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Jenny Kwok Wah Lau writes in Multiple Modernities that Akira is a "direct outgrowth of war and postwar experiences. " She argues that Otomo
grounds the work in recent Japanese history and culture, using the atomic bombing of Japan during World War II, alongside the economic resurgence and issues relating to overcrowding as inspirations and underlying issues. Thematically, the work centers on the nature of youth to rebel against authority, control methods, community building and the transformation
experienced in adolescent passage. The latter is best represented in the work by the morphing experienced by characters. [21] Susan J. Napier identified this morphing and metamorphosis as a factor that marks the work as postmodern: "a genre which suggests that identity is in constant fluctuation. " She also sees the work as an attack on the Japanese establishment, arguing that Otomo satirizes aspects of Japanese culture: in particular, schooling and the rush for new technology. Akira's central image of characters aimlessly roaming the streets on motorbikes is seen to represent the futility of the quest for self-knowledge. The work also focuses on loss, with all characters in some form orphaned and having no sense of history. The landscapes depicted are ruinous, with old Tokyo represented only by a dark crater. The nihilistic nature of the work is felt by Napier to tie into a wider theme of pessimism present in Japanese fantasy literature of the 1980s.
com. Archived from the original on June 7, 2011. Retrieved
August 11, 2010. ^ McWhertor, Michael (June 1, 2009). "Kojima Taking On
Castlevania With Lords Of Shadow". Kotaku. Retrieved 30 January 2017. ^ a b Akamatsu, Tsutomu (2011). "Honorific particles in Japanese and personal monemes". La Linguistique. Presses Universitaires de France.
Ippo landed the punch and heard the same
sound he heard at the gym when he knocked
Kamogawa down while mitt-practising. Shimabukuro lost his balance from the seemingly weak punch. Shimabukuro regained his balance as Ippo motioned his Dempsey Roll. Ippo used the Dempsey Roll and exchanged blows with Shimabukuro until Ippo sent him down with a full-body Dempsey Roll blow. While Shimabukuro took a fighting pose, he was unable to stand up before the count of ten, resulting in Ippo's victory, defending his JBC title a fourth time. After wearing his belt and doing a victory pose, Ippo passed out and was carried to the changing room by Kamogawa.
