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26 (26号, Nijūroku-gō)) Takashi (born 1980)[11] is the first Esper to be introduced when he causes Tetsuo's accident in self-defense. He has the power to use psychokinesis and communicates with his fellow
psychics telepathically. Takashi is a quiet, softspoken boy who has conflicting thoughts of the government and the people who had sheltered him and his friends, which was why he escaped the Colonel's facility; however, Takashi is concerned for
Kiyoko's safety, and that forces him to stay. Takashi is accidentally killed by Nezu in his attempt to assassinate Akira, and the psychic trauma revolving around it afterward caused Akira to destroy Neo-Tokyo with his immense powers. He is
revived along with the rest of the deceased
Espers near the end of the series. Masaru (マサル, designated No. 27 (27号, Nijūnana-gō)) Masaru (born 1980)[11] is overweight and confined either to a wheelchair or a special floating chair as a result of developing polio at a young age. He has the power to use psychokinesis and communicates with his fellow psychics telepathically. He is braver than Takashi and is the first to attack Tetsuo when he tries killing Kiyoko. Masaru looks after the well-being of his friends, especially that of Kiyoko who is physically frail. Akira (アキラ, designated No.
Archived from the
original on August 13, 2021. Retrieved August 13, 2021. ^ Sherman, Jennifer; Ressler, Karen; Hodgkins, Crystalyn (March 3, 2019). "Roundup of Newly Revealed Print Counts for Manga, Light Novel Series - February 2019 (Updated)". Anime News Network. Archived from the original on March 3, 2019.
Traditionally only Japanese works have been considered anime, but some works have sparked debate about blurring the lines between anime and cartoons, such as the American anime-style productions Avatar: The Last Airbender and Avatar: The Legend of Korra. [211] These anime-styled works have become defined as anime-influenced animation, in an attempt to classify all anime styled works of non-Japanese origin. [212] Some creators of these works cite anime as a source of inspiration, for example the French production team for Ōban Star-Racers that moved to Tokyo to collaborate with a Japanese production team. [213][214][215] When anime is defined as a "style" rather than as a national product, it leaves open the possibility of anime being
produced in other countries,[211] but this has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity. "[12][216] A large contingent of anime and manga is also notable for deliberately forgoing any identification of its characters with real-world ethnicities or nationalities, termed in criticism as mukokuseki (statelessness). Mukokuseki characters may be depicted with culturally neutral features and can significantly impact the reception of a property outside of Japan. [217][218] A U. A. E. -Filipino produced TV
series called Torkaizer is dubbed as the "Middle East's First Anime Show", and is currently in production[219] and looking for funding. [220] Netflix has produced multiple anime series in collaboration with Japanese animation studios,[221] and in doing so, has offered a more accessible channel for distribution to Western markets.
