EVANGELION

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Last updated November 4, 2026

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History

The concept that became Evangelion emerged within Gainax during the early 1990s. Hideaki Anno developed an original project after completing earlier work in animation and sought to make a series that could combine the energy of giant-robot entertainment with a more introspective examination of contemporary anxiety. Early planning involved broad ideas about catastrophe, young pilots, mysterious enemies, and a symbolic cosmology. Yoshiyuki Sadamoto contributed influential character designs, while other members of the Gainax and wider animation community developed the machines, organizations, settings, and visual systems that defined the property. The production deliberately avoided being structured solely around toy sponsorship. This gave the creative team greater latitude over the tone and construction of the story, although the project still used a commercial production and licensing framework involving broadcasters, music companies, publishers, and other partners. The television series aired on TV Tokyo from October 1995 to March 1996. It initially appeared to be a conventional mecha series but progressively shifted toward interior monologue, fragmented storytelling, abstract imagery, and psychological inquiry. Its final episodes were particularly unconventional and provoked strong audience reactions, creating demand for additional theatrical interpretations. The theatrical project first produced Death & Rebirth, followed by The End of Evangelion in 1997. The latter offered a more externally focused and visually elaborate account of the conclusion while retaining the franchise's interest in subjectivity and human connection. Evangelion's commercial ecosystem expanded rapidly through manga, soundtracks, home video, books, games, model kits, figures, and character goods. The property became a landmark example of Japanese media mixing, in which narrative works and merchandise reinforced one another without reducing the franchise to a single product category. A major institutional change occurred in the 2000s. Anno founded Studio Khara in 2006 after separating from Gainax, and key staff followed him. Khara then produced the Rebuild of Evangelion project, which revisited the original premise through a new theatrical continuity rather than simply remastering the television story. The four Rebuild films were released between 2007 and 2021. Their production emphasized greater control by the creator and studio, and the project was organized outside the conventional committee model associated with the original television production. The final film, Evangelion: 3.0+1.0 Thrice Upon a Time, arrived after two pandemic-related postponements and became a significant commercial and cultural event. During the same period, Evangelion developed into a durable licensing and collaboration brand. Official shops, including EVANGELION STORE, sell figures, apparel, stationery, home goods, and other products. The franchise has appeared in campaigns with convenience stores, food companies, mobile services, game publishers, apparel retailers, Universal Studios Japan, and other partners. Such activity uses recognizable elements including the Evangelion units, NERV insignia, character imagery, the Tree of Life motif, and the franchise's distinctive heavy Japanese typography. Collaborations have also introduced the property to consumers who may not regularly watch anime. The relationship between Gainax and Evangelion changed further as the franchise's rights and commercial administration became associated with Khara. Gainax experienced serious financial and governance problems, including tax-related controversies in the late 1990s and later management failures. In 2024, Gainax's bankruptcy filing was accepted. The event marked the end of the studio's independent corporate history, but it did not end Evangelion, whose contemporary production and rights structure is centered on Studio Khara. The franchise remains active through licensed products, official retail, anniversary projects, screenings, home-video collections, exhibitions, and collaborations.

2024
Gainax bankruptcy accepted
[4]Studio Gainax bankruptcy reportitmedia.co.jp
Gainax entered bankruptcy proceedings after long-running financial and management difficulties; Evangelion rights had already moved to Khara.
2021
Thrice Upon a Time released
[2]Neon Genesis Evangelion official websiteevangelion.jp
The fourth Rebuild film was released after pandemic-related delays and concluded the Rebuild sequence.
2007
Rebuild film project begins
[11]Rebuild film project beginsen.wikipedia.org
Evangelion: 1.0 You Are (Not) Alone launched a new theatrical interpretation of the franchise.
2006
Studio Khara founded
[10]Studio Khara foundeden.wikipedia.org
Hideaki Anno established Studio Khara, creating the corporate base for later Evangelion production.
1997
The End of Evangelion released
[9]The End of Evangelion releaseden.wikipedia.org
The theatrical film provided a major cinematic conclusion to the original continuity.
1996
Original television run concludes
[8]Television series premieresen.wikipedia.org
The 26-episode television broadcast ended in March after an unconventional final arc that generated substantial discussion.
1995
Television series premieres
[8]Television series premieresen.wikipedia.org
Neon Genesis Evangelion began broadcasting in Japan in October, establishing the core characters, setting, and mythology.
1994
Project publicly developed
[7]Project publicly developedja.wikipedia.org
Gainax completed early external planning for the original animation project and began publicizing the forthcoming work.

Products and positioning

A premium, creator-led Japanese animation franchise positioned at the intersection of auteur storytelling, science-fiction spectacle, psychological drama, collector culture, and cross-industry licensing.

Television anime · 1995
Neon Genesis Evangelion
The original 26-episode television series follows Shinji Ikari and other adolescent pilots recruited by NERV to operate Evangelions against the Angels. Its combination of robot action, religious symbolism, experimental direction, and psychological characterization established the franchise's creative identity and made it a foundational work of modern anime.
Theatrical animated film · 1997
The End of Evangelion
Released in 1997, The End of Evangelion presents a large-scale, cinematic conclusion to the original story. It combines military conflict and apocalyptic imagery with an intensely subjective treatment of the Human Instrumentality Project and the characters' struggle to preserve individual identity.
Theatrical animated film series · 2007
Rebuild of Evangelion
The four-film Rebuild series reworks the original premise with revised designs, new characters, changed plot developments, and a distinct conclusion. The films were produced through Studio Khara and broadened Evangelion's theatrical, merchandising, and international presence.
Official retail and e-commerce
EVANGELION STORE
The official Evangelion Store offers licensed figures, apparel, accessories, stationery, household goods, books, and other collectibles. It functions as a direct-to-consumer channel and as a hub for anniversary merchandise and collaboration products.
Collectibles · 1995
Evangelion figures and model kits
EVA units, characters, weapons, and vehicles have been adapted into plastic models, articulated figures, statues, trading products, and premium collectibles. These products are among the franchise's most durable commercial categories and support both specialist collectors and mass-market collaborations.

Controversies

2024
Gainax bankruptcy and management failure
Gainax entered bankruptcy proceedings after years of debt, disputed management practices, loss of production capacity, and corporate instability. Studio Khara had already become the principal Evangelion rights holder, limiting the direct effect on current franchise ownership.
Source
1999
Gainax tax concealment case
Gainax and executives were reported to have concealed income and failed to pay corporate taxes, leading to prosecution and executive consequences. The matter concerned the studio associated with the original franchise rather than a separate allegation against Evangelion as a creative property.
Source

2024McDonald's Japan Evangelion burger campaign
Japan
McDonald's Japan promoted Evangelion-themed burgers and social-media participation, including an X reply contest associated with the product launch.
Outcome. The campaign combined limited food products, character branding, and social engagement to renew attention around the franchise.
Source
2021Evangelion Cup Noodles television campaign in Hong Kong
Hong Kong
Nissin Foods used Evangelion: New Theatrical Edition imagery in a relaunch campaign for Cup Noodles. Advertising ran across terrestrial television, YouTube, and the Hong Kong subway system.
Outcome. The collaboration used the popularity of Evangelion and the strength of Cup Noodles to create broader-than-expected attention in Hong Kong.
Source
2021TikTok and pixiv promotion for Thrice Upon a Time
Japan · Global digital markets
Marketing for the final Rebuild film encouraged user participation through TikTok activity, Evangelion-style fonts and effects, and fan creation associated with pixiv.
Outcome. The program helped reach younger and potentially unfamiliar audiences while sustaining online discussion around the film's release.
Source
2015Universal Studios Japan x Evangelion
Japan
Universal Studios Japan presented an Evangelion attraction as part of Universal Cool Japan, using large-scale visual and immersive technologies to translate the animated setting into a theme-park experience.
Outcome. The event positioned Evangelion as a live entertainment and destination brand rather than only a screen property.
Source
2014Seven-Eleven x Evangelion Operation
Japan
Seven-Eleven ran a retail promotion featuring Evangelion food products, character goods, bottle-head figures, and collectible merchandise. The campaign demonstrated how the franchise could turn convenience-store traffic into a themed fan experience.
Outcome. The promotion expanded Evangelion's visibility in everyday retail and generated a broad range of limited goods.
Source
2014Puzzle & Dragons x Evangelion
Japan
The mobile game Puzzle & Dragons held a limited collaboration tied to an Evangelion television and film promotional period, adding Evangelion-related content to the game.
Outcome. The campaign connected the franchise with a large mobile-game audience and supported renewed broadcast-era attention.
Source

Brand decisions

2021
Use participatory digital marketing for the final filmStrategy
Background
The release of Thrice Upon a Time faced pandemic-related postponements and required sustained audience engagement beyond conventional film advertising.
Action taken
The campaign used TikTok, pixiv, fan-oriented creative tools, and social participation to invite audiences to play with recognizable Evangelion motifs.
Aftermath
The approach broadened engagement among younger users and helped maintain attention during the film's delayed release cycle.
Source
2007
Reinterpret the franchise through a new film continuityGeneration change
Background
Rather than producing a simple remake or continuation, Khara chose to revisit the original premise for theatrical audiences.
Action taken
The Rebuild of Evangelion project introduced revised designs, new story developments, and a different narrative progression across four films.
Aftermath
The project extended the brand's theatrical life and created new opportunities for international distribution, licensing, and collaborations.
Source
2006
Create Studio Khara as a new production baseStrategy
Background
Hideaki Anno sought greater control over production, management, and the distribution of value created by his work after becoming dissatisfied with Gainax's operating structure.
Action taken
Anno founded Studio Khara and later moved key creative personnel and Evangelion production activity into the new company.
Aftermath
Khara became the central production and rights-management organization for later Evangelion projects, including Rebuild of Evangelion.
Source

Recent events

Unconfirmed
Reported2026.10.30
Razer launches EVA-01-themed gaming gear collection[15]Razer 推出 EVA-01 主题游戏装备系列kitguru.net
Razer introduced a collection of EVA-01-themed gaming peripherals and accessories, including a mouse, keyboard, soundbar, mouse mat and gaming chair. The collection is currently limited to the Asia Pacific market.
Unconfirmed
Reported2026.10.30
Razer and Evangelion gaming gear collaboration[15]Razer 推出 EVA-01 主题游戏装备系列kitguru.net
Razer partnered with Evangelion on a limited-edition collection of gaming peripherals and accessories inspired by EVA-01, currently limited to the Asia Pacific market.
2026.10.28
Reported2026.10.28
Evangelion and Hard Rock Cafe announce Japan merchandise collaboration[16]《新世纪福音战士》与 Hard Rock Cafe 宣布在日本推出联名商品dualshockers.com
Neon Genesis Evangelion and Hard Rock Cafe announced a Japan-exclusive merchandise collaboration, with themed shirts, hats, and souvenir jackets planned for sale at specified Hard Rock Cafe locations beginning November 3.
2021.10.21
JINS launches Evangelion collaboration eyewear collection in the U.S.[17]JINS 在美国推出 Evangelion 联名眼镜系列animenewsnetwork.com
JINS launched a special eyewear collection in collaboration with the Evangelion anime series. The collection consists of two optical glasses and one pair of sunglasses and was available at JINS U.S. retail stores and online.
2021.01.07
Honkai Impact 3rd announces collaboration with Neon Genesis Evangelion[18]《崩坏3》宣布与《新世纪福音战士》合作animenewsnetwork.com
miHoYo announced a collaboration between the game Honkai Impact 3rd and the Neon Genesis Evangelion franchise.
2020.10.03
GKIDS acquires North American rights to Neon Genesis Evangelion[19]GKIDS获得《新世纪福音战士》北美发行权animenewsnetwork.com
GKIDS announced that it had acquired North American theatrical, home-video and EST rights to Neon Genesis Evangelion and related films. The release states that the deal was finalized on October 3, 2020.

Sources19 sources

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