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Sonny Boy’s at least a show that’s easy to appreciate on a stylistic level. Eguchi Hisashi, who hasn’t designed anime characters since the turn of the millennium, created a very distinctly designed cast in spite of their similarities from the head down. The way characters’ faces look avoids following the lazy expectation for modern anime art direction. Most episodes have some sort of impressive visual flex, like Episode 2 with the atmosphere established by the paper-looking blue fire, though particularly Episode 5 and Episode 8 for their specific style of animation and shading when distinguishing the mental realms. The mental twisting of many dimensions of pattered color is a particular animation highlight whenever it comes up, the bus flying through it in Episode 9 like it were The Magic School Bus’s serious YA adaptation. It does tend to shortcut with several static shots of faceless characters, but it has an especially unique choice for background characters in them being shaded like the type of “anime minimalist wallpaper” you can easily find on Google Images. There’s this scrapbook uncanniness to some of the scenes while avoiding the scrunched-up outlines often seen on characters out of focus, adding to the many wallpaper-worthy shots appearing throughout.
At times the visual direction could be dull when not much was happening on screen, when it just hard cut between cast members starring into the screen trying to comprehend the tangle of plot with music missing, but it feels like that freedom of design is what Shingo Natsume saw with this entire series.
[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. "[15] With Akira, Otomo also wanted to depict the later Showa period, including preparations for the Olympics, the rapid economic growth, and the student protests of the 1960s. "I wanted to recreate the assorted elements that built this era and craft an exciting story that would seem believable enough in reality. "[14] Otomo said that while there had been post-apocalyptic works before, he could not think of one that depicted an apocalypse in the middle of the story and wanted to do that with Akira.
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