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[125] Roger Ebert of the Chicago Sun-Times selected Akira as his "Video Pick of the Week" in 1992[126] on Siskel & Ebert and the Movies. For its wider 2001 release, he gave the film "Thumbs Up". Akira has also been regarded as one of the greatest action and science fiction films of all time. It was ranked number 22 on The Guardian's list of best sci-fi and fantasy films,[8] included on Film4's list of top 50 science fiction films,[9] and ranked number 27 on Complex magazine's list of 50 best sci-fi movies. [10] The Daily Telegraph listed Akira as the fifth greatest action film of all time. [4] Phelim O'Neill of the Guardian draws a parallel on Akira's influence on the science-fiction genre to Blade Runner and Stanley Kubrick's 2001: A Space Odyssey. [13] Akira is considered a landmark film in the cyberpunk genre, particularly the Japanese cyberpunk subgenre. [11] The British Film Institute describes Akira as a vital cornerstone of the cyberpunk genre, along with Blade Runner and Neuromancer. [127] Rob Garratt of South China Morning Post calls Akira one of "the most influential sci-fi visions ever realised" on film, comparable to the influence of Blade Runner. [128] Akira is also credited as a breakthrough for adult animation, proving to global audiences that animation was not just for children. [12] Akira slide[edit] The "Akira slide" scene is regarded as an iconic anime scene, widely imitated and referenced in many works of animation, film and television.

Alternate versionsIn Tokyopop's American DVD release, there are two versions of the show. One is the original ('Import Version'). One is a new version ('Tricked-Out Version') which has an english dub and various other changes such as: Japanese character names dropped in exchange for more English sounding names (i. e. Natsuki becomes Natalie, Iketani is Cole, Itsuki is Iggy, Ryosuke is Ry, Keisuke is K. T.

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Our goal is to create an easy-access reference for all official material related to the series that anyone can edit, so any help in doing so will be greatly appreciated. As of today, March 9, 2024, we currently have
5,191 edits • 259 articles • 240 images • 3 active users Synopsis Nicknamed "Experiment A" by five of his bullies and tortured throughout sixth grade, Shun Uruma hung on by a thread. When his bullies targeted his family, leaving him with nobody but his grandfather, it was the final straw—Uruma had suffered enough. Determined to get back at his enemies, Uruma begged his grandfather, a World War II veteran, to guide him through the path of vengeance. Four years later, Uruma completes his intense training and embarks on a brutal journey of torture and retribution to hunt down the five monsters who made his school life a living hell. Read more. Featured Character Archive • Vote New Character! 1st Down Spoiler alert! Read at your own risk!
Sena Kobayakawa passes the Deimon High School entrance exam and gets invited by Yoichi Hiruma and Ryokan Kurita into joining the American Football club. A day later, three bullies get angered by him and start chasing him, showing his true talent. The way characters’ faces look avoids following the lazy expectation for modern anime art direction. Most episodes have some sort of impressive visual flex, like Episode 2 with the atmosphere established by the paper-looking blue fire, though particularly Episode 5 and Episode 8 for their specific style of animation and shading when distinguishing the mental realms. The mental twisting of many dimensions of pattered color is a particular animation highlight whenever it comes up, the bus flying through it in Episode 9 like it were The Magic School Bus’s serious YA adaptation. It does tend to shortcut with several static shots of faceless characters, but it has an especially unique choice for background characters in them being shaded like the type of “anime minimalist wallpaper” you can easily find on Google Images. There’s this scrapbook uncanniness to some of the scenes while avoiding the scrunched-up outlines often seen on characters out of focus, adding to the many wallpaper-worthy shots appearing throughout.
At times the visual direction could be dull when not much was happening on screen, when it just hard cut between cast members starring into the screen trying to comprehend the tangle of plot with music missing, but it feels like that freedom of design is what Shingo Natsume saw with this entire series.
This might sound negative, and as far as personal investment in the choices made with the runtime that exists, it is, but I implore you to check out this show if you think its distinctiveness appeals to you. What I’ve been saying about how loose and overambitious the writing feels in light of the visual pizazz is something that only could’ve come from an anime original, a longtime animator writing a script for the first time with that rawness and passion radiating forward at the extent of understanding how to meet the audience halfway. That freedom is worth cherishing. I’m grateful that shows like Sonny Boy are allowed to exist. I appreciate the light hints that the show leaves for people to ponder well after an episode ends.
All these are controlled by the Druid system and the keyboard-based controls. The system requires incredibly complex calculations to form effective barriers, such that it takes an intellect on the level of Lelouch to use the system to its full potential. When Rolo Lamperouge attempts to use it, he is only able to erect a meagre defense with a number of weak spots. At its full potential, the Absolute Defense System can block a sustained point-blank blast from the Mordred's Stark Hadron Cannon, albeit at the cost of much of its power reserves. Read more » Maintenance How are we Doing? Code Geass Wiki has made many improvements since its creation, but we still have a long way to go. That's why we need YOU to tell us how we're doing.