eminence in shadow scan 60 wood
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[91] Chris Beveridge comments on the Japanese audio, which brings "the forward soundstage
nicely into play when required. Dialogue is well placed, with several key moments of directionality used perfectly". [92] Janet Maslin of The New York Times commends Otomo's artwork, stating "the drawings of Neo-Tokyo by night are so intricately detailed that all the individual windows of huge skyscrapers appear distinct. And these night scenes glow with subtle, vibrant color". [93] Richard Harrison of The Washington Post comments on the pace of the film, stating that the author "has condensed the narrative sprawl of the comics to provide coherence, though there's a bit of "Back to the Future Part II" incompleteness to the story. That hardly matters, since the film moves with such kinetic energy that you'll be hanging on for dear life". [94] Roger
Ebert compares the film to Mad Max, calling it "very gory, very gruesome, but entertaining in its own demented way. "[95] Kim Newman of Empire commends the film's "scintillating animated visuals, with not one – not one – computer-assisted shot in sight". [96] Helen McCarthy in 500 Essential Anime Movies claims that the anime "remains fresh and exciting, easily holding its own against the products of two decades of massive technical advancement". [97] Meanwhile, in February 2004, Dan Persons of Cinefantastique listed the film as one of the "10 Essential Animations", simply referring to the film as "the film that changed everything. "[98] Awards[edit] In 1992, Akira won the Silver Scream Award at the Amsterdam Fantastic Film Festival.
