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[25] Japanese manga is largely in black and white, but it was decided to fully color the artwork in the English version of Akira to match most American and European comics. The coloring was done by Steve Oliff at Olyoptics, who was hand-picked for the role by Otomo after being introduced by Goodwin. [26] Otomo sent Oliff illustrations that he colored with markers as samples. [17] Oliff had also received slides from the anime film adaptation of Akira to use as reference. At one point, Otomo visited Oliff in Point Arena, California and worked alongside him for several days, but after the first 5 or 6 issues, Oliff said he was given free rein. [26] Oliff persuaded Marvel to use computer coloring. The coloring was more subtle than that seen before and far beyond the capabilities of Japanese technology of the time. It played an important part in Akira's success in Western markets, and revolutionized the way comics were colorized. [27] Coloring lasted from 1988 to 1994, being delayed by Otomo's work on Steamboy. [26] Akira was the first comic in the world to be colored digitally, using computers. Its release in color led to the widespread adoption of computer coloring in comics and Oliff's work on Akira earned him three consecutive Harvey Awards for Best Colorist (1990–1992) and the first Eisner Award for Best Coloring (1992).
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