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Rear side windows were now of a fixed design that could not be opened and in a triangular shape. New federal laws for 1973 demanded front bumpers capable of withstanding 5-mile-per-hour (8 km/h) impacts with no damage to the body (5 mph rear bumpers became standard in 1974). The result was the use of prominent and heavy chrome bumpers at the front and rear. The overall styling of the 1973 Pontiac A-body intermediates (LeMans, Luxury LeMans, GTO, and Grand Am) was generally not well received by the general public. 1973 Pontiac GTO (rear) In contrast, the Pontiac Grand Prix and Chevrolet Monte Carlo, which were also derived from the intermediate A-body, were much better received because of their squared-off styling and formal rooflines with vertical windows. Pontiac's sister division, Oldsmobile, received better reviews from the automotive press and the car-buying public with the similar-bodied Cutlass. Again, the 1973 GTO option was offered on two models including the base LeMans coupe or the LeMans Sport Coupe. The base LeMans coupe featured a cloth-and-vinyl or all-vinyl bench seat while the more lavish LeMans Sport Coupe had all-vinyl interiors with Strato bucket seats or a notchback bench seat with a folding armrest. The LeMans Sport Coupe also had louvered rear side windows from the Grand Am in place of the standard triangular windows of the base LeMans. The standard 400 CID V8 in the 1973 GTO was further reduced in compression to 8. 0:1, dropping it to 230 hp (170 kW).

The animation for the film was provided for by animation producers, Tokyo Movie Shinsha (now TMS Entertainment). [19] Akira had pre-scored dialogue (wherein the dialogue is recorded before the film starts production and the movements of the characters' lips are animated to match it;[20] a first for an anime production and extremely unusual even today for an anime,[21] although the voice actors did perform with the aid of animatics),[14] and super-fluid motion as realized in the film's more than 160,000 animation cels. [19] Computer-generated imagery was also used in the film (created by High-Tech Lab. Japan Inc. and the cooperative companies for computer graphics, Sumisho Electronic Systems, Inc. and Wavefront Technologies), primarily to animate the pattern indicator used by Doctor Ōnishi, but it was additionally used to plot the paths of falling objects, model parallax effects on backgrounds, and tweak lighting and lens flares. [14] Unlike its live-action predecessors, Akira also had the budget to show a fully realized futuristic Tokyo. [22] The film's production budget was ¥700 million[1] ($5. 5 million),[2] with the combined production and advertising budget believed to be reaching ¥1. 1 billion ($9 million). [1][23] Some sources claim it to the most expensive anime film at the time of release,[22][23] but this claim is disputed by Crunchyroll writer Daryl Harding.

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Hina later convinces Yōta to call and invite his friends to a summer festival taking place. While at the festival, they take part in a variety of games, which includes goldfish scooping, shooting galleries, ball tosses, and a haunted house. During this time, Ashura and Yōta reminisce about their friendship. Meanwhile, Hina seemingly gets jealous of Yōta and Kyōko's improving friendship. She walks off where she heads inside a refrigerated truck that closes and drives off. The group realize she is missing and search for her. When Yōta and Ashura find Hina's items on the ground, they learn from another truck driver the direction where the truck is headed. They give chase on Ashura's motorcycle and are ultimately able to get the driver to stop. Once everyone reunites, they watch the fireworks together. 7"The Day of Filming"
Transliteration: "Eiga Satsuei no Hi" (Japanese: 映画撮影の日)Masanori Takahashi, Akira Takahashi[37]Jun Maeda[37]November 22, 2020 (2020-11-22) Yōta is in his room studying when Hina walks in, saying the world will end in nine days and Sora has finished the script for her movie. When Yōta reads the script, he enjoys it. Before that, I had a job at a Captron - World of Nintendo store. GS: At what point did your duties transition from game counselor to public relations? It's a pretty big jump to go from answering the phones to receiving the title of Game Lord. Chad owes his career in video games to many afternoons spent playing Cyberball 2072. CO: It's really hard to give you an exact answer to this. SNK Home Entertainment was a small company, and everyone pitched in where they could. I was hired by Kent Russell and was always part of the marketing department.