Cultural references, style and themes "Rei I" makes reference to scientific and biological concepts. During the incident where Eva-00 malfunctioned, for example, the Nerv use a special bakelite to block the Eva, named after the homonymous phenol formaldehyde resin. In the following scenes, Dr. Ritsuko analyzes the body of the fourth Angel, Shamshel, and its wave spectrum, finding it similar to the human gene. The words "pattern: blue" appears on her computer screen, since Angel's matter has a wavelength corresponding to that of blue light. On another screen also appears a map of human DNA, with the letters A, C, G and T, corresponding to the nitrogenous bases (adenine, cytosine, guanine and thymine). According to Ritsuko, the two maps are 99.89% matched. Ritsuko observes that the composition of the Angels appears to have both wave and particle properties, just as light does; Neon Genesis Evangelion manga editor Carl Gustav Horn noted that the photons through which the electromagnetic spectrum is expressed have similar features. Writers Kazuhiza Fujie and Martin Forster similarly likened Ritsuko's statement to the wave-particle duality of quantum materials. In the same scene, a "code 601" appears on the computer screen, indicating the improbability of analysis. The code is a tribute to a similar scene from the science fiction film The Andromeda Strain, based on the novel of the same name by Michael Crichton. In one scene, Gendo's glasses break and Rei keeps them with her. Writer Fabio Bartoli linked the glasses to the crystal; Bartoli interpreted it as a reference to the : the Japanese generation born in the 1970s, which is also known as , characterized by communication and social problems. During the episode, the HLM neighborhood in which Rei lives is also framed, made up of identical temporary buildings. Critics compared her building to the danchi, the dense, cheap housing complexes that appeared in postwar Japan, and to the character's biography, noting she's a replaceable clone. Writer Dennis Redmond also interpreted the images of the high-tech laboratory, identified with Ritsuko, as a reflection of the social and natural history of postwar Japan. Critic and philosopher Hiroki Azuma described Rei's room as similar to a science laboratory, particularly a medical one. He likened the room to the Satyam, scientific laboratories of Aum Shinrikyō, a Japanese religious sect at the center of media attention during the broadcast of the series. Assistant director Kazuya Tsurumaki pointed out the