Deconstruction of Old-school Anime Classic, Akira (1986)

As animation, Otomo's Akira stands uniquely in a sea of other Japanese titles, even after so many years. Visually, it is of a level of excellence above most titles, and certainly above anything the more popular syndicated applications of Japanese animation. On a thematic plane, the science fiction storyline is intricate enough to stand on its own. It goes above this to deliver an artistic portrait of the social turmoil concerning Japan during the eighties.

It is in the adapted conventions that Akira's Japan has its own style. At first glance, we could point to several qualities that Akira's Neo-Tokyo shares with the reality of 1986. Most of the similar illustration conventions, the japanime elements, are only basic building blocks from which Akira repeatedly departs from. While things like facial construction and color seem to closely resemble other titles, character construction is particularly creative. For example, the female character Kay stands in contrast with the industry model, with many distinguishing features to mark her out. The only characters who seem to be taken straight from the established mold are extras, rarely earning speaking roles.

Visual attention to detail is what truly makes the characters and backgrounds special. Although Akira's depiction of Neo-Tokyo is not so different from others in content or color, the depth shown in the background is stunning. This depth is seen throughout, from the grime on the streets, sweat, hazy panoramas, to the exaggerated almost drunken swagger of the characters' walk. Was this the result of certain psychedelic scenes influencing, urging, the animators to explore the interconnectedness of details?

Thematically, Akira represents a response to many of the crises that Japan faced in the eighties and still faces today. The degeneration of Japanese society fat on its own success 30 years after the end of the war is reflected in the setting described in the film, 30 years after the first coming of Akira. The schools and shopping complexes depicted are a critique of the entire social system and rampant consumerism. Especially notable is the inclusion of Bosozoku (biker gangs, literally 'tribe of boso) with Kaneda and Tetsuo as members. During the eighties public concern over these gangs was at its peak. The public image of the biker clubs sparked several small riots and policies set to restrict Japanese youth.

The narrative sympathizes with these youths, and quite accurately points out problems in the establishment (politics, schooling and the police) that rarely came into consideration at the time. Akira is a warning not to mix Japan's capitalist institutions, modern science, and corrupt politics. The dangers portrayed are indeed serious, and it seems we can only rely on marginalized groups like the youth to save Tokyo from herself.