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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. [22]
According to Dolores P. Martinez, the serial nature of the work influenced the storyline structure, allowing for numerous sub-plots, a large cast, and an extended middle sequence. This allowed for a focus on destructive imagery and afforded Otomo the chance to portray a strong sense of movement.
Anime News Network (in French). Archived from the original on May 27, 2021. Retrieved May 27, 2021. ^ a b c d e f "Berserk × Hell's Paradise".
Kazé (in French). November 12, 2019.
Archived from the
original on December 20, 2021. Retrieved December 20, 2021. ^ Walker, Ian (March 30, 2022). "7
Possible Berserk References In Elden Ring". Kotaku. Archived from the original on April 15, 2022.
