Instead, local broadcasters sometimes utilized background music from other sources or re-recorded the opening with Korean lyrics. While there have been official Korean versions of the song performed by Korean artists in later years, the early, unauthorized swaps contributed to the feeling that this version of Evangelion was an impostor—a product that had been Frankensteined to fit local regulations rather than artistic vision.
In the pantheon of anime, Neon Genesis Evangelion (1995) stands as a singular, traumatic masterpiece—a deconstruction of the mecha genre that spirals into a raw, psychoanalytic dissection of depression, identity, and human connection. When this complex text was imported to South Korea in the late 1990s, it did not simply arrive as a translation; it was reborn. The Korean dub of Evangelion , produced by the Seoul-based animation studio and distributor Daiwon Broadcasting Corporation (DBC), is more than a mere linguistic adaptation. It is a landmark of cultural localization, a testament to the power of vocal performance, and a crucial artifact that shaped the Korean anime fandom in the era of "Cable TV Oasis." This essay argues that the Korean dub of Evangelion is a definitive example of "transcreation"—a dub that, through a combination of stringent censorship, passionate voice acting, and the unique historical context of its release, transformed the original’s nihilistic whisper into a resonant, almost operatic scream for a Korean audience.
One of the most iconic "full pieces" of the Korean dubbing history is the localized version of the opening theme, . evangelion korean dub
The Korean dub of Neon Genesis Evangelion has evolved through multiple versions, reflecting changes in South Korean media regulations and global distribution rights.
Furthermore, the Korean voice acting industry prides itself on "clean" enunciation. Listen to the Korean dub of Asuka’s mind-breaking scene in Episode 22. While the Japanese voice actor (Yuko Miyamura) recorded her lines in a soundproof booth while reportedly naked to convey vulnerability, the Korean voice actor (Lee Ji-young) used a technique of diaphragmatic compression to simulate a panic attack—a masterclass in acting without visual gimmicks. When this complex text was imported to South
One of the most notable versions is the 2000s television broadcast. Fans often look back on this era with a mix of nostalgia and critique. The voice acting industry in Korea, known as "Seong-u," is highly prestigious, and the casting for the main trio—Shinji, Rei, and Asuka—was met with intense debate. While the performances were technically proficient, hardcore fans who had already seen the original Japanese version via "gray market" imports often found the tone shift jarring. However, these dubs were instrumental in bringing the complex, psychological themes of Hideaki Anno’s masterpiece to a wider, mainstream Korean audience.
The Korean voice cast has featured some of the industry's most prominent "Seiyu" (voice actors). Prominent Korean Voice Actors Shinji Ikari An Gyeong-jin (VHS/Early), Kim Young-sun Shin Yong-woo Rei Ayanami Lee Hyun-joo Lee Sae-ah Asuka Langley Jeong Yoo-mi Misato Katsuragi Choi Deok-hee Yang Jeong-hwa Gendo Ikari Kim Ki-hyun Min Seung-woo Cultural Reception & Context Classification as a "Kid's Show": Evangelion One of the most iconic "full pieces" of
Despite these cuts, the voice acting injected such raw emotion that Korean fans forgave the censorship. For many, these voices became the characters.
When Netflix acquired the global streaming rights for the original 26-episode series, Death(true)² , and The End of Evangelion , they produced a completely new Korean dub. This version is more faithful to the original Japanese script and is the version currently available to stream. Korean Opening: "A Cruel Angel's Thesis"
Evangelion Korean Dub [2021] -
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Evangelion Korean Dub [2021] -
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Evangelion Korean Dub [2021] -
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Instead, local broadcasters sometimes utilized background music from other sources or re-recorded the opening with Korean lyrics. While there have been official Korean versions of the song performed by Korean artists in later years, the early, unauthorized swaps contributed to the feeling that this version of Evangelion was an impostor—a product that had been Frankensteined to fit local regulations rather than artistic vision.
In the pantheon of anime, Neon Genesis Evangelion (1995) stands as a singular, traumatic masterpiece—a deconstruction of the mecha genre that spirals into a raw, psychoanalytic dissection of depression, identity, and human connection. When this complex text was imported to South Korea in the late 1990s, it did not simply arrive as a translation; it was reborn. The Korean dub of Evangelion , produced by the Seoul-based animation studio and distributor Daiwon Broadcasting Corporation (DBC), is more than a mere linguistic adaptation. It is a landmark of cultural localization, a testament to the power of vocal performance, and a crucial artifact that shaped the Korean anime fandom in the era of "Cable TV Oasis." This essay argues that the Korean dub of Evangelion is a definitive example of "transcreation"—a dub that, through a combination of stringent censorship, passionate voice acting, and the unique historical context of its release, transformed the original’s nihilistic whisper into a resonant, almost operatic scream for a Korean audience.
One of the most iconic "full pieces" of the Korean dubbing history is the localized version of the opening theme, .
The Korean dub of Neon Genesis Evangelion has evolved through multiple versions, reflecting changes in South Korean media regulations and global distribution rights.
Furthermore, the Korean voice acting industry prides itself on "clean" enunciation. Listen to the Korean dub of Asuka’s mind-breaking scene in Episode 22. While the Japanese voice actor (Yuko Miyamura) recorded her lines in a soundproof booth while reportedly naked to convey vulnerability, the Korean voice actor (Lee Ji-young) used a technique of diaphragmatic compression to simulate a panic attack—a masterclass in acting without visual gimmicks.
One of the most notable versions is the 2000s television broadcast. Fans often look back on this era with a mix of nostalgia and critique. The voice acting industry in Korea, known as "Seong-u," is highly prestigious, and the casting for the main trio—Shinji, Rei, and Asuka—was met with intense debate. While the performances were technically proficient, hardcore fans who had already seen the original Japanese version via "gray market" imports often found the tone shift jarring. However, these dubs were instrumental in bringing the complex, psychological themes of Hideaki Anno’s masterpiece to a wider, mainstream Korean audience.
The Korean voice cast has featured some of the industry's most prominent "Seiyu" (voice actors). Prominent Korean Voice Actors Shinji Ikari An Gyeong-jin (VHS/Early), Kim Young-sun Shin Yong-woo Rei Ayanami Lee Hyun-joo Lee Sae-ah Asuka Langley Jeong Yoo-mi Misato Katsuragi Choi Deok-hee Yang Jeong-hwa Gendo Ikari Kim Ki-hyun Min Seung-woo Cultural Reception & Context Classification as a "Kid's Show": Evangelion
Despite these cuts, the voice acting injected such raw emotion that Korean fans forgave the censorship. For many, these voices became the characters.
When Netflix acquired the global streaming rights for the original 26-episode series, Death(true)² , and The End of Evangelion , they produced a completely new Korean dub. This version is more faithful to the original Japanese script and is the version currently available to stream. Korean Opening: "A Cruel Angel's Thesis"
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The Consumer Health Information Program assists the public with medical research by providing information from reliable sources. Customers are invited to use the Norwalk Library collection which consists of books, magazines, videos, and online databases related to health topics. We also provide individualized research services.
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Book and website recommendations for further reading
The Californiana Collection is in closed stacks at the Norwalk Library located at 12350 Imperial Hwy, Norwalk, CA 90650.
About the Collection
The Californiana Collection consists of over 24,000 books and over 200 magazine and newspaper titles in paper and on microfilm as well as a collection of state documents including state and county budgets. The goal of this collection is to present a complete picture of the history, culture, environment and artistic expression of the people of California and to some extent, the western United States.
Collection Highlights
California Census Schedules from 1850 to 1910
Copies of The Alta California newspaper 1849-1891, as well as dozens of other 19th century newspapers from Gold Rush boomtowns, the Owens Valley and San Francisco
Official city and county histories from the 19th and 20th centuries
Materials on the Donner Party, California water projects, famous California crimes, Hollywood culture, biographies of Californians, pioneer narratives of the early days of California, and histories of the state written over the course of 150 years
