being romantic with Mari might come as a shocker given their lack of interaction throughout the series, but it's that lack of baggage between them that oddly makes her the best dating option for Shinji at the moment. Rei and Asuka have too many psychological issues to deal with, and Kaworu is so intertwined with Shinji's PTSD that they likely need some distance even if they're destined to reunite eventually.
Mari represents a fresh start. In the movie's final scene, she meets Shinji at a train station, taking his hand as they explore the new world. The implications of Shinji possibly being romantic with Mari might come as a shocker given their lack of interaction throughout the series, but it's that lack of baggage between them that oddly makes her the best dating option for Shinji at the moment.
Rei and Asuka have too many psychological issues to deal with, and Kaworu is so intertwined with Shinji's PTSD that they likely need some distance even if they're destined to reunite eventually. Mari represents a fresh start. There is clearly a lot of backstory behind Mari that is never directly explained onscreen.
The latter reference implies NERV views her as a traitor. Making matters even weirder is that Gendo's flashback scenes show a woman who looks identical to Mari, if not Mari herself, interacting with the younger Gendo and even introducing him to Mari. There are two equally likely explanations for this. The second possibility is that Mari is a clone. Her family name is Makinami, and given that the Rebuild films explicitly changed Asuka's last name to Shikinami as a parallel to Rei Ayanami and to foreshadow that she's a clone, it would make sense for all three -nami pilots to be clones.
Mari might be a clone who still holds memories of her prior incarnations. Yamaga: Yeah, particularly on Evangelion. They think every little detail has a meaning. The appearance of a new character and Eva Unit was requested by executive producer Toshimichi Otsuki-san. I think the motive was a commercial one—to strengthen the appeal of the film - Evangelion 2. In fact, she wasn't really the focus of " I don't know if he intended it to be this way from the beginning or if he went towards this place while making it.
When Mari appeared in " So I was a little curious as to why she was given such an important role laughs. In " In this sense, every character is ultimately the same. If Mari were to end up the same as them, she would not be able to destroy that world.
I completely cut it from the film. Even if we had put just a little [of that] in, then she would not have worked as a character, and it would inevitably have been a nuance that only those who knew the original series would understand.
So I completely cut that [relationship], and instead decided to have Kaji be close to Mari. That decision was made because of the fact that, among the main characters who had appeared up to this point, there were none who knew Mari, and this was causing me various difficulties in writing.
That being the case, I figured that Kaji was the most suitable. Furthermore, if there were scenes where Mari appeared by herself, that was still fine. The difficulty lay in her relationships with other characters. Especially, if we intended to portray a relationship between Shinji and Mari, it would entail strange things happening.
There was a sense that her character was changing depending upon the circumstances of each scene. To the extent that this newly arrived character, Mari, is just partially substituting for roles that other people have carried out up until now, the story itself is really unchanged. Anno would not be the type to change the way he makes a film based on the reaction of the audience.
We talked about how we had to work harder after the end of the first film. But it's hard to decide. We would say, "We have to make changes to meet our customers' expectations. How can we meet the expectations of our customers and satisfy ourselves? In a state of limbo, the production of "Ka" went through many changes.
Once it started turning, it started accelerating and wouldn't stop. I don't think even Mr. Anno imagined it would go this far. This "acceleration" led to the creation of a new character, Makinami Mari Illustrious, a symbol of the changes in the new film version. Initially, Mari was only going to appear briefly, but as it turned out, she became a deeply involved character. But since she was a completely new character, there was no room for her to be included, so it was very difficult.
If I put her in, the original story would be destroyed. It's very complicated. Her name was 'Mariko' at first, too. As for other images, there was the part of a Miko-san [shrine maiden] channeling the gods.
As nothing had yet solidified, we had these sorts of discussions about ideas. When I got the instructions on Mari's seifuku design, the document consisted of only two lines: British-style and Christian Missionary School-style. When I asked the general director Anno-san "What is Missionary School-style", he replied "I don't know, create an image from the words"! I then asked him for some reference material and a few days later he brought some photos of British school girls and said "Like this".
All their skirts were long — 15cm below the knee — and some looked so old! Looking at all the photos I found that many used check designs, most school girls wore tights and the blazers had colored edges.
I used these features in creating the design. I told Amano san that if she didn't wear a blazer it wouldn't look very British. For over two weeks we would try green, then yellow, and then it struck me "Pink is it". We photoshopped in pink and it was perfect, and decided on the spot to make it pink. Pink is in between these two colors and it loses some impact, so I did think about making it a more outrageous color. Black would be more British, but a bit harsh, so I went for green.
Mari's older model plug suit is green, but I was surprised how much pink suited her. S: I thought it was fitting that the new films should include a new character. I really strove to design a character who was distinct from Asuka and Rei, though I do worry that there are some small but telling similarities that remain. My idea was to create a character so distinct from the other Evangelion characters as to almost feel out of place in the Evangelion world.
I suppose I could've designed her as a sort of "halfway point" between Asuka and Rei, but Asuke and Rei are both such strong characters, in their own separate ways. I wanted to bring something completely different to the table with Mari. For Mari, I'd been asked to design a character who "goes about with a parasol, like the sort of heroine you see in an anime".
As I initially designed her, she was very adult-like, having attended a strict private Christian school in Britain. However, in the original script, there was a scene where she returns home to a room full of birds and dogs and begins talking to them, to indicate that she was also rather idiosyncratic. Anno had also requested that she be more adult-like in appearance and manner than either Asuka or Rei, to set her apart. And that she have a huge chest laughter.
There was a television drama I'd really been enjoying at the time I began designing Mari. The heroine in this drama had a pair of long ponytails. I really liked this character feature, and worked it into Mari's design. After all was said and done, we ended up with the design that we have now, although there are still many elements of my personal tastes and interests of the time in Mari's design laughter.
Incidentally, I decided to give Mari glasses because I thought that this would be a simple yet affective way to set her apart from the other characters. Some people have said that she "doesn't seem like an Evangelion character", which is exactly what I was aiming for.
I'm glad to see, though, that the majority of people have appreciated her character. YA: How did you go about designing Mari's uniform and plug suits? S: I'd been asked to make Mari seem very British, so I tried to design accordingly. For her school uniform, I thought that a large bow and long socks, along with a traditional checked skirt, would look the part. Sadamoto Interview Young Ace n. I will take secrets to my grave. I've never had any contact with the director, and I've never met Toshio Okada.
I think it's time to stop making insulting remarks based on crazy assumptions. And yet, there are people who misguidedly say that Mari is Moyoco and believe them. The most misguided part.
She has glasses, is strong, and could have been in FLCL. She's also a character with the same dialogue. She constantly has to face her difficult past, and she couldn't escape the reality of having to provide for her family.
It's just that she needed to don a piece of armor called "toughness" over her heart. I can sense that deep inside she battles loneliness and alienation and is barely holding her emotional balance in check. Moyoco details her troubled family life.
Rather than Moyoco saying Hideaki Anno, she's the one that attributes this to him. What I just answered is not official, it was my point of view laughs The truth is that the love story of Mari and Yui came up while chatting with the scriptwriter of Evangelion as something that could be interesting and curious but we should not give it much more importance laughs.
This article has multiple issues. There exists much information that should be added to this article. You can help by expanding it. Rebuild of Evangelion. Mari's first scenes [ RB2 ]. Mari watching the crosses in the preview of Evangelion 2. Mari during her first fight [ RB2 ]. Mari after destroying the Third Angel [ RB2 ]. Mari about to collide with Shinji [ RB2 ]. Mari crashing into Shinji [ RB2 ]. Mari meets Shinji [ RB2 ]. Mari contemplates the sky of Tokyo-3 [ RB2 ]. Mari preparing for battle [ RB2 ].
Mari comments on her new plugsuit [ RB2 ]. Mari piloting Evangelion Unit [ RB2 ]. Mari in the preview of Rebuild of Evangelion 3. Mari inside Evangelion Unit [ RB3 ]. Mari piloting the Evangelion Unit in her new plugsuit [ RB3 ]. Artwork from showing part of the design of Mari seen at the end of 1. Artwork of Mari and the other Eva pilots in plugsuits. Sketch drawings of an unused scene from Evangelion 2.
Another artwork of Mari in her 06 Plugsuit, as drawn by Hidenori Matsubara. Mari's default sprite in Petit Eva: Evangelion Game. Mari's walking sprite in Petit Eva: Evangelion Game. As seen on Evangelion Battlefields.
0コメント