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Obara, known more for his work on live-action movies and television dramas, was brought in through a mutual friend at Office Crescendo. [5] The eventual unstructured production style was unheard of in anime, and at the outset Obara created a series structure. The
three-episode finale was not planned ahead, emerging naturally as part of the design approach. [5] As the project evolved, Watanabe pushed for this structured approach to be discarded aside from the lead
characters and premise, and Obara agreed to the new approach. The lack of a structure meant that the series narrative was constructed piece by piece, with few plot details being decided in advance. [8] The fates of the three characters were
also undecided during this stage. Watanabe originally planned for all three to survive, but at one point the team considered Jin and Mugen dying respectively in the final two episodes. [5] Even the identity of the sunflower samurai was unknown to Watanabe during the early stages. [15] Due to this approach, pre-production on the series lasted a year. [8] Watanabe had a great deal of creative control and input, including on music selection and editing. [19] The first episode took a long time to polish, being completed around the beginning of 2004, but it and subsequent episodes had an animation quality higher than other series of the time.
Its
back cover is a composite photograph taken during a race at the Tokyo Racecourse when an image of Akira was shown on the jumbotron. Because the first three images had followed a pattern of "action-silence-action," the artist figured volume four should continue it and so drew Akira sitting down for the cover. Its back cover features an original Akira pinball machine created by Taito with animation cels pasted onto it by Otomo. The cover of volume five was the first to feature an event actually related to the content inside the book. Its back cover features an Otomo-designed decorative bamboo rake that cost 2 million yen to make and features a custom made Miyako doll and mecha models. Otomo felt the sixth cover had to be cool because it was the final one, and as a result it went through the most number of rough designs as he had to really work to get Kaneda's line of sight towards the reader without it feeling forced. For the back cover photograph, a life-size kiosk featuring numerous Akira goods was constructed in Kodansha's studio with cooperation from Sudo Art Workshop and a stage manager from Nikkatsu. Construction, which included two fluorescent signs (cropped out of the final image) and handmade newspapers, and shooting took three days. [17] Themes[edit] Akira, like some of Otomo's other works (such as Domu),
revolves around the basic idea of individuals with superhuman powers, especially psychokinetic abilities. However, these are not central to the story, which instead concerns itself with character, societal pressures and political machination. [6] Motifs common in the manga include youth alienation, government corruption and inefficiency, and a military grounded in old-fashioned Japanese honor, displeased with the compromises of modern society.
Retrieved 5 July 2013. ^ Murray, Noel (29 August 2012). "The Amazing
World Of Gumball: The DVD". The A. V. Club.
