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[15] Otomo had previously created Fireball (1979), a series in which he disregarded accepted manga art styles and established his interest in science fiction as a setting. [6] Fireball anticipated a number of plot
elements of Akira, with its story of young freedom fighters trying to rescue one of the group's older brother who was
being used by the government in psychic experiments, with the older brother eventually unleashing a destructive "fireball" of energy (the story may have drawn inspiration from the Alfred Bester's 1953 novel The Demolished Man). [16] Otomo used a science fiction setting again the following year in Domu, which won the Nihon SF Taisho Award and Seiun Award and became a bestseller. [6] He then began work on his most ambitious work to date, Akira. Due to a lack of planning, Otomo had to hastily end Fireball without the finale he wanted and stated, "You could say that Akira was born from the
frustration I had about that at the time. "[14] Not wanting to repeat what happened with that manga, he had the basic plot of Akira outlined from the start in a two-page synopsis and predicted he would finish it in six months. However, just like what happened with Domu, new ideas and problems immediately came up and expanded the story gradually as he wrote. [14] Mitsuteru Yokoyama's manga series Tetsujin 28-go (1956–1966) had particular influence on Akira, as Otomo wanted to pay homage to the children's manga. [14] He explained, "the grand plot for Akira is about an ultimate weapon developed during wartime and
found during a more peaceful era. So the accidents and story develop around that ultimate weapon. If you know, Tetsujin 28-go then this is the same overall plot.
"Kuroko's Basketball Stage Play
Unveils Remaining Cast, Visual". Anime
News Network. Archived from the original on October 19, 2019. Retrieved August 23, 2018. ^ "Archive of the Stage Kuroko no Basuke Official Homepage" (in Japanese). Archived from the original on March 21, 2016.
Understanding the source material better puts the film’s overall message into context. Despite key events clearly coinciding with WWII, the film never places blame to either
side of the war, nor is the enemy ever recognized as American.
War is not the focus, only the backdrop here; simply serving the characters a situation to create conflict. Instead the story is concerned exploring the war at hand on a more personal level, and as a result uncovers pride as a reoccurring pattern within the plot. Pride fuels the war that took away their mother, drives the children to live on their own away from their unpleasant guardian, steers Setsuko to a premature death before leaving
Seita to his own downfall, suffering alone on the brink of death. The film pays close attention to these moments, viewing them from the perspective of Seita’s ghost.
