Hideaki Anno

1.1. Childhood

From a young age, Hideaki Anno displayed a profound interest in artwork and film production. His birthplace, Ube, a city thriving with cement industries and factories, significantly influenced his aesthetic preferences. The industrial landscapes and artificial structures of his hometown are believed to have deeply impacted his appreciation for mechanical objects and manufactured environments, an affinity evident in his later works. Anno's father, who had lost the lower part of his left leg in an accident and used a prosthetic, also played a role in shaping his perspective. Anno has stated that his father's condition influenced his appreciation for imperfection, leading him to feel that something broken or missing was normal. During his middle school years, he was an avid reader of manga, particularly girls' manga. In high school, at Yamaguchi Prefectural Ube High School, Anno served as the head of the art club, showcasing his exceptional drawing skills. He also participated in an amateur film production group called "Group SHADO," which screened his independent film, Nakamuraider, at cultural festivals.

1.2. University and Early Independent Work

Anno's academic journey continued with a focus on his passion for visual arts. Despite poor academic performance in high school, he gained admission to Osaka University of Arts' Department of Image Planning, which only required a practical entrance exam at the time. He prepared for the exam by studying Hayao Miyazaki's storyboards. At university, he joined the SF Research Society and formed a working group with fellow students such as Hiroyuki Yamaga, Takami Akai, and manga artists Kazuhiko Shimamoto and Masamune Shirow. Yamaga later noted Anno's overwhelming talent for depicting mechanical objects.

Anno became a key member of the independent film group "DAICON FILM," focusing on self-financed animation and tokusatsu (special effects) projects. Their opening animations for the DAICON III and IV SF conventions garnered significant praise from professionals. During this period, Anno also began working as a part-time animator for a few episodes of The Super Dimension Fortress Macross, where his explosion scenes were particularly well-received, leading to more job offers. His involvement in these independent projects and focus on his own creative endeavors led him to neglect his tuition, resulting in his expulsion from Osaka University of Arts during his third year. However, his decision to leave school was also motivated by a belief that continuing in a less-motivated academic environment was less meaningful than pursuing his own work, especially as his participation in Nausicaä of the Valley of the Wind was already decided. He also considered a career as a manga artist but ultimately abandoned the idea, believing he lacked the talent.

2.1. Animator Activities

After leaving university, Anno moved to Tokyo and was introduced to animator Ichiro Itano. He was deeply impressed by Itano's key animation for Mobile Suit Gundam: Encounters in Space and was immediately tasked with correcting key animations for The Super Dimension Fortress Macross, and also contributed to The Super Dimension Fortress Macross: Do You Remember Love?.

His breakthrough came when he joined the production of Hayao Miyazaki's 1984 film Nausicaä of the Valley of the Wind. Anno responded to an advertisement in the animation magazine Animage for animators, as the production studio was short-staffed. Impressed by his drawings, Miyazaki hired him to animate some of the most complex scenes, particularly the climactic appearance of the Giant Warrior. Despite his relative inexperience as a commercial animator, Miyazaki highly valued his work. Anno recalled learning much about directing from Miyazaki during this time. He considered himself fortunate to have worked with leading figures in the animation industry, including Miyazaki and Yoshiyuki Tomino of Mobile Suit Gundam. His role in Nausicaä established his reputation for depicting mechanical objects and dynamic explosion scenes. The film's pamphlet even humorously mentioned "Mr. A who suffered from stomachache after being cursed by the Giant Warrior," referring to Anno himself. Around this time, Anno began to shift his focus from pure animation to directing and production.

He continued to contribute to commercial works such as the original video animation (OVA) Megazone 23. For Gainax's first feature-length film, Royal Space Force: The Wings of Honneamise (1987), Anno was credited as a "special effects artist," a title he chose to annoy the public who disliked the terms "SFX" or "artist." In the film's climax, he single-handedly managed most of the combat and rocket launch scenes from storyboard to animation, creating complex shots with up to nine cels per frame, totaling 250 cels for a three-second cut. His pursuit of realism led him to consult extensive military materials and even undergo a self-defense force training experience. He also worked on Grave of the Fireflies (1988), where he meticulously drew a warship based on historical facts, only for it to be covered in shadow in the final film.

2.2. Founding Gainax and Early Directorial Works

In December 1984, Hideaki Anno co-founded Gainax, a pivotal moment in his career. He served as an animation director for their inaugural feature film, Royal Space Force: The Wings of Honneamise. He soon became Gainax's premier anime director, helming significant projects for the studio.

His first directorial work was the OVA series Gunbuster (1988). During the recording of a battle scene in episode 5, Anno famously demonstrated the special attack names himself, leading the lead voice actress, Noriko Hidaka, to dub him "Carrier so-so-so-so" due to his habit of saying "so, so, so, so" and his passion for aircraft carriers (though he claims to be more of a battleship enthusiast).

Following Gunbuster, Anno directed the television anime series Nadia: The Secret of Blue Water (1990-1991). This series was an original concept by Hayao Miyazaki, passed down from NHK, and Anno was given limited creative control. The character of Nadia, the protagonist, reflected Anno's personality at the time, being depicted as cold and selfish, influenced by his views on women after a breakup. He also incorporated elements from the "Time Bokan Series" for Nadia's villains and initially conceived King as an alien who would shed his costume in the final episode, a concept that was ultimately rejected by the staff. Both Gunbuster and Nadia: The Secret of Blue Water earned the prestigious Anime Grand Prix award in 1990.

However, after Nadia, Anno experienced a four-year period of clinical depression. This period of struggle and limited creative freedom significantly impacted him. In recognition of his contributions, the minor planet 9081 Hideakianno was named after him in 1994 by his old friend Akimasa Nakamura.

3.1. Production and Themes

The anime television series Neon Genesis Evangelion (1995-1996) began broadcasting in 1995 on TV Tokyo during a children's programming slot. However, the series quickly evolved beyond a typical children's show. Anno's personal experience with clinical depression became a primary influence for the psychological depth and character portrayals within the work. He documented many of his own struggles and tribulations with his condition, incorporating them into the fabric of the narrative.

As the series progressed, its plot became increasingly introspective and darker, delving into the inner minds of its characters. This was partly intentional, as Anno believed that individuals should be exposed to the realities of life at as young an age as possible. The series adopted a postmodernist direction, abandoning traditional narrative logic in its final two episodes, which unfold entirely within the protagonist's mind. Anno also became critical of the Japanese "otaku" lifestyle during this production, viewing it as a form of self-imposed autism, a perspective that further shaped the series' themes.

3.2. Fan Reaction and Controversy

Initially, Neon Genesis Evangelion did not achieve high ratings in its original timeslot. However, after being moved to a later, more adult-oriented slot, it gained considerable popularity across Japan. The concluding two episodes, which adopted a highly abstract and psychological approach, sparked intense debate and controversy among fans, particularly on early computer bulletin board systems.

Following the television series' conclusion, Anno received a flood of fan mail and emails, ranging from commendations to harsh criticisms of the final episodes. Among these were death threats and expressions of deep disappointment from fans who felt that Anno had "ruined" their series. Anno famously dismissed these online debates as "toilet graffiti," a remark made between 1996 and 1997, reflecting his disdain for the virtual realm and urging fans to "return to reality." He criticized those who became engrossed in online discussions, suggesting they were disconnected from the real world.

To address the backlash and provide a more conclusive ending, a project was launched in 1997 to re-adapt the scrapped ending of Evangelion into a feature film.

3.3. Subsequent Films

The controversy surrounding the original TV series' ending led to the production of several theatrical films to provide a new conclusion. The first was Neon Genesis Evangelion: Death & Rebirth (1997), which included 27 minutes of new animation meant for the revised ending, combined with a digest of the TV series. However, due to budgeting issues, the film remained unfinished.

Eventually, the project culminated in The End of Evangelion (1997), a three-act film that served as the definitive finale to Neon Genesis Evangelion. This film directly addressed the fan backlash by incorporating fan letters, including death threats and expressions of frustration, into its narrative, notably through on-screen text and imagery like graffiti on the Gainax headquarters building.

In September 1999, Anno appeared in the NHK TV-documentary "Welcome Back for an Extracurricular Lesson, Senpai!", where he answered questions about Evangelion, including the origin of its name, and educated children about animation production.

4.1. Foray into Live-Action Films

Anno's foray into live-action films began with Love & Pop (1998), a cinéma vérité-style film exploring enjo kosai (compensated dating, a form of teenage prostitution) in Japan. Much of the film was shot using miniature digital cameras, resulting in constantly shifting aspect ratios that contributed to its raw, documentary-like feel. For Love & Pop, Anno received the Best New Director Award at the 1998 Yokohama Film Festival, and its lead actress, Asumi Miwa, won the Best New Talent award. He also co-directed the documentary "GAMERA1999" with Masayuki, chronicling the production of Gamera 3: Revenge of Iris.

His second live-action film, Shiki-Jitsu (2000), meaning "Ritual Day" or "Ceremonial Day", tells the story of a burned-out former animation director (played by independent film director Shunji Iwai) who falls in love with a woman disconnected from reality. While still experimental like Love & Pop, this film was shot with a more traditional 2.35:1 aspect ratio and featured a more polished presentation, moving away from the gritty cinéma vérité style. Shiki-Jitsu earned him the Best Artistic Contribution Award at the Tokyo International Film Festival and received very positive reviews. A short film titled The Girl and the Railway was also featured within this film.

In 2004, Anno directed Cutie Honey, a live-action adaptation of Go Nagai's 1973 manga and anime series. This lighthearted fantasy and superhero film marked a stark contrast to his earlier, more realistic live-action works. Later that year, he supervised, but did not direct, the three-part OVA Re: Cutie Honey, which was directed by Hiroyuki Imaishi (part 1), Takamichi Itō (part 2), and Masayuki (part 3). Anno also made several acting cameos in the 2004 film Funky Forest (Nice no Mori), appearing as a student, an overworked animator, and one of the men awaiting women who never arrive at a "Singles Picnic."

Anno also experienced creative frustrations during the production of the 1998 anime series Kare Kano (Kareshi Kanojo no Jijō), the first Gainax television series directly adapted from existing material. Disputes between the show's sponsors and the original manga author led to Anno's reduced involvement, with his protégé Kazuya Tsurumaki taking over. This experience caused Anno to rarely direct television anime thereafter.

4.2. Founding Studio Khara and Rebuild of Evangelion

On August 1, 2006, Hideaki Anno's official website announced job listings for key animators and production staff for his newly founded company, Studio Khara. This move marked his departure from Gainax, which was reported in the October edition of the Japanese animation magazine Newtype and confirmed by Gainax's official website in September 2006. Anno formally resigned from Gainax in October 2007.

The first major project undertaken by Studio Khara was the Rebuild of Evangelion film series, a tetralogy that reinterprets and concludes the original Neon Genesis Evangelion story. The initial announcement stated that the first three films would be an alternate retelling of the TV series, incorporating many new scenes, settings, backgrounds, and characters, while the fourth film would offer a completely new conclusion. Kazuya Tsurumaki and Masayuki were slated to direct alongside Anno, with Yoshiyuki Sadamoto providing character designs and Ikuto Yamashita handling mechanical designs. Shinji Higuchi contributed storyboards for the first film.

The first installment, Evangelion: 1.0 You Are (Not) Alone, was released in 2007. Evangelion: 2.0 You Can (Not) Advance was released independently on June 27, 2009. Evangelion: 3.0 You Can (Not) Redo was released on November 17, 2012. The final film, Evangelion: 3.0+1.0 Thrice Upon a Time, was originally scheduled for June 27, 2020, but was rescheduled twice due to the COVID-19 pandemic before its eventual release on March 8, 2021.

On February 17, 2007, Anno issued an official statement on the Japanese Yahoo Portal for the films, detailing his personal involvement and goals for their production. He stated that Shinji's story was completed, but hinted at more ideas set in the Evangelion world. In 2011, Anno also co-produced Kantoku Shikkaku (Failed Director), a Koinobori Pictures film directed by Katsuyuki Hirano.

4.3. Shin Series and Other Projects

Anno's career continued to expand beyond Evangelion into various media, notably contributing to the "Shin Japan Heroes Universe" projects.

In 2012, Anno curated an exhibit titled Tokusatsu- Special Effects Museum-Craftsmanship of Showa and Heisei Eras Seen Through Miniatures at the Museum of Contemporary Art Tokyo. The exhibit featured actual props and suits from numerous Japanese tokusatsu films and TV shows. Anno also produced a short live-action film for the exhibit, Giant God Warrior Appears in Tokyo, which featured the Giant Warrior-God from Studio Ghibli's animated film Nausicaä of the Valley of the Wind.

Anno has also collaborated with Hayao Miyazaki and Studio Ghibli on several short films shown at the Ghibli Museum. A notable collaboration was his voice acting role as the main character, Jiro Horikoshi, in Miyazaki's 2013 feature film The Wind Rises. He also designed the opening sequence for the 2012 sci-fi anime television series Space Battleship Yamato 2199.

In 2014, Anno and Studio Khara launched Japan Animator Expo, a series of original net animations created by various directors.

A significant phase of his career began in March 2015 when it was announced that Anno would co-write and co-direct Shin Godzilla (2016) with his close friend and Gainax co-founder Shinji Higuchi. This film marked the beginning of the "Shin Japan Heroes Universe" (SJHU), a collaborative franchise that reboots and connects various iconic Japanese tokusatsu properties. Anno's involvement continued with Shin Ultraman (2022) and Shin Kamen Rider (2023), further expanding the SJHU. In May 2017, he established the NPO "Animation Tokusatsu Archive Organization" and serves as its representative, aiming to archive original animation drawings and tokusatsu miniatures.

5.1. Narrative and Visual Elements

Anno's works often feature intricate psychological portrayals that delve into the ego and ugliness of human nature. He is known for his meticulous attention to detail in mechanical designs and architectural renderings, as well as his bold visual direction. His films frequently employ eccentric camera angles, shooting from unexpected perspectives, and make extensive use of backlighting to create a distinctive atmosphere.

A recurring motif in his visual storytelling is the insertion of short, symbolic cuts of everyday artificial objects such as power poles, electrical wires, traffic signals, railway crossing gates, and emergency exit signs. He has stated that railway tracks, in particular, symbolize the feeling of "being taken somewhere" for him. Anno also incorporated power poles and electrical wires into Studio Khara's website design.

He excels in the depiction of structures, machinery, and explosion scenes. While he admits to being less skilled at drawing anime-style characters and tends to draw fewer of them, he has contributed to various illustrations and short manga, and even worked on key animation for Lynn Minmay in The Super Dimension Fortress Macross: Do You Remember Love?. Anno's works often feature cover versions of songs like "Fly Me to the Moon" and "Ano Subarashii Ai o Mou Ichido."

For his live-action projects, Anno selectively chooses cameras based on whether he wants to capture a subject or a desired image. When aiming for a pictorial aesthetic, a sense of tension, and powerful scenes, he opts for 35mm film and anamorphic lenses. For broader coverage, portability, and vivid colors in relaxed scenes, he uses digital video cameras. Since Shin Godzilla, he has also incorporated iPhones into his cinematography. Actor Hiroki Hasegawa, who starred in Shin Godzilla, noted Anno's silent intensity on set, constantly contemplating, and his dedication to visual composition through multiple takes and cameras. Yutaka Takenouchi, another cast member, described Anno's thought process as so deep that it could "break one's mind," observing Anno playing games on set as a way of self-regulation rather than mere leisure.

5.2. Influences and Homages

Anno's works are deeply influenced by and filled with homages to films, anime, and manga he encountered in his youth. He is particularly indebted to tokusatsu works like Ultraman and Godzilla, as well as anime such as Space Battleship Yamato. He has stated that Space Battleship Yamato fundamentally changed his life. Shinji Higuchi, a frequent collaborator, noted that Anno favors heroes and robots but dislikes monsters with tails.

Significant artistic influences include Go Nagai and Ken Ishikawa, along with directors such as Kiuchi Okamoto and Akio Jissoji. Anno has acknowledged that as someone who grew up primarily consuming anime and manga, original ideas often have underlying influences, which can sometimes be frustrating.

He was a member of the Science Fiction and Fantasy Writers of Japan, and an avid fan of anime and tokusatsu. He was involved in fan productions like the Gyakushū no Char Tomo no Kai doujinshi for Mobile Suit Gundam: Char's Counterattack, which included interviews with notable figures like Yuji Izubuchi and Toshio Suzuki. He also expressed strong appreciation for Mobile Suit V Gundam, contributing to its key animation at Gainax and pushing for magazine features, calling it his "last Tomino work." In 2013, he was the chief editor for a book on Yoshikazu Yasuhiko, the character designer and animation director for the original Mobile Suit Gundam, which included a conversation between Yasuhiko, Itano, and Anno.

Anno is a passionate fan of the Ultraman Series, especially Return of Ultraman. In his university days, he made 8mm films of Ultraman, and in 1983, he directed and starred as Ultraman in the independent film Return of Ultraman: Matt Arrow 1 Launch Order for DAICON FILM, which was later officially released on DVD by Gainax with Tsuburaya Productions' permission. He also designed illustrations for "Return of Ultraman T-shirts." Elements from the Ultraman series, such as giant monsters regularly appearing in Tokyo, organizations formed to counter them, and heroes with limited active time, were directly incorporated into Neon Genesis Evangelion. Atsushi Kotani, another Return of Ultraman fan, recounts Anno crying upon meeting Ken Nishida, a main cast member from the show, by chance in a bar. Film critic Tomohiro Machiyama also pointed out the strong influence of Return of Ultraman, particularly episodes 5 and 6, on Neon Genesis Evangelion and Shin Godzilla.

For the Godzilla series, Anno favors the 1984 film, appreciating its Super X from his "childhood" and the Prime Minister's decisive actions from his "adult" perspective, influences reflected in Shin Godzilla. He enjoys films that objectively depict evolving situations with minimal subjective drama, citing examples like Kiska (1965), The Longest Day of Japan (1967), Battle of Okinawa (1971), Japan Sinks (1973), Mount Hakkoda (1977), Thunderbirds Episode 1, and Space Battleship Yamato episodes 2, 7, and 22. He believes that in monster films, the monsters are the protagonists, and humans only need to be shown reacting to them, a philosophy he applied to Shin Godzilla, despite initial difficulty in gaining understanding from Toho's side. Conversely, for hero-centric works like Ultraman or Kamen Rider, he finds it more engaging to explore the inner struggles of protagonists who exist between human and superhuman.

Anno is also a member of the Toei Tokusatsu Fan Club (TTFC) and checks recent works through it, as he cannot watch them in real-time. He is a fan of the jidaigeki TV series Ōedo Sōsamō and often urged acquaintances to release the series on home video because Neon Genesis Evangelion was broadcast on the same network, TV Tokyo.

5.3. Perspective on Different Genres

Anno's directorial philosophy adapts to the genre. In monster films, where the monster is the central figure, he prefers to depict the human response and the evolving situation objectively. This approach was clearly demonstrated in Shin Godzilla, where the narrative focuses on the governmental and public reactions to the monster rather than individual human dramas. He believes that for such films, showing how humanity deals with the threat is sufficient.

However, for works featuring heroes like Ultraman or Kamen Rider, Anno believes it is more interesting to explore the inner world and struggles of the protagonist, who often exists as a hybrid between human and superhuman. This focus on internal conflict and character depth is evident in his hero-centric narratives, allowing for a more profound engagement with the characters' psychological states.

6.1. Marriage and Family

On March 26, 2002, Hideaki Anno married manga artist Moyoco Anno, whom he met through a mutual acquaintance, Yoshiyuki Sadamoto. Their wedding reception, playfully dubbed "W Anno's Wedding Celebration," was held on April 28, with Hayao Miyazaki serving as the main guest for the groom's side and Erika Sakurazawa for the bride's side. Anno himself was a great admirer of Moyoco's manga, including Happy Mania. The marriage was widely discussed as "W Anno" due to both using the surname Anno.

Their married life is famously depicted in Moyoco Anno's manga Insufficient Direction, where Anno is affectionately portrayed as "Kantoku-kun" (Director-kun) and the "founder of the otaku cult." The manga reveals significant changes in his lifestyle post-marriage: previously weighing over 40% body fat, he successfully reduced his weight to 161 lb ^{(73 kg)} with 22% body fat at 71 in ^{(180 cm)} height due to Moyoco's dietary management. Before their marriage, he was known for his extreme disregard for personal hygiene, sometimes not bathing for a year and wearing clothes until they fell apart, only to discard them. However, with Moyoco's influence, he began bathing every other day and changing clothes every four to five days. The manga even shows him trying on Armani suits.

6.2. Lifestyle and Beliefs

Anno is an agnostic and has stated that he finds Japanese spiritualism, which posits the existence of kami (spirits) in everything, to be closest to his personal beliefs. He does not affiliate with any organized religion.

He is a vegetarian, although he describes his eating habits as being "picky" rather than strict vegetarianism. He cannot eat any living creatures (meat or fish), but he is not a pure vegetarian. His picky eating stems from a strong caution towards unfamiliar foods, making it difficult for him to incorporate new items into his diet (e.g., Moyoco Anno recounted her struggles to get him to eat zucchini). Moyoco also mentioned that he would often eat only snack foods if left unchecked. During the filming of Shin Godzilla, Yutaka Takenouchi observed Anno constantly snacking between takes.

Anno was famously averse to bathing for long periods, sometimes up to a year, believing it was unnecessary and a waste of time. He claimed his scalp would stop itching after a month, and that bathwater would turn grey when he finally bathed. However, his wife helped him adopt a regular bathing routine.

He is known for his skill in impersonations, particularly that of Prime Minister Yamamoto from the 1973 film Japan Sinks (played by Tetsuro Tamba).

6.3. Relationship with Hayao Miyazaki

Hideaki Anno has a complex and significant mentor-mentee relationship with Hayao Miyazaki. Anno once criticized Miyazaki's films as "boring," but after the initial broadcast of Neon Genesis Evangelion, when rumors of Anno's declining mental health circulated, Miyazaki called him to offer encouragement. Miyazaki told him to rest as long as needed and assured him that people and money would gather around him given what he had already created, words that greatly helped Anno.

A notable anecdote involves Anno's desire to create a spin-off of Nausicaä of the Valley of the Wind centered on the character Kushana. Miyazaki initially rejected this, viewing it as merely "playing war" and destined to be a "worthless, terrible" work. While a sequel to the Nausicaä manga series was once planned within the film company, it was eventually cancelled due to Miyazaki's wishes. However, in 2013, Miyazaki stated, "I have no intention of making a sequel, but Anno keeps saying he wants to do it, so I'm starting to think it might be okay if he does." According to Toshio Suzuki, by 2016, Miyazaki had given Anno permission to work on a sequel, but Anno himself had yet to take action.

Anno also notably voiced the main character, Jiro Horikoshi, in Miyazaki's 2013 feature film The Wind Rises.

7.1. Filmography

Anno's filmography includes major contributions to feature films, short films, television animation, and original video animations (OVAs) in various capacities.

7.2. Literary Works and Supervised Books

Hideaki Anno has authored and supervised several publications, ranging from theoretical works on his own projects to art collections.

• Hideaki Anno Schizo Evangelion (1997)
• Hideaki Anno Parano Evangelion (1997)
• The End of Evangelion: My Symbol (1997)
• Scenario Love & Pop (1998)
• Magic Launcher (1998), co-authored with Shunji Iwai
• Hideaki Anno's Two-Person Play (2001)
• The Art of Shin Godzilla (2016), planned and supervised by Anno
• Fragments of Dreams: Toho Tokusatsu Film Edition (2021), co-supervised with Shinji Higuchi
• Fragments of Dreams: Tsuburaya Productions Edition (2021), co-supervised with Shinji Higuchi
• Evangelion Original Vol. 1-3 (1996), scenario collections
• Neon Genesis Evangelion Original Art Collection Vol. 1-3 (2000-2001), supervised by Anno
• Neon Genesis Evangelion Theatrical Version Original Art Collection Vol. 1-2 (2001-2002), supervised by Anno
• Neon Genesis Evangelion Art Book: DIE STERNE (2003), overall supervision
• Nadia: The Secret of Blue Water Animation Original Art Collection: Return of Nadia (2004), supervised by Anno
• Yoshikazu Yasuhiko Animation Original Art Collection "Mobile Suit Gundam" (2013), chief editor
• Neon Genesis Evangelion Original Art Collection Digest (2021), supervised by Anno
• Neon Genesis Evangelion Theatrical Version Original Art Collection Digest (2021), supervised by Anno

7.3. Other Credits

Anno's diverse contributions extend beyond directing and animating, encompassing various production and conceptual roles in different media.

• Royal Space Force: The Wings of Honnêamise (1987) - Special effects & production designer
• Strings (2004) - Japanese version director (doll movie)
• Ando-Roid (2013) - Story concept; setting cooperation
• The Dragon Dentist (2017) - Executive producer and sound director; production supervisor
• Virtual-san Looking (2019) - Creative supervisor; idea cooperation
• Ryūkishi Danzalb (Game, 1993) - Character, mechanic, monster design
• SH-06A NERV (Smartphone, 2009) - Design
• Shin Complete Thunderbirds (HD Remaster, 2021) - Supervisor
• EVANGELION:3.0(-46h) (2023) - Overall supervision, planning, original concept, mechanical design, executive producer

9.1. Overall Impact

Anno's works, particularly Neon Genesis Evangelion, are widely recognized for their groundbreaking influence. He is credited with pushing the boundaries of psychological portrayal in animation, delving into the complex inner lives of characters in a way rarely seen before. This depth of character exploration and his unconventional narrative approaches have significantly evolved the landscape of Japanese animation.

His impact extends to his status as one of only three film directors in history-alongside Hayao Miyazaki and Takashi Yamazaki-to have directed films that won both the Best Picture and Best Animation Film at the Japan Academy Film Prize. This dual recognition for his live-action and animated works underscores his versatility and immense talent across different mediums. The completion of the Rebuild of Evangelion series was specifically honored with the Seiun Award in the "Free Category" in 2022 for its cultural significance.

9.2. Criticism and Controversies

Despite his success, Anno's works and public statements have not been without criticism and controversy. The original ending of the Neon Genesis Evangelion television series in particular drew strong negative reactions from some fans, who felt it was abrupt and unsatisfying. This led to a period of intense online debate and even threats directed at Anno. His dismissive characterization of such online discussions as "toilet graffiti" further fueled controversy, reflecting his critique of otaku culture, which he sometimes described as a form of "forced autism" that disconnected individuals from reality.

These criticisms highlight the intense emotional investment fans had in his works and the tension between artistic vision and audience expectations. Anno's willingness to challenge conventional narratives and provoke thought has often placed him at the center of critical discussion.

9.3. Characters Modeled After Him

Anno's distinct personality and public persona have inspired characters in various media, often with a humorous or insightful portrayal.

• In his wife Moyoco Anno's manga Insufficient Direction, Anno is depicted as "Kantoku-kun" (Director-kun), a character who playfully embodies his "otaku cult leader" image. The animated version of Kantoku-kun was voiced by Koichi Yamadera.
• In his own live-action film Shiki-Jitsu, the character of a burnt-out animation director is modeled after Anno himself and is portrayed by Shunji Iwai. The film was also set and filmed in Anno's hometown of Ube.
• Kazuhiko Shimamoto's manga Aoi Honō features a college-age character based on Anno, referred to as "Hideaki Anno, a student at Osaka University of Arts who would later become the director of Evangelion." In the live-action drama adaptation of Aoi Honō, Anno is played by actor Ken Yasuda, with the character named "Hideaki Anno."
• The 2014 anime series Shirobako includes a cameo appearance by an animation director character named "Mitsuaki Kanno," who is a caricature of Anno.