And so, Rei had to sacrifice herself?

On phone again:
Hyuga pressed to fingers to his temple.
two
It would take almost a full day to go around the Korean Peninsula and reach crash site.
Question: Is the article unnecessary in that combination? *has no clue about the finer points of English*
A wooden ring, as through fashioned from a bundle of vines, thudded on the deck.
though
She slapped the controls and yanked on them as hard as he could.
she
She smiled for me. She smiled so gently, yet it is a full smile, too—full and without reservation.
Shouldn't that be 'was'?
Ayanami nodded at me, and she fixed her eyes on the enemy
This is missing the full stop at the end.

We were trapped like Cheerios in a packed cereal bowl.
Now, that's an image to behold. :D
 
And so, Rei had to sacrifice herself?

Indeed, I'm not trying to be subtle here:

"What You Leave Behind" - DS9, Ben Disko joins the prophets.
"Threads" - Stargate SG-1, Oma commits to fighting Anubis for all eternity, preventing him from conquering the galaxy and making war on the entirety of the Ancients.


Thanks as always for the corrections.
 
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It was very well done. Even without remembering the episode's title, my first thought was, 'Just like Oma Desala.'
 
Ah, so they mutually destroyed their ability to interact with the universe after this point in linear time, it seems.
 
She put her hand on top of mine on the railing. She put her hand there—and I felt it. She pulled my little finger up and slipped her hand underneath.

I jolted. My mouth hung open. "Ayanami—"
I raised my hand off the railing a bit, letting her fingers slip into my own. I held Ayanami's hand there, on one of the upper decks of the helicopter destroyer, and I wouldn't let go.
Oh Rei.... why couldn't you have done this earlier? ;_;

"I choose this," she said, turning away from the sunset with a wide, radiant smile. "There are things I won't like about it, but it makes me happy."
Rei... smiling. Smiling widely. Oh, Rei... :cry:
The destroyer Makinami
Haha

Rei... I hope there's something left of you afterwards to hug. You deserved a happier end.
 
finally caught up.

where to start.

technicalities I suppose:
TLDR FUCKIN GREAT. Everyone else has the oh so helpful grammar corrections covered and the story itself has been an entertaining read. Pacing felt good, characters clearly HAVE arcs (I'll be more specific on why I word it like that below), the whole setting is well captured and very NGE, even the tech you've added (limited as it is) fits right in, in a really nice way. IDK how many ways I could add to this so I'll simply say if I was a professor, this would get an A from me, for sure.
Also, on a personal note from my feels department:
Noooooooo! REEEEIIIIII! :(

*ahem*

So time to put a big disclaimer labeled "HOW I LIKE MY FICTION IS DIFFERENT FROM IT BEING GOOD OR NOT AND THIS STORY IS DEFINITELY GOOD"on a sign and complain a bunch. oh hold on. Lemme put out a SECOND sign that says "EVERYTHING I'M ABOUT TO SAY IS IN ADDITION TO THE FACT I AM STILL ENJOYING THIS IMMENSELY"

Right, here we go. Seriously, note those disclaimers, this might get a bit ranty. Which means you've aroused my passion. I give a fuck about this story.

your author's notes have been a huge help, for one. I'd have yanked my fucking hair out otherwise. Cause if there's one thing that drives me NUTS, its not knowing whats going on, to a reasonable degree, in character's heads.
I get enough of being in the dark about why the fuck people do the strange shit they do in my real life, to the point that a not insignificant portion of my past studies was devoted to helping me try to fucking understand human brains and minds so I could look at people doing things that made no sense and try to DEDUCE their fucking thoughts. its helped, a lot, but sometimes I still run into people that I just can't make heads or tails of. They're more common IRL, but less common than they used to be for me.
Fiction usually is a nice change of pace. Whether through the happy happy wonderful tool of plain simple omniscient narration, or just the help of a devoted fandom's pages and pages of character analysis from which I can compare theories with each other and my own thoughts, and form what I feel is an accurate picture. Sometimes I can work out pretty much everything even without either of those.
TLDR I like to know the WHY behind everything. Places, people, things, people, events, and did I mention people.
I think it should be clear therefore, how irritating it has been to read many MANY sections of this. Nozomi gets the silver in that, Asuka 3rd and shinji himself 4th (not gonna lie, when you said the fact we weren't getting all of Shinji's internal reasoning was on PURPOSE I made a noise that wouldn't have sounded out of place coming from an [extremely small] berserk eva], and our villain gets the big shiny gold of frustrating Zera with obtuseness. The comment about arcs above was that while I can see change has been made, I cannot pinpoint WHICH changes, when they happened, or most importantly, WHY and HOW. This is NOT (exactly) a failing of yours to provide information.
Somehow you've managed to be MORE difficult to understand than NGE itself in my personal opinion. even before I got to the fandom of it, NGE was something I had a lot of fun digging and analyzing and ultimately, IMO, understanding pretty well what was going through any given character's head at any given time (With a few thematically appropriate exceptions like Gendo's silent moment in EoE). Meanwhile I'm regularly left staring at something you've written and just throwing my hands up and going "What am I supposed to see here? I dont get it! What? WHY!?" if I'm understanding your author's notes right, this is intentional.
You've accomplished your goal very well. to my EXTREME vexation. I don't like to guess. I like to KNOW things. Or at least have a very very LIKELY guess, both of which I'm usually pretty good at, hence me being fine with the infamously (apparently) difficult to understand NGE itself (like I said, I didn't find NGE canon proper very hard to follow at all most of the time).
So having some fucking insight into what the fuck is the motivation behind shit from your author's notes has been a vast vast help. But I'm frequently still lost.

So whats that got to do with you? as much as you want it to.
the reveal of Nozomi's inability to give a fuck if she wanted to (to badly sum up her issues) was an interesting reflective moment because it reminded me of one of my close friends, and therefore of myself, as we share a mental diagnosis (though different symptoms. I'm not much like her. kind of the opposite in some ways). Said diagnosis is definitely part of both my difficulty getting into characters/people's heads, and my irritation with that fact. So, if the following interests you, consider:
people with mental differences, whether born (autism spectrum, depression, etc) or caused from various things (head wound, emotional damage [ha topical], etc) have differing abilities when it comes TO interpreting, and understanding a story. Sometimes to the point of lessening their enjoyment, like myself (though not enough for it to get anywhere NEAR "Not Enjoying.TXT", as I said. I just could be enjoying it EVEN MORE) As an author who has professed interest in targeting the audience and really writing for their enjoyment, what are your thoughts on someone like me, who sometimes needs things spelled out or they're just not going to get the impact the author intended out of the story, or be too frustrated and distracted to notice they DID get it (THAT one has happened to me a lot in general, not just here. going "Okay I got X, but what else are hints 1 2 and 5 leading too? There's clearly more here! where is it!" and finding out nope it really was just X and nothing else), and similar such problems (or people with other mental differences causing other problems?)? Am I just not part of the target demographic? that'd be fair enough, for sure, and wouldn't upset me. but if you have something beyond that, I'm curious.

I really fucking hope that all came out right. You've been great, you've got me really interested, and my anger is because I'm loving it. or something.
Fucking NGE. Communication is hard, etc.


EDIT DIRECTED AT A DIFFERENT RECIPIENT
Stryp, I haven't ranted (much) about anything in your story because I've had nothing to rant about, but I assure you I care enough that I'll do so if you do. :p
 
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@Zeratoth I'm glad you've enjoyed the story so far.

The spectrum of experiences possible with the human mind is something that fascinates me. Some of my earlier works explored the capabilities and failure modes of the mind as well.

I'll be the first to say that the approach I've taken with this story is experimental. In times past, I too favored explicit, clear relationships and hoped that the audience would be invested in the drama from that standpoint. The original version of this story, for instance, made Eisheth's identity and motivations clear. The draw, then, was seeing the conflict play out based on the framework of Eisheth's viewpoint versus Rei's, and so on.

I abandoned that approach for the rewrite in part because of an early sequence in the original--the part that corresponds to 1.4/Blood Rain through 1.6/Vision in the rewrite. There, like in the current version, the sense of mystery about the enemy and what it's capable of was really attractive to me. The first-person viewpoint of this version enhances that: being confined to Shinji's eyes and ears should feel tense, should lead to some anxiety.

In other words, I feel that pacing the delivery of explicit information allows me to evoke certain emotions more effectively. We're scared when Shinji is scared because we both don't know what's coming, don't quite understand what's happening around us. Sometimes, Shinji is reluctant to say something that is too painful to describe in words. Just look at this latest chapter: he knows as soon as Rei touches his hand that she intends to sacrifice herself in some way, but he can't bring himself to confront that thought explicitly. Look back at 1.3/Project Manoah: it is never said that Misato wants to show him the Eva and the cage, but Shinji's reaction is to exactly that. This is a pattern I try to follow: that which is unspoken or implied about a character's feelings or reaction is often what affects them the most.

That isn't the only reason I wanted to do things this way, though. I've long admired how the Eva community continues to go strong all these years later. Anno explains infamously little, and I felt that was a strength of the work--and something I wanted to imitate. Granted, that approach might not work when you only have a handful of people commenting and sharing interpretations. That could be the big difference here. Even so, I think there is great power in not overdefining what I want to say. It's true that being more open-ended risks people missing what I wanted them to understand or come away with, but it opens the door to more interpretation, allowing folks to take what they want out of the story. I think that has value.

Something else to keep in mind is that I'm a big proponent of having the clues and details be optional content. In other words, I strive to be consistent, and I do aim to give clues to what will happen going forward and why, but I don't believe that they're necessary to enjoy the moment. For instance, have you wondered why Eisheth sent her children to attack the Chinese and Japanese fleets in 3.7/Whole Heart? If she aimed to take advantage of their conflict, she failed: she ended up uniting the two sides instead. The question of Eisheth's goal there could nag at you, yes, but it's not necessary to follow Misato's character arc there. You didn't need to understand the clues about the puncture engine in 2.6/Mirror Image to appreciate Shinji's reconciliation with Nozomi or to follow the plotline where it became important in Part Four.

So, I think there are a lot of advantages to how I'm doing things, but it is almost like learning a new language that uses the same words. I admit I'm not sold on the concept. Perhaps the best thing would be to rely on one default interpretation that is clear but to leave enough room for others to flourish. But even that approach has weaknesses: one of the things I've become bored with is explaining things inside of a story. I don't think narrative should be purely informational: it needs to help set the mood as well. Someone had a post recently about an anime (I forget which) where they talk about how the plot and the visual elements are telling two different stories, and I think this approach is very apt for storytelling: different elements need to engage different ideas.

In short, let me summarize things like this: I try to make the character arcs understandable as a surface layer. The reader ought to be able to appreciate how Asuka, Misato, and Nozomi have faced issues, made mistakes because of them, and now try to overcome them. Shinji and Rei as well to a lesser extent. At this point, Shinji, Rei, and Eisheth's stories are still ongoing, You're not intended to understand Eisheth's reasoning yet (but you might be able to figure it out). In Misato and Asuka's arcs, the flow should be pretty clear: each of them has a flaw, that flaw causes a small problem, they initially ignore the flaw and double-down on it and cause a big problem, they actually confront the issue, and they try to move past it. Nozomi and Rei's stories are a little more complicated because they're more tightly intertwined with Shinji's growth.

Beyond that, everything else is "bonus" material: the mythology, the nagging details about the setting (how does international politics work? how did they make a new Eva?), and so on. The characters matter. Everything else should just be consistent enough that it doesn't snag people along the way. But if the basic elements of character growth aren't getting across, then that is an issue I take seriously.
 
hmm. Some of that makes sense. Not needing certain details to enjoy the story. I dont care how they made the new EVAs. they did move on. (i'm curious how the new core and sync process works but not enough to dive for it).

Misato's arc was about throwing her life away re survivor's guilt, basically. Some aspects reflecting back on Shinji and all that. I got it (I think. LIke I'm pretty sure her behavior toward the chinese was meant to be taken as self destructive?), I liked it, all was well.
Asuka's I literally lost track of at a specific point. and that was when she started talking like the job she'd seemed to have been loving up till this point was something she hated. or... something. Like, I cant even wrap my head around describing the weird turnaround. (I cant pick it out of of the story either cause I read everything in two huge binge sessions and didnt even NOTICE the chapter names XD). When she starts talking about leaving just because someone disagreed with her, I was really confused. Especially because I'm used to understanding my favorite character in anything NGE related pretty intuitively lol.

RE Optional content: this is again just a me personal thing (Hell all of this still is lol), but nothing drives me nuts more than knowing there IS content I cant access! Thats part of what leads to my overthinking problem. watch I can do it right in front of you:
"Clues to the puncture engine"? What? Goddammit, lets see... it basically CONNECTS the AT Fields instead of ripping them apart, and thats why the weird mind melding stuff happens when they're used. So Nozomi's getting repeat glimpses of the Angel's souls... but what the fuck does that MEAN/DO TO HER? hhhhhhhhhhrrrrrggggggghhhhhhhhhhhhhh *grinds own teeth down to dust*

Re implications with Shinji: I caught the "Oh its an EVA in a cage" thing way back then, when the elevator door opened, the smell, etc.
The Rei thing? That as soon as she touched his hand he knew she was gonna go get herself killed (harder than last time)? Woosh (thats the sound jets make, like other things, when they go over my head! :D things being over my head makes me frustrated :mad: Because I WILL always notice they went by, but not often what they were :()

Lastly (I know I answered these in totally the wrong order but its the order I finished thinking of them), I've never seen as much value in the "let people take what they want from the story" thing. Like it has its places, but as evidenced by what happened to, say, Paradise Lost, people can jolly well do that ANYWAY regardless of the author's goals, so I feel (PERSONALLY) that the author should take a more direct, "This is the specific point" approach and let the audience get extra shit out of it anyway because they definitely will.

basically, there isn't much, or even anything, I'd tell you or ask you to change about your writing.
But answering some questions about shit in between, since unlike say a published Novel we're here in a forum talking to each other in something fairly CLOSE to face to face, would be really really appreciated! :D
Example: above about Asuka. teh fak?
 
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As far as Asuka goes, here's more or less how I laid it out (some of this may end up redundant with the Asuka character notes):

Again, Asuka and Misato's arcs follow the "three ordeal" structure fairly closely, so Asuka's arc progresses as follows (below literally from my outlines):

Central flaw: This is about Shinji taking steps to protect Asuka from herself, and Asuka working herself to the bone without realizing it. Both of them are wrong, in some sense. Asuka doesn't realize how much she wants personal fame and glory from her efforts. Shinji, in turn, should realize that he was too worried about Asuka to trust that she could succeed.

Call to action: The aftermath of the Vietnam battle, which doesn't go well. Nozomi is stressed and tired. Shinji is called to assist Asuka with her work, which Shinji might resist or feel reticent about because of her attitude, of how she gets when she's working. Still, for Nozomi's sake, he accepts.

Shinji becomes a test pilot for this device, working on it on a low power. The scientists include both Maya, as the head scientist, and Aoba, who is heavily involved in maintenance and smooth operation of the Eva. The test is a success, though it hurts Shinji even at a low sync ratio. Afterward, Shinji, Asuka, and the scientists go for drinks in celebration and to unwind. Asuka seems to chafe at how much more experienced and knowledgeable the others are, to Shinji's worry.

First Ordeal: The device is used in battle successfully, though not without side effects. Nozomi catches a glimpse of something troubling from the Angel she killed with it. Still, Shinji feels like everything should be fine, but he finds Asuka working long into the night on the device, trying to improve it, make it a faster kill, make it less likely to contaminate Nozomi. He asks her to come home, but she refuses.

Second ordeal: Shinji sits on this for a bit, consulting Kyoko for help and advice about Asuka. Then, the device is to be used again in combat, but this time against a larger number of Angels. When Nozomi becomes disoriented from the mental contamination, Asuka suggests adjustments to make the device more effective, which Maya has a hard time evaluating on the fly. Shinji is fearful for Nozomi and intervenes, accusing Asuka of putting her success over the mission.

Third ordeal: Shinji and Asuka have a confrontation afterward. Asuka claims she did not consult Maya ahead of time because she was unsure, but Shinji doesn't believe that. Shinji says he intervened to protect her and to protect Nozomi, but he won't come out and say he doesn't trust her.

Later that day, Maya asks Shinji to the simulator to help evaluate Asuka's proposed changes. They seem to work well, as Shinji feels substantially less pressure from the simulated Angel. Asuka's suggestions weren't wrong.

Shinji seeks out Asuka, who is at home. They have a sexually charged moment in which Asuka demands that he say she's the only one he wants, the only one who arouses him. Which he says, but that doesn't make her happy. Or rather, it frightens her that hearing such a thing makes her as happy as it does.

Over the next couple days, Shinji speaks with Maya about Asuka's work hours, but as far as they can tell, Asuka is working only as hard as everyone else. She comes in and does her job, but that's all.

Finally, there is another battle. Asuka relays her suggestions to Maya coldly and quietly, and they work well, giving the day a victory. Shinji congratulates her, but Asuka is still somewhat dispirited. If she can't take personal credit and glory for this, then what is the point? So while this is a victory, it's only part of Asuka's journey.


You might notice some elements there that are different in the published version, but I think that gets the basic structure across. Another thing to consider is that the arc can be viewed from either Shinji's perspective or Asuka's. To me, what makes Asuka pause to reconsider things is that, while Shinji may have been wrong in some element of how he doubted her, or how he went behind her back, or how his hesitations about her came out in public, there is an element of what Shinji says that is right about Asuka. The drive to find validation through doing better than others is still part of her--something that she cannot deny.

Asuka's arc, then, is also meant to probe at a deeper question: can one really do something that promotes the good of others if one's reasons for doing so are selfish? At what point does altruism turn into self-gratification? Can one's selfish desires end up betraying the cause one intends to aid?

And in how that reflects on people in the real world, who don't as often have life-or-death decisions to make, I'd say that's about finding a balance in one's work between what makes one personally happy and what is for the good of the group, the company, or the cause.
 
Author's Notes: Character Focus - Misato
Author's Notes: Character Focus - Misato

Why should Misato be alive?

I think that, more than anything, is the question that drives Misato in this story. What did she do to deserve her continued existence? What must she do to justify it?

That Misato is alive at all is, in some sense, a bit of a cheat on my part. For those of you without the benefit of having watched End of Evangelion frame by frame, one of the ghostly Rei appears near Misato right as her body is destroyed. I've always taken this to mean that Misato could be saved, and I thought, at times, that it would be too depressing to consider a post-Instrumentality world without her.

By all appearances, Misato is the same as she was before Third Impact. She's impish and comes off disorganized. She seems impulsive and reckless at times, buttoned-up and driven at others. But here, Rei has a purpose in mind for her. Misato says as much, believing that Rei spoke to her and pushed her to come back from the sea specifically to prepare the world for the coming threat. That's something she's uniquely positioned to do, after all. She knows a great deal about Eva (though not as much, certainly, as anyone who was connected with Seele), but just as importantly, she doesn't have any immediate family who would miss her if she put all her time into that—except for the people who became her family, such as Shinji. I think Rei chose Misato because she was qualified on both counts: she had the knowledge and expertise, and she had less to lose.

But Rei was incorrect to think that way. Misato still has a great deal to lose. She has her whole life ahead of her once the war is over. And she has Shinji and Asuka, who are just short of being her own children in some sense. Yet Misato buys into the notion that she can dedicate herself to the cause alone. It isolates her.

Misato's point of view—self-sacrifice necessitated by others' inaction—is meant to be seductive to Shinji on an emotional (not sexual) level. He sees great heartache and pain through others' inaction, and that inaction reflects upon him, too, merely by existing and not doing more. That is what resonates with him and drives him to follow Misato's path, but he's slowly isolated from his other friends in the process—from Nozomi and Asuka in particular. It's through walking in Misato's shoes and then realizing the damage it does that he embarks on another path and tries to get Misato to join him.



Misato's arc was, in many ways, one of the most difficult for me to write. I diverged a great deal from First Ones and expanded on her character arc—just as with Nozomi—that demanded new ways of thinking and new ideas.

The original character arc in First Ones was too simplistic. It was about Misato's vendetta against Lorenz proving destructive to their cause, an angle which survives in how Misato's actions anger the Chinese (but not in a full-scale Sino-Russian invasion of Japan). I felt there was more depth needed for this rewrite. Tying it into what she's lost, and involving Shinji in following her, were critical goals.

This Misato, unlike the one in First Ones, is not in an established relationship with Hyuga, either. While I enjoyed that relationship, it did not add to the plotline here. A Misato who is at as low as point as she is here probably wouldn't be in a healthy relationship, but perhaps now she can bear to start one and find another source of happiness in her life.

I went through a lot of ideas and iterations to try to make this arc work. The original idea for the rewrite was for Seele terrorists to take hostages in National Square; the bombing would've been just the first step of the attack. Shinji would've been kept captive there, and he would see Misato's ruthlessness through how she negotiated with terrorists given that lives were on the line. But I gave up on that idea after a time, turning more toward something similar to First Ones with the raid on Lorenz. Misato is no longer involved with that personally (i.e. by being on the ground), but her influence and presence are still felt.



There are two personal aspects I really wanted to emphasize in Misato's storyline: her personal relationship with Shinji and the looming memories of her father and Kaji.

There are several moments where I hoped to play up the mother/son type of relationship between Misato and Shinji. How she treats him when she bails him out after he tried to break into the Chinese ambassadorial residence is an example. Even though she no longer lives with him, Misato is still trying to raise Shinji in her own way, and I think Shinji wants to live up to her expectations as well.

Conversely, the memories of her father and Kaji still cast shadows over her life. Her father was the one I kept in mind more while writing the arc, but Strypgia's comments reminded me that Kaji would have great influence over her as well, and I felt that not using his name—once again, names have power—until a crucial moment would serve my purposes well.



On the whole, I'm fairly happy with how Misato's arc turned out, but it, and with Asuka's after it, bothers me on one level: that it may have unfolded too quickly, may be too self-contained within its own part. Integration of such storylines to unfold together is key, and while the final part touches on all these storylines, that may not be enough to feel cohesive. Misato's presence in subsequent arcs is meant to touch base on her journey—one that is not complete at the end of "Cherry Blossoms." Her intervention with Asuka is meant to reflect on her new state of mind, for instance. Even so, seeing that Misato's character is not touched upon with great focus again until the final arc is worrisome.
 
All of that came through pretty clearly. Misato's handling of Shinji, as it was in canon, veers back and forth between 'mother figure' and 'commanding officer', and she always has trouble striking the balance. And like Shinji, Misato's worst moments are when she isolates herself and let's duty override her emotional sense.

I do agree that it feels like a lack that her arc wasn't longer, since it was a fun ride. But the effects are still felt, so it doesn't feel like a waste.
 
Re Asuka: Hmmmmm... interesting. I can definitely see where totally missing the glory/fame angle was more on how I look at things. Thought provoking. Very thought provoking. So the reason she's distancing herself from the work she was doion the EVA tech is so that she can find something she feels less "cog in a machine" about, basically? Something more personal, more "I did this, me!"? Just to make sure I understand all that.

Re Misato: that all pretty much made sense and I think the arc was really well done. Ironically though, I have this feeling that I understand the arc a bit less after reading those character notes. Just a feeling, not any particular point I can indicate and say "This! I dont understand this bit here!" I dunno. But it all seems solid.

Maybe I should just reread the relevant bits or something, lol.
 
So the reason she's distancing herself from the work she was doion the EVA tech is so that she can find something she feels less "cog in a machine" about, basically? Something more personal, more "I did this, me!"? Just to make sure I understand all that.

Yeah; Asuka recognizes that she needs that personal validation in her life and seeking it out while part of the Eva program could be dangerous. At the same time, Misato offers her one more opportunity to show her that she's capable of finding something that appeals to her that isn't that way.

In other words, Asuka may believe she's more selfish than she actually is.



Editing Changelog: 6.1 SV polish edits

5.7/Threads: fixes for issues by @Ranma-sensei/#276

6.1/Last Temptation:
  • Shinji now continues his role as Nozomi's primary handler, rather than withdrawing; minor tweaks to his conversations with Misato and Asuka reflect this
  • Added a scene with Shinji journeying to the memorial/crater site to pay respects to Rei, and finding out about the situation in the control room; cut the corresponding scene with Shinji observing the control room, as the circumstances no longer apply
  • Shinji dwells on Aoba's temptation and the overall feeling of futility over Rei's death

second-revisions: some board for the idea of Shinji going stargazing, which is not used in this version



The Second Coming Part Six - Legacy - will soon bring Shinji's journey, and the war against Eisheth and her children, to an end:

Shinji mourns the loss of Rei, and though there is a lull in the conflict, Seele are on the move again, staging an action within Manoah Base to sabotage the Eva program. Based on his visions of the Progenitors, Shinji argues to join the expeditionary force and board the Black Moon. His goal: make contact with the white giant in the LCL lake, get Rei back, and end this war once and for all.

Tomorrow: 6.1/Last Temptation.

The Second Coming ends in 6 weeks.

Take heart, friends: Eisheth is watching...

...but she cannot stop us now.
 
6.1 Last Temptation
Part Six (Final): Legacy

34. Last Temptation

"Okay, Nozomi, are you ready?" I said.

At my station in the control room, I flipped through a binder. The main projector screens flickered, showing the Black Moon that hovered over the Indian Ocean.

The craft was not unguarded: the Disc Angel and others, of various shapes and sizes, patrolled outside it. They had good reason to: an armada surrounded the craft in turn. Prime among the armada was the helicopter destroyer Ise, which carried Evangelion Unit-14 on the aft landing pad.

Nozomi and the entry plug were shown on the third, rightmost screen in the control room. She gripped and released the actuation levers, staring out at the scene before her, and she said,

"I dunno, can we go over the plan once we break in one more time?"

I sighed. "Yeah, sure, all right. Let's pause it."

The images froze. Waves stopped mid-break against Ise's hull. The Disc Angel sat tilted in mid-air as it dove toward the armada.

In the control room, some of the controllers backed away from their stations, stretching and drinking coffee or tea.

I paged through the binder, going to a middle section. "Okay, what's on your mind?"

"Finding the target once we're inside," said Nozomi. "I was just thinking we don't have enough material in the plan for a search."

I looked to Major Hyuga at the adjacent station. He looked over an identical blue binder and shook his head. "That's not her job. People on the ground will have to identify the target's location."

"Nothing she can do to help with that?" I asked.

"Nothing we're sure of. Let's focus on phase one. None of that stuff matters if we don't make it inside."

I relayed this to Nozomi, and Nozomi agreed to continue. "All right," she said, "let's give it a shot."

The simulation resumed. Ise steamed toward the Disc Angel at full speed, and Unit-14 engaged the enemy. It hopped between towed platforms, punching the enemy before flying away thanks to bursts of thrust from its jetpack.

"Take it easy," I told her. "You're burning a lot of fuel here. Quick, short bursts."

"I don't think I can reach the center that way," said Nozomi. "You want me to go for the edges?"

"Yeah, let's try that this round and see how it goes."

And so, we went on. Ayanami was gone. The hooded stranger was gone, but her children and the Angels were still there, and so were we.

The pawns were left to fight while the queens had abandoned the board.



It'd been nearly a week since Ayanami left us.

We'd left the Yellow Sea with the images of Ayanami and the stranger still haunting the operations room of Ise—an eternal reminder of the war between them.

The stranger's children around the world had liquefied, retreating to the Black Moon in the Indian Ocean to regroup. The remaining Angels had left their battlefields as well, with the Disc Angel hovering around the Black Moon as its final protector.

We began to plot the siege of the Black Moon—the final operation to remove the Angel and alien threat from Earth—but we had no plan for the future. What would we do then? How would we get that Geofront off our planet?

That was the thing with everyone else—Misato, Hyuga, and the others. They were so focused on what was right in front of them that they couldn't look beyond it. Even if we beat our enemies, that wouldn't mean we'd done all we'd hoped to. The enemy had made a real mess of the world, and just killing them or driving them back to their craft wouldn't fix any of that.

So it'd be a mistake—a real mistake—to be satisfied with just defeating them.

We had find the stranger. We had to make her give Ayanami back.

But no one else on the base was thinking about that, let alone had a plan. All they thought about was battle plans and exercises, about forming armadas and integrated command structures and whatever else.

So I did.

When exercises were done for the day, I grabbed a quick bite to eat and went back to my office in search of the answer. I paged through the insane ramblings of Keel Lorenz and his Seele disciples. I dug through the old Nerv archives—the Dead Sea Scrolls, Ritsuko's research, all of it. If there were information about Lilith and her people, it had to be in there, right?

But not everyone would leave me alone to that. As I studied some documents on the Spear of Longinus, there was a knock on my door, from Captain Aoba, of all people.

"Sorry to interrupt," he said, drumming his fingers on a manilla folder. "I just had some recommendations for future Eva testing. I thought you might want to know, in case we need you and Nozomi for the test."

I waved him over to my desk, and I took a look at the contents of the folder. Most of it had to do with trying to remove fragments of the Crown of Thorns from the Eva; Aoba wanted to run some live exercises to make sure the Eva was fully functional again. The artifact the enemy had used to take control of the Eva—the Crown of Thorns—had occupied all of Aoba's time in the past week and kept Unit-14 out of commission while they removed it.

"I'll pass it along to Hyuga; that's his call," I told him.

"Ah, I see," said Aoba, who furrowed his brow. "I guess I'm still a little out of sorts."

As could be expected—being liquefied by those creatures and trying to reconstitute yourself had a tendency to scramble your brain a bit.

"Are you feeling all right?' I asked.

"Fine, fine." He laughed. "Once you've been there once, what's another trip to the ocean, right? We're all fine." He picked up the folder from my desk and shot me a look. "What about you?"

I raised an eyebrow. "What do you mean?"

"Are you doing all right—since Lilith left us?"

"Ayanami," I said, glancing at the Spear of Longinus blueprints again.

"Ah." Aoba frowned. "Right," he said at last. "So you're doing well?"

"Fine," I said, smiling. "Just fine. Ayanami…did what she needed to do for our sake. I'm sad she's gone. She deserved more, but we're still here, and we need to keep going. And we'll find a way to bring her back."

"That's good to hear," said Aoba, nodding. "I'm glad to hear that. Some of us have been worried."

I slid the computer mouse aside, looking at him. "Worried about what?"

"A friend of yours—a friend of all of us—is gone. As far as any of us know, there's no way to save her. She might not even know we're still alive."

"She knows," I said, staring at him. "Ayanami knows, and she knows we're looking for her."

"Maybe you are," he said, "but the general isn't. The major isn't. Maybe we can save mankind. She'll still have sacrificed herself."

"You don't know that."

"That's all we're doing here—sacrificing ourselves for others' sake." He put a hand on his chest. "You, me, everyone—we're all giving a little bit of ourselves, but who says we have to suffer like that?" He glanced at the monitor. "How much are you going to give up to fix what happened?"

I tilted the monitor away from him. "As much as I choose to," I said. "I'm sorry about what happened to you, but don't you have something else to do?"

"I wonder, though," he said, "let's say we get through this but Rei is gone and won't come back: is that worth it? Is that worth all of this just to stay out of the ocean?"

"Get out," I said.

"Is that worth staying out of the ocean where none of this would even hurt?"

"Get out!"

Eyes narrowed, he gave me a slight nod, and he walked out.

I didn't blame Aoba for questioning things. I'd been there before. I don't think I reacted much better, all those months before, when I first confronted those creatures up-close.

But Aoba's doubts weren't my problem. I had too much material in front of me: Seele R&D, manifestos, and so on. I could spend weeks combing through their writings.

I could spend weeks and not find anything of value, not accomplish anything. These reams and reams of documents would be spokes of a hamster wheel: I'd run through them and go nowhere.



I started asking questions about our plans going forward. What would we do if the enemy forces were defeated? What were we going to do about the second Black Moon over the Indian Ocean?

What could be done, if anything, to bring Ayanami back?

"What—did she go somewhere?" was Misato's remark. "Do we need to send a taxi?"

That's what she said when I visited her office. She shook her head, looking to the ceiling, and sighed. The point was well-taken: it wasn't as easy as just going to fetch her from someplace. Where Ayanami had gone—or where she could be found—weren't easy questions to answer.

"We'll take the Black Moon," said Misato, "and we'll capture the head of the snake. If there's a way to get Rei back, she'll know."

But whether she would tell us, even knew anything, or would relent to help us was something neither of us could know. We were trapped in that, in miserable uncertainty with no way out. I suggested we interrogate Keel Lorenz, but Misato just laughed.

"We are interrogating no one," she said. "My people are taking care of that. You're not a trained interrogator. You'd give him as much information as you'd get, if you even got anything at all."

"So, what am I supposed to do?" I demanded.

She cocked her head at that. "Shinji, some things aren't entirely in our control. There might not be anything you can do about Rei right now. That's reality."

Reality sucked.

"But there are things you can contribute to in the here and now," said Misato. "The enemy is still out there. The Angels are still out there."

So what. We'd kill them, or we'd pack them all up in the craft they arrived in and send them back. Then something else would come hurtling from the cosmos, or maybe some archaeologists would dig up another Geofront, or Godzilla would rise from the ocean. On and on we go. Cataclysm is always just around the corner. There's no salvation on the horizon—only the people we bury and trample underfoot in search of it.

The thing is, I knew that wasn't a healthy attitude to hold. It wasn't something I liked or embraced, but it was the only thing I felt capable of holding in my heart at the time. Misato was right—keeping up with Nozomi mattered—but I just didn't have it in me to feel it rewarding. I couldn't find a meaning in it that I liked.

But once Misato and others pointed out the futility of my search, I couldn't go back to what I'd been doing, either. I'd learned a lot about Seele's inner workings in the previous week, but even Seele didn't know that much about Lilith—about who she was, where she came from, or the group of seven. What they did know was cloaked in quasi-religious nonsense, identifying Adam and Lilith with figures from Jewish folklore. None of it really meant anything.

Rather than spend the rest of the day on that waste of time, I did something more for myself: I read a book, A Tale of Two Cities.

It wasn't the first time I'd read it; I'd once given Ayanami a copy for a school assignment, and she took to the piece. She read it cover-to-cover in a day or two, and she kept the copy on her for a long time. I used to wonder what she enjoyed about the story: I feared the moments of human brutality would offend her, but there was definitely something about the story she liked.

So I read the Dickens novel again. I read, and I remembered things I'd forgotten. A lot of people reinvent themselves in that book. The spy, Barsad, assumes different roles based on who's in power. Darnay sheds his aristocratic background to live a quiet life. Doctor Manette is reborn on his release from prison, only to die again for periods of time as he relapses into his obsessive shoe-making.

I think Ayanami would've appreciated, maybe even enjoyed, the idea that people can change so fully and completely. She'd done it before, and she would do it again.

As nice a diversion as that was, reading a book would only do so much. I ate dinner late, by myself, and I headed back to my quarters with Asuka. It was half past nine at that point, and Asuka was on the bed, in shorts and bare feet, as she worked on her laptop.

"Been busy?" she said, hardly looking up from the screen.

"I've been…looking into things," I told her. "And thinking."

"Yeah?" she said, peering up. "What about?"

I sighed, and I took the chair at the desk, sitting down backward to face her. "We're not getting her back."

"Aha." Asuka closed her laptop, and she leaned back against a pillow and the headboard. "It doesn't seem likely, does it?" she said. It was more of a statement than a question.

"No." I flicked a finger at the desk's edge. "I didn't want to believe it, but that's how it is. And everything we're doing is about going forward."

"Yourself included?" she asked.

"What do you mean?"

"First's gone, but you've been halfway locked inside the control room or your office ever since," she said.

"I'm not running away from this," I said, frowning. "Not after what Ayanami did. How could I?"

Asuka smiled at that, and she waved me over. "Shinji, come here."

I stared blankly.

"I'm not going to bite," she said, laughing. "Get over here."

I got up and pushed the chair back into place. I lay down next to Asuka, and she wrapped an arm around me.

"I'm proud of you, you know," she said. "But I don't think anyone would have a problem if you took a day to yourself. She was your friend. Take the time to grieve. I didn't do that when Mama left me, and I didn't realize until much later how much weight that left inside me. Don't do that to yourself."

I sighed. "I don't know. There's so much going on—"

"Shinji, you need to lean on people sometimes," she said, pointing a finger at me. "It doesn't have to be me—but I won't complain if it is. You put up with a lot of my shit. Give me a chance to be there now and then."

"You have been," I said, closing my eyes in her warm embrace. "You have."

"Thanks." She squeezed me a bit. "Now, at least take the morning tomorrow. Get outside this hole. I'll take care of Nozomi's session. Agreed?"

I opened my eyes and stared—stared at the gray ceiling that was bathed in the cold, blue-tinted lights of the room. "Okay."

"Good," she said. "That's good."

Asuka tried really hard. She tried so hard to help me, but being comfortable in someone's arms—that can do only so much.

It's hard to feel good when you think you don't deserve that. Someone else can't feel that anymore, so why should you?

It's hard to feel good when nothing you can do would really change the situation you're in. When every option is equally pointless, why do anything at all? Taking time to myself might help me let go, but it wouldn't really improve anything—nothing except what was in my own head.

People we love go away in time. We die, and if science has anything to say about it, we don't go anywhere after that. We fall asleep, never to reawaken. Why bother trying to live, then? Why bother doing things? They won't amount to anything. The people we touch with our lives—the people we influence—will only die in turn. The stuff we did will be forgotten and lost. In time, there will be no evidence we ever existed at all.

Maybe that's when I finally understood my mother. The chance to make something immortal and everlasting—the chance to do something meaningful in that it could never be erased—did appeal to me, at least in that time. It was something of real consequence. My father and I could never be that.

At the same time, I was still alive. I was still alive, and I had no interest in dying. But what is there to keep going for? Ayanami's wish? The promise I'd just made to Asuka? Something else?

I spoke to Asuka about that question, and just like always, she had an answer right away.

"Why do you think she did it?" she asked me.

I didn't know.

"She had to know she'd die," Asuka argued, "or something worse. She gave up a lot, didn't she?"

"She was always like that," I remarked.

"But she felt it was worth it. She must've felt that way. It mattered to her that we'd still be here, that we'd still have the chance to go on."

"Was it really worth that, though?" I said, sighing and looking to the ceiling.

"It was worth it to her."

And that's the only thing that mattered, isn't it? As long as it was worth it to Ayanami, who were we to judge that? We do things for people, for other people, that might not directly benefit us, but we can still take joy in them. We can still find happiness in that.

"We should get married," I told Asuka.

Asuka sputtered, showing me a bemused look. "Are you serious?"

"Of course."

"You're incredible sometimes, Shinji," she said, shaking her head. "But you know, we can't right now."

"Why's that?"

"You have to be eighteen."

I huffed at that. "Well, in two years then."

"Yeah, two years."

We lay there for some time, and I fell asleep in Asuka's arms. I'm not sure exactly when.



The next morning, despite my uneasiness, I left the base to pay my respects to Ayanami.

I set out for Minamiashigara around seven o'clock from the train station in downtown Tokyo-2. I'd been invited there a few times before, but I'd never visited—not since the end of Instrumentality. When they were holding the dedication for the monument, I was still in my reclusive phase. I didn't want to be seen in public. I knew Minamiashigara well, though.

It was the place where Asuka and I left the sea.

The town had been been rebuilt since those days. The rising of the Geofront from Tokyo-3—just 10 kilometers away—had carved out a new beach on the town's south side and widened Odawara Bay. When Asuka and I had first returned to the world of the living, we'd found most of the seaside property smashed and broken—likely from the initial tidal wave after the Geofront rose. Given two years to rebuild, the town had laid out a new road along the south shore, dotted with beachside homes. More than half of them were still for sale, though. The beach there wasn't much to look at, either, with rocks going right to the water's edge. It would take a few thousand years or more to weather that into sand, I'm sure.

The freshly-paved road led to the monument.

The monument park charged no admission unless you wanted a guided tour, but you still had to get a ticket. The government had been savvy enough to offer me lifetime admission, though, so I showed the person at the counter my pass, and he let me through.

The central area of the monument was a concrete dais. Three statues in black marble stood equally spaced around the platform: one of Ayanami, one of Asuka, and one of me. The statues were life-sized, and I would've stood a little taller than my stone counterpart if not for the statue's base. As uncomfortable as it was to look at myself that way, I did like the statue. The artist captured something about that boy—his uncertainty, his vulnerability, his anger? I wasn't quite sure. Those black stony eyes were hard to read. But it did, at least, feel like me at a different time.

Behind each of the three statues were stone slabs, engraved with the names of those who had not yet returned from Instrumentality. Fittingly, my parents' names were listed on the slab behind my statue. I took a moment to find them among the other names—some of whom had dates next to them, showing they eventually had returned—and I moved on.

From the stone dais, a staircase led to the ocean. The Walk of Life was meant to offer a path for those returning from Instrumentality, but that day, I stopped at the top step and looked over Odawara Bay. In the distance, one eye stared back at me—an eye on Lilith's petrified head. Only half of the head was still intact, and it sat knee-deep in the water. A ring of buoys was meant to keep people from touching it or trying to snap off a souvenir.

I headed down the steps, rolled up my pant legs, and waded to the buoy line. The head was enormous—four men could've stood on each other's shoulders and still not reached the top—and its expression was equally haunting, for even in death, the petrified face wore an open-mouthed smile.

As the waves lapped up to my knees, I craned my head to look up, and I said to no one in particular,

"This isn't goodbye, you know. That would be too sad."

I balled my fists at my sides. I was shaking; the water was cool and uncomfortable.

"But until I find you again," I went on, "I'll try to keep going like this."

The stone face didn't move. It stared blankly across the breach with its small smile.

"Thanks," I said to it, and I waded back to the shore.

If it came down to just Ayanami versus all of mankind having the chance to live outside of Instrumentality, then it was a simple decision. Ayanami knew that, and so did I, but that didn't make it any less unsatisfying. Ayanami might have found peace or happiness through what she'd done, but some of that peace came at the cost of my grief, too. Trying to be happy for her sake felt more like an obligation than something I really wanted to do. I would've liked it better if she'd been there. The challenge was to realize in my heart that it just couldn't be so.

Those heavy thoughts weighed on me as I trudged up the Walk of Life to the monument dais, but as I reached the halfway point of the stair, the wind picked up. There was a low thumping sound. Helicopter rotors sliced through the air. A military chopper came down on the road outside the museum. Three SDF members disembarked: Captain Suzuki and two of her men.

My satellite phone rang.

"Hello, Shinji?" It was Hyuga. "Asuka's going to be on the line in a moment. There's been an incident here."

Captain Suzuki and her men walked toward me.

"What happened?" I asked. "Is she all right?"

"We think she's fine. The control room—she's coming on now."

There was a clicking sound, and Asuka was next to speak. "Hey, Shinji? It's me. I'm all right."

Suzuki and her men stopped in front of me. "You need to come with us, sir," she said. "You're needed at the base immediately."

I covered the phone. "What's going on?" I demanded.

"Shinji?" said Asuka on the phone. "Are you there?"

"I'm here!" I answered. I pulled on my hair. "Are you sure you're all right? Talk to me!"

"I'm fine. Everybody here is fine. One of Maya's people was grazed; that's all."

"Grazed?" My blood ran cold. "Grazed by what?"

There was some static. A distant voice broke in. "That's enough," the male voice said.

"Hey, I'm not done; hey!" More static.

"Asuka?" I cried, hunching over the phone. "Asuka!"

The line went dead.
 
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Beautifully written on Shinji's thoughts - it is fittingly depressing to read.

I assume Seele somehow managed to take the Control Room's personnel hostage? Woe betide them should anything happen to Asuka - Shinji just 'lost' somebody dear to him, and with everything he's come to learn over the span of the past few months, I frankly couldn't gauge his probable reaction, only make guesses.
The point was well-taken: it wasn't as easy as just going to fetch her from someplace. Where Ayanami had gone—or where she could be found—weren't easy questions to answer.
I'd try the Astral Diner, but if I remember correctly, Oma and Jim vanished from there once their struggle started.
Godzilla would rise from the ocean.
He'd look at the world and hike his shoulders in bewilderment at the state of it.
"We should get married," I told Asuka.

Asuka sputtered, showing me a bemused look. "Are you serious?"

"Of course."

"You're incredible sometimes, Shinji," she said, shaking her head.
Way to go on the proposal, Shinji!

Try again?
Minamiashigara [...]

It was the place where Asuka and I left the sea.
Thanks, that spares me research. :p

As always, corrections follow below:

Seele R\&D, manifestos, and so on.
That backslash somehow snuck in.
From the stone dais, a staircase led to ocean.
And the ocean is missing its article
 
"You're incredible sometimes, Shinji," she said, shaking her head. "But you know, we can't right now."

"Why's that?"

"You have to be eighteen."

I huffed at that. "Well, in two years then."

"Yeah, two years."
Fuckin' hell. I always had the image that they were in their early 20s. Not that they were 16. They really are young. Wow.

Looking back, it does say 2 years later, and they were 14 in the show, but damn.
 
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Looking back, it does say 2 years later, and they were 14 in the show, but damn.

Ironically, I think I chose that primarily so Nozomi wouldn't be too old to pilot. Most of the rest of the story doesn't hinge on that, but it is consistent with that (Hikari is going to high school, as are Kensuke and Toji; Asuka's working on her Ph.D., yes, but Asuka is also a legit prodigy).
 
"Shinji, you need to lean on people sometimes," she said, pointing a finger at me. "It doesn't have to be me—but I won't complain if it is. You put up with a lot of my shit. Give me a chance to be there now and then."

"You have been," I said, closing my eyes in her warm embrace. "You have."
You've learned, Shinji. You don't have to be alone, and you can lean on others now and then when you feel the need. Just as they'll lean on you when they need you. And they will. You are valued, wanted, and loved, and you know it. That's what's changed from the Third Child from before Impact.
"We should get married," I told Asuka.

Asuka sputtered, showing me a bemused look. "Are you serious?"

"Of course."

"You're incredible sometimes, Shinji," she said, shaking her head. "But you know, we can't right now."

"Why's that?"

"You have to be eighteen."

I huffed at that. "Well, in two years then."

"Yeah, two years."

We lay there for some time, and I fell asleep in Asuka's arms. I'm not sure exactly when.
....well, didn't expect that particular line tonight, did you, Asuka? Get a ring, at least. Don't let him get away. That little bit of jewelry on your finger can be a great reminder when things are bad. And yes, you are loved too.

I loved that Asuka didn't even ask 'Why?'. She just pointed out that they weren't allowed to yet by the letter of the law.
 
Editing changelog: SV polish edits for 6.2/Ataraxia

5.3/Progenitors II: added a missing reference to written glyphs in and around the airlock
Muphrid's comment: an oversight led to missing an intended change here--that Shinji notice some writing or numbers on the way to finding Lilith in this vision. Shinji doesn't recognize the glyphs' meaning, but for continuity purposes, it's better that he make note of them here.

6.1/Last Temptation: fixes for issue by @Ranma-sensei/#294.

6.2/Ataraxia: substantial rewrite of this chapter. Shinji is briefed when he returns to the mountain and oversees Nozomi's effort to see Unit-14 escape. (Most details are described in second-revisions.) Minor changes include a visit to Asuka in the triage area and a refactoring of Shinji's effort to search for future courses of action to his base quarters, instead of while he is on watch in the backup control room.



Tomorrow: 6.2/Ataraxia.

The Second Coming ends in 5 weeks.

Take heart, friends: Eisheth is watching, but she can't stop us now.
 
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