"Fear and the World and People and Me: What was the Phenomenon Called 'Evangelion'?" - Text & Translation of CB 1997 Essay by Junichi Tomonari
Comic Box 1997 End of Evangelion Special Archiving Project - Entry #1
[Introductory Post & Table of Contents for the Magazine Archive Project Available Here]
The Comic Box Magazine opens with an introductory essay by Junichi Tomonari, a japanese literary critic and novelist who specialized in horror works (and is big into scuba diving and lives in Bali these days, apparently). His work focuses on bringing an outsider, sociological lens to Eva as a work of media and a cultural phenomenon. I will list a few of my ‘interesting takeaways’ from the essay first for those who just want a glimpse, then I will post the translation, then the japanese text from the article itself so it is easily accesible to those who can do a better job with it than me.
Tomonari’s interview is a time capsule of the 90’s zeitgeist of treating anime as sociological diagnostic for the times. He, hilariously, repeatedly, states how much he hates Shinji, and yet ‘sees in Shinji the youth of Japan’, a youth passive & hopeless, unable to act for themselves and withdrawing from society. This passivity is seen as dangerous, particularly in men, “...they will not be able to avoid looking at themselves objectively in relation to others. When this happens, they suddenly display a violent temperament.” He is not alone in thinking this - the 1989 “Otaku Killer” Tsutomu Miyazaki, the rise of the hikikomori as a sociological phenomenon, and other stories launched an entire wave of writings concerning the fate & struggles of Japan’s youth in the 90’s, often with the anime subculture as a focal point.
Tomonari sees himself as having moved past anime, loathing Shinji for his weakness, and judgemental of an audience obsessed with Eva. “If I were a junior or senior high school student and there was such a jerk in my class, I would definitely torment him to death.” But he grows to appreciate Shinji - and Eva - as a way to see the struggles of a new generation in a more empathic light than the contemporary wave of hand-wringing normally permits (and of course, the sentiments he expresses are likely literary exagerations to communicate his ideas). This interview adds to the stack of evidence we have of Evangelion being a focal point for this sort of discourse, expanding the parameters of the “otaku as sociological phenomenon” discussion to the wider public.
Something I do find quite revealing is how much Tomonari in 1997 is repeating what western anime fans would themselves embrace in the 2000’s - Shinji as pathetic, as someone who should “grow up and be a real man”. It is a pretty alien perspective today! Hating a protagonist for being anxious and having struggles, that is half of all protagonists, who doesn’t have those traits? The machismo of the male media culture of the 2000’s is pretty dead and buried, or at least morphed, protagonists with anxiety and trauma are relatable and revered. In our modern era we perhaps forget how new it is for traits like these to be so standard, for characters to be so ‘relatable’ in this way. This interview really sells you on how controversial a character Shinji-as-protagonist was in 1995 (and in Japan), something that is much harder to glimpse now.
Other interesting notes:
At one point during the discussion of modern youth’s latent violence, Tomonari comments “Across the world, there are probably very few cases of children committing such murders [and yet we see them in Japan]. Perhaps this will become a unique phenomenon in Japan”. Alas for all of us, this prediction did not age well.
He compares Evangelion to horror manga author Hideshi Hino’s “splatter horror” works and stylistic designs, which is right on the money as his manga “Dokumushi Kozou/Bug Boy” is actually cited in the production documents for Evangelion, such as this End of Evangelion storyboard:
He does take time to eviscerate Shinji for being a self-insert surrounded by beautiful women who all dote on him in one way or another and it is extremely funny, that trait is both one of Eva’s best parts and also totally true.
Now for the text:
Fear and the World and People and Me: What was the Phenomenon of "Evangelion"?
Author: Junichi Tomonari
Illustration: Haramon
Everyone discussed Evangelion during its run; that situation hasn't changed even now that Eva has come to an end. Eva continues to spread in popularity not only with boys, but also girls and just individuals.
"Evangelion" - Looking at Shinji makes me want to torture him!
The "Evangelion" series is immensely popular, but recently I have not been as interested in commercial TV animation as I used to be, and have little interest left in it. I happened to catch a glimpse of some episodes in the middle, but it turns out to be a series that encompasses complex human relationships and themes.
Given that complexity, I could not tell what Evangelion was doing just from that glimpse of its middle episodes. If this had been 10 or 20 years ago, I might have been able to understand the story from those bits and pieces. However, now that I am over 40 years old, I seem to have lost that kind of sensitivity.
To be frank, I am already fed up with robot animations. Starting with Nagai's "Mazinga Z," "The Super Dimension Fortress Macross," "Mobile Soldier Gundam," "Galactic Drifter Vifam," "Sengoku Majin Goshogun," "Space Runaway Ideon" and the more recent "Patlabor”, I wonder how many robot anime series have been produced at this point... Based on some of the episodes I happened to see, as well as on what I heard from those around me, I would say, "Evangelion is just like putting Gundam and Ideon together and dividing it by two..." The more it became popular, the more I thought to myself, "Young anime fans may like, but I don't need to see it now. I am not even sure why young anime fans would be interested in watching such a thing after all these years.”
Because of all of this, I did not go see the first movie (TN: Neon Genesis Evangelion: Death & Rebirth). I heard that the theatres were "very crowded" and I didn't want to be elbow to elbow with a bunch of dirty (excuse me) geeks to see a movie. Then I saw the second movie, "The Final Cut," (TN: End of Evangelion) for the first time in a movie theater. I was convinced I was right to have little interest in this series when I saw it on the screen. Apparently, I don't like Shinji Ikari. What's with that simpering, whining attitude! No matter what the people around him say, all he says is, "I don't like it," "I can't do it," and "I'm no good”. He cries easily, and when he is not apologizing for crying, he cowering in silence. Misato doesn't even have a boyfriend, so I want to yell at him, "You're a boy, so grab ahold of her!" If I were a junior or senior high school student and there was such a jerk in my class, I would definitely torment him to death.
Popular works and series breathe the air of the times, as much as they are considered popular and vulgar - as was once the case with the splatter horror genre (TN: the genre the author wrote in). As I write this now, I would like to add that the reason I am irritated by "Evangelion" has nothing to do with its real value, but with the fact that I can no longer keep up with the times.
How many years has it been since school bullying became a social problem? Initially, it was elementary school bullying, but it has spread to junior high schools, and recently, even high school students have committed suicide due to bullying. Looking at Shinji in this film, it seems to me that he reflects such a modern trend. Shinji's indecisive attitude of "I don't want to," "I can't do it," and "I'm no good," not only shows why bullied children are bullied, but also seems to be more or less the same in the psychology of all junior high and high school students (and perhaps even university students) today. They are afraid that their egos will be destroyed by contact with others, and they plug their ears with Walkman earphones all year round. If you give them a computer and some videos, they will never come out of their room.
Even if we keep saying, "I hate it, I hate it," we cannot live on our own. Somewhere along the way, we will eventually have to come into contact with others. And they will not be able to avoid looking at themselves objectively in relation to others. When this happens, they suddenly display a violent temperament. Just like Shinji, who was forced by his surroundings to confront the Angels. The energy that has been trapped inside themselves until then is so pent up, and because they don't know how to express it properly, it becomes a destructive force. I can't help but be reminded of the recent incident involving the fresh beheading of a junior high school student (TN: Probably the Kobe Child Murders). Such theatrical and indiscriminate murders have been common in the West for a hundred years, but they are rare in Japan. In the West, however, the crimes were committed by mentally defective adults who had grown up without losing their infantile nature, whereas the latest incident in Japan was committed by a junior high school student. Across the world, there are probably very few cases of children committing such murders. Perhaps this phenomenon will become unique to Japan, or at least within Asia.
All junior high school and high school students these days have an element of Shinji Ikari in them. If you look inside, you'll find a swirl of "I don't like it," "I can't do it," and "I can't have a girlfriend." While they are usually docile and quiet, once the fire is ignited, they suddenly turn to destructive behavior. What makes "Evangelion" interesting to junior high school and high school students (and maybe even college students) is that Shinji shares the same psychology as they do, but at the same time, his life is a kind of ideal. Its true, isn’t it? He has a beautiful ‘older sister’ type to take care of him, a cute ‘younger sister’ type to cheer him up, and he can say "I hate it," "I can't do it," and "I'm no good at it” and be spoiled with attention for it. Even Asuka may often make fun of him and scold him, but he is secretly happy to know she cares. And Shinji isn’t just a ‘slacker’; he is a man who, in the heat of the moment, will use his impulses to defeat his enemies with ferocious power. He is, after all, the chosen pilot of the Evangelion. He enjoys the privilege of being both weak and strong, a dream come true. I laughed as I watched the final version of the film, my eyes rolling back in my head every time the characters' emotions flared up. It reminded me of Hideshi Hino's ‘splatter horror’ comics. All of Hideshi Hino's comics were the brutal hell dreams of autistic children, with eyes of a particular manga-esque style. Come to think of it, isn't Shinji Ikari, with his big head and small stature, certainly similar to Hinohide Hino's character? And don't all the main characters of "Evangelion" share, to a greater or lesser extent, Hideshi Hino's autistic hell dreams?
I can't help but admit that while Shinji is irritating, the story is exciting because he is irritating. The climax of the first half of the series, Operation Yashima, was the height of this excitement. The electricity from all over Japan was concentrated in one place and poured out against the Angel. Since it took time to accumulate all that power, there was only one chance for success. Whether they will defeat the Angel within one moment or be defeated... the plot does not show flashy battle scenes like "Gundam", but by showing in detail the plan & process until the battle begins, the suspense is heightened. This series is perhaps the best among all robot anime in that it builds suspense not through flashy fight scenes and shots of destruction, but through methodical plotting and psychological portrayal of the characters; in other words, through the accumulation of detail. I mentioned earlier that this series is like "Gundam" and "Ideon" added together and divided by two, but you could add "Patlabor" to the list due to that accumulation of detail. Looking at it again, the first episode is already packed with elements that hint at what is to come, and it's a tantalizing experience.
The first half of the series introduces a huge number of characters and depicts the suspense of fighting the Angels, but the direction changes in the second half. The Angels, who until then had come to attack the outer bodies of the pilots, now invade their innner worlds. They begin to consume the Eva units and all of the characters. From this point on, the show is a splatter psycho-horror on a grand scale. The Angels look like insects, dinosaurs, robots, and many other things. The Eva units, on the other hand, are as skinny as a wire, dragging a cord behind their backs and stumbling around. They are more bio-mechas than the robots of typical anime; or rather, they are a new evolution of mecha and bio-mechs in their own right, transcending both. While their bodies are bubbling over and bursting apart, the characters lose sight of the boundary between Angel and Eva. It's crazy!
It's been a long time since I've watched scenes like the battle with the Angel Zeruel, and my face became a mess watching it. During the fight, the Eva loses her power. Is defeat at hand? But, as the Japanese tradition goes, the impossible becomes possible if one puts one's mind to it. Shinji's desperate wish to "move, move!” wills the Eva to suddenly revive like a beast. Her left arm regenerates and she abandons her human-like bipedal gait to crawl on all fours like an infant or monster. Then, with a wailing howl, she devours the meat of the Angel, splattering blood, flesh, and armor plates across the scene. One of the beautiful female members of the team, who was watching them, even vomits in horror.
In the first half of this series, the good guys and bad guys are clearly defined, like a Hollywood movie, but in the second half, it gradually sheds its structure. Like the TV drama “Twin Peaks” that caused a stir a long time ago, it suddenly becomes interesting after it lets loose. So, the latest “End of Evangelion” is almost like the ending of "2001: A Space Odyssey" or "Apocalypse Now". No, rather than that, it may be closer to the ending of "Twin Peaks", which would have been better off without it. In other words, I don't understand the film. Again, I dislike Shinji's indecision and spoiled nature. I don't want to see the inner microcosm of that spoiled child. My honest impression is that I've seen something I don't like. A derailed series is interesting because the story spreads so much that there is no way to put an end to it. But to be honest, I wasn't very interested in this series until I wrote this manuscript... The more the world made a fuss about it, the more I felt that the series was a bit too hollow. But as I wrote the manuscript and thought about what kind of work it was, I became addicted to it...it may be too late, but I'm thinking of taking a closer look at it again.
The pleasure of seeing yourself through Eva
In conclusion, “Eva is a mirror that reflects the human heart.'' Or, “To talk about Eva is to talk about oneself”. Of course, "Eva" in this sentence is interchangeable with "Space Battleship Yamato," "Gundam" ( Z, G, or W!), "Macintosh," (TN: not sure on this one) or "Kyogoku Natsuhiko," (TN: prominent 90’s mystery author) but "Eva" is much more versatile than those other proper nouns. One does not have to be an anime otaku to use "Eva" to describe one's life. On the contrary, I am a person who has not seen a single TV anime in the past ten years. In fact, even those like me continue to talk about Eva (and themselves) with such passion that it is almost as if they have become a fanatic. The word "weird" is probably the best way to describe this situation of Eva's conclusion. In fact, I was so fed up with the flood of words about "The Era of TV anime is over”, as was commonly said at the time, that for a while (from May '96 to March '97) I was even turned off by Eva. The Death & Rebirth film helped me recover; and now I want to see Eva again. Is that what it means to be unburdened?
Japanese Text:
ボクと恐れと世界と他人と Fear and the World and People and Me 「エヴァンゲリオン」とは何だったの 作家
友成純一
イラスト/原門
What was the Phenomenon called [Evangelion]?
ムの中、だれもがエヴァについて話した。 その状況は、エヴァが終わりを迎えた今も変わらない。 ユヴァは「ボク」だけでなく 「ウクシ」 「オレ」の中で拡がり続けるエヴァンゲリオン」
シンジを見ていると苛めたくなる!
巷で絶大な人気を誇る「エヴァンゲリオン」シリ ーズだが、最近の私はかつてほどテレビの商業ア ニメに興味がなくなっており、ほとんど関心がな かった。シリーズ途中の何かをたまたま目にし たことはあるが、複雑な人間関係とテーマを内包
したシリーズの常として、途中のエピソードだけ を見ても何をやっているか判らない。 いや、これ が十年前、二十年前であれば、断片からでもビピンと理解してしまう部分があるのかもしれないが、四十を過ぎた今、もはやそうした感性を失
ってしまっているらしい。 それにはっきり言って、私はもうロボット・ア ニメには辟易しているのだ。永井の「マジンガ Z」に始まり、「超時空要塞マクロス」「機動戦 士ガンダム」「銀河漂流バイファム」「戦国魔神ゴ ショーグン」「伝説巨神イデオン」そして割りに 最近の「警察パトレイバー」まで、いったいどれだけのロボット・アニメ・シリーズが作られてき たことだろう。 たまたま見たエピソードの幾つか と、周囲から聞いた話を総合して私は、「なんだ 〈ガンダム>とイデオン〉を足して二で割ったよう 話か... 若いアニメ・ファンならともかく、私 が今さらそんなもんを見ても」と、世間で評判に なればなるほどけった。
そんな風なので、劇場版の第一作は見に行か なかった。 「とにかく混んでいる」と聞き、小汚い (失礼) オタクどもと肘付き合わせて映画を見るな んて真っ平御免と、敬遠したのだ。 そして劇場版 第二作「完結編」を、初めて映画館で見た。 なぜ このシリーズにあまり興味を持てずにいたのか、 スクリーンで対峙して納得できた。 私はどうやら、 あの碇シンジが嫌いらしい。なんだ、あの煮え切 らないウジウジした態度は! 周りが何を言って も、「嫌だよ」と「出来ないよ」と「ぼくはダメなん だ」しか言わない。 すぐに泣くし、泣いてもすまな いとなるとうずくまって口を利かなくなる。 ミサ トではないが、「あんた、男の子でしょう、しっか りしなさいよ!」と怒鳴り付けたくなる。 私が中 学生か高校生で、同じクラスにこんなボンクラが いたら、間違いなく苛め殺している。
人気のある作品やシリーズは、 それが大衆的で 低俗とみなされるものであればあるほど、時代の 空気を呼吸している。 かつてのスプラッタ・ホラ がそうだったように。 今、悪し様に書いている が、「エヴァンゲリオン」を見て苛々するのは、私 がもはや時代について行けなくなったからなので、 「エヴァンゲリオン」の真価とは何の関係もないことを申し添えておく。
学校での苛めが社会問題化して、いったい何 年になるのだろうか。 最初は小学校での苛めだっ たが、それが中学に波及し、最近では高校生まで 苛めを苦に自殺している。 本作のシンジを見てい ると、そんな現代の風潮を映し出しているように 思う。シンジの煮え切らない、「嫌だよ」「出来な いよ」「ぼくはダメなんだ」の態度は、苛められっ 子がなぜ苛められるかをよく示していると同時 に、多かれ少なかれ、現代のどの中学生・高校生 (ひょっとすると大学生)の心理にも共通するので はないか。他者に触れて自我が破壊されるのを恐 れ、年柄年中ウォークマンのイヤフォンで耳を塞 いでいる。パソコンとビデオさえ与えておけば、 もはや自分の部屋から外には出て来なくなるタイプである。
「嫌だ、嫌だ」と言い続けたところで、人間は一 人で生きてゆけるものではない。 どこかで結局は、人に接さざるをえなくなる。そして、他者との関係における自分を客観的に見ないわけにはゆか なくなる。 そうなった時、 彼らは、唐突に凶暴性 を発揮する。周囲に強いられ、ついに使徒と対決 しないわけにはゆかなくなったシンジと同じに。 それまで殻に閉じこもってきた分だけエネルギー は鬱屈しており、かつきちんとした発現の仕方が 判らないため、 破壊的な力となってしまうのだ。 ここで私は、先日の、中学生による生首事件を 思い出さないわけにはゆかない。こうした劇場犯 的な無差別殺人は、欧米では百年前から頻発し ているが、日本では希な犯罪だった。 ただし欧米 のそれは、幼児性を残したまま大人になった、い わば精神的に欠陥のある大人の犯罪だったが、 日本で今度起きた事件は中学生のそれである。 世界的に見て、子供がこうした殺人を犯した例 は少ないのではないだろうか。 子供が凶暴な殺人 を犯すというのは、ひょっとすると日本、ないし アジアに特徴的な現象となるかも知れない。
今時の中学生高校生にはみな、碇シンジ的な要素があり、日頃は従順で大人しい反面、いっ たん火が点くと唐突に破壊的な行動に走る。 そ の内面を探ってみると、「嫌だ」「出来ない」「ぼく ってダメなんだ」が渦を巻いている。 中学生高校 生(ひょっとすると大学生も)にとって「エヴァン ゲリオン」が面白いのは、シンジが自分たちと同 心理を共有していると同時に、シンジの生活が 一種の理想だからだ。 だってそうではないか。 美 しいお姉さんたちに養ってもらい、可愛い妹達に 励まされ、「嫌だ」「出来ない」「ぼくってダメなん だ」と甘えていられる。 お姉さんたちにはしょっ ちゅうバカにされたり叱られたりするが、そうや って構ってもらうのがまた嬉しい。では、ただた だだらしないだけなのかと言うと、ここ一番では 衝動を激発させ、 猪突猛進で敵を倒す。 何しろ 彼こそが、 エヴァンゲリオンの最も相応しい操り 手なのだから。弱さと強さと、両方の特権を享 受できるのだから、 まさに夢のような話だ。 今回 の完結編を見ながら、登場人物たちが感情を激 発させる度に、目がまん丸になるので笑った。 日 野日出志のスプラッタ・コミックスを思い出した からである。 日野日出志の描くマンガはいずれ も、自閉症的な子供たちの残虐な地獄夢だったか、その子供たちがみんなああいう目をしていた。 そういえば碇シンジって、頭でっかちだし小柄だ し、日野日出志のキャラクターに確かに似ていな いか? そして「エヴァンゲリオン」の主人公たち はみな、多かれ少なかれ、日野日出志的な自閉症の地獄夢を共有しているのではないか。
とか何とか言いながら、シンジには苛々しつ つ、苛々するから話も盛り上がるのだと、私も認 めないわけにはゆかない。 シリーズ前半のクライ マックスであるヤシマ作戦のくだりなど、大いに 興奮した。 日本中の電気を一箇所に集めて、使 徒に浴びせかける。 この電力の集中に時間が掛 かるため、チャンスは一回しかない。一気に使徒 を倒すか、倒されるか…… 「ガンダム」のような合 戦シーンの派手さでなく、戦いが始まるまでのプ ロセスを克明に見せることによって、 サスペンス を盛り上げてゆく。 格闘シーンや破壊シーンの派 手さでなく、 プロットと登場人物の心理描写の 細やかさ、つまりディテールの積み重ねでサスペ ンスを盛り上げてゆくという点では、数あるロボ ット・アニメの中でも本作がピカイチかも知れな い。 先に本シリーズを「ガンダム」と「イデオン」を 足して二で割ったと記したが、ディテールの積み 重ねという点でもう一つ、「パトレイバー」を加え てもいいかもしれない。 今改めて見直してみる、 最初のエピソードにすでに、物語のその後の展開 を示唆する要素がたっぷりと詰め込まれており、 舌を巻く。
シリーズの前半では、 膨大な数の登場人物を 紹介しつつ、使徒との戦いのサスペンスを描いて ゆくが、後半で展開が変わる。 それまで外部から やって来ていた使徒が、内部に侵入してくる。 使 徒は、 エヴァと登場人物を諸共に蝕んでゆくので ある。 ここからはもう、スケールの大きいスプラ ッタなサイコホラーだ。 使徒の姿は、 昆虫めい ていたり恐竜めいていたりロボットめいていたり、 色々だ。対するエヴァは針金のように痩せこけ、 背中からコードを引きずり、ヨロヨロとよろ這い 歩く。 ロボット・アニメというより生体メカ、 い やそれ自体が進化するメカも生体も諸共に超越 した連中だ。こいつらが、身体の一部をブリブリ モリモリと泡立たせつつ、使徒とエヴァの境界を見失ってゆく。 もう、無茶苦茶!
ゼルエルとかいう使徒との戦いのシーンなど、 見ていて久々に顔がハガハガになった。 戦いの最 中に、エヴァは電気を失ってしまう。 もう、ダメ か? しかし大和魂ではないが、気合いさえ込め れば不可能も可能になるのが日本の伝統だ。シ ンジの「動いて、動いて!」のがむしゃらな願いが 通じて、エヴァは不意に獣のように復活する。 モ リモリと左腕が再生し、人間的な二足歩行を棄 てて、幼児か獣のように四つん這いになる。 そし て、まるで号泣するような雄叫びを上げつつ、血 と肉片と装甲板をまき散らしつつ、生肉をむさぼ り食う。それを見ていた美しき女性隊員の一人 など、おぞましさにゲロを吐いたりする。
このシリーズは、前半は善玉と悪玉のはっきり した、ハリウッド映画的に明解な作品だが、後半 でこんな具合にどんどんタガが外れてゆく。一昔 前に世間を騒がせたテレビドラマ「ツイン・ピー クス」もそうだが、タガが外れてから俄然面白く なる。 で、最新の「完結編」だが、ほとんど「20 01年宇宙の旅」か「地獄の黙示録」のエンディン グである。いやそれより、「ツイン・ピークス」のな かった方がいいエンディングに近いかもしれない。 つまり、訳が判らないのである。繰り返すが、 私 はシンジの優柔不断で甘えた根性が嫌いなのだ。 あの甘えん坊の内面の小宇宙など、見たくもな い。 嫌なものを見てしまったというのが、正直な 感想だ。 脱線したシリーズというのは、結末を 付けようがないほど話が広がっているから面白い ので、それを締めくくろうとすると、こういう苦 しいことになる。しかし、正直言って・・・・・・こうし 原稿を書くまでは、 このシリーズに私は大して 興味を持っていなかった。 世間が騒げば騒ぐほ ど、逆に白々しいものを感じていた。それが原稿 を書きながら、改めてどんな作品だったか考えてゆくと・・・・・・急に興味が沸いてきた。 今からハマってももう遅いかもしれないが、 また改めて、じっくり見直してみようかと思っている。
エヴァを通して自分を見る楽しみ
結論から言ってしまえば、「エヴァは人の心を 映す鏡である もしくは、 「エヴァについて語 ることは、自分自身について語ることにほかなら ない。いやもちろん、この文章の中の「エヴァ」は、 「ヤマト」や「ガンダム」(ZやGやWがついても可)、「マッキントッシュ」や「京極夏彦」とさえ交換可能 なのだが、 「エヴァ」の場合、他の固有名詞群とく らべて格段に汎用性が高い。 エヴァに託して人生 を語るために、べつだんアニメおたくである必要 はない。 それどころか、 この十年、 TVアニメなんか一本も見たことがなかった人たちでさえ、 かれたような情熱をもってエヴァを(つまり自分 を語りつづける。こうしたエヴァ言脱状況は、 おそらく「気持ち悪い」という言葉で形容されるも のだろうし、じっさい「終わっちゃったTVアニメ」に関する言葉の洪水にうんざりして、おれ的 には一時(96年5月から9年3月まで) エヴァか 気持ちが引いちゃってたくらいだけど、春エヴ で吹っ切れました。「もう一度逢いたい。 その 「から」ってやつですか。