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Oldcarbrochures. com. p. 16. Retrieved 11 September 2014. ^ "1966 Pontiac Performance Brochure". Oldcarbrochures. com. pp. 8–9. Retrieved 11 September 2014.

Because in the film industry the name "Akira" is often used to refer to Akira Kurosawa, Otomo "thought that gap" was funny and decided to use the name in his work one day. [17] The character names Tetsuo and Kaneda, and the Espers' codenames of Nos. 25–28, were taken from Tetsujin 28-go. [15][16][17] Kaneda's iconic motorcycle from the manga had no specific design. So Otomo said it came out "kind of random" and changed every time he drew it. [17] The character Chiyoko was originally designed to be an old man, but Otomo felt that was too ordinary and "a little boring" and came up with the idea for an old lady, which then became a large old lady. The character grew on him as he drew and she ended up with a greater role than he originally planned. [17] Otomo posing on a replica of the futuristic motorcycle driven by Kaneda in Akira (2016) The logo for the manga changed several times throughout its serialization, including switching between Japanese and English. [17] The first 35 chapters used katakana in the font Thick Textbook, chosen by Otomo for its ease of understanding and impact. After getting tired of this logo and having entered "Chapter 2" a few chapters previously, he used English in Broadway for chapter 36 because he wanted an Art Deco feel. However, Otomo did not like it when he saw the magazine and for chapters 37–48 he changed the font to a different Art Deco-style and wrote his name in English as "OHTOMO KATSUHIRO".

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After all, it's a reboot of an American TV series made using heavily edited footage of an anime. We Baby Bears is this, in stark contrast to its parent series We Bare Bears. Since it has manga visual design traits and effects like shinier Black Bead Eyes, Wing Ding Eyes, Face Faults and such, not to mention the bears' more chibified designs, it looks very much like a Kodomomuke series. Xiaolin Showdown uses Asian-influenced themes and window-dressing and uses visual gags commonly found in anime. The character designs, however, are distinctly western. When X-Men: The Animated Series was dubbed and localized for Japan, new openings and eyecatches were animated that evoke all sorts of anime-related tropes; Anime Theme Songs, Speed Stripes, even a Beam-O-War between Professor X and Magneto. See for yourself. The short-lived amateur studio White Radish produced two short films in the mid '90s that were drawn in the anime style: The Apprentice and The Item. Animation — Canada Abby Hatcher, a co-production between Canadian studios Guru Studio and Spin Master Entertainment, is a CGI kid's show but with anime elements, especially with the use of quivering puppy dog eyes and miniature mouths with curved corners, speed lines, and the chibi-styled Fuzzlies. The Nelvana series Cadillacs and Dinosaurs , perhaps as a consequence of being outsourced to APPP, has some strongly animesque elements in its artstyle. Cybersix uses heavy anime elements in its style, due to being a coproduction between the now defunct Canadian studio Network of Animation and Japan's TMS Entertainment. Light, Ryuk, and L appear in Jump Super Stars as support characters. Misa, Near, and Mello are added as support characters in Jump Ultimate Stars as well. [99][100] The 2019 video game Jump Force features Light and Ryuk as non-playable characters, playing a key role in the game's story mode. [101] Musical[edit] Main article: Death Note: The Musical In 2015, a musical adaptation of the manga called Death Note: The Musical ran in both Japan and South Korea. It was originally composed in English by Broadway composer Frank Wildhorn, with lyrics by Jack Murphy and book by Ivan Menchell. [102] An English production was announced in May 2023 to play at the London Palladium for two nights on August 21–22, 2023,[103] directed by Nick Winston starring Joaquin Pedro Valdes as Light, Dean John-Wilson as L and Frances Mayli McCann as Misa.