Akira

Akira is a 1988 Japanese animated post-apocalyptic cyberpunk film directed by Katsuhiro Otomo based on his 1982 manga of the same name. The film tells the story of Kaneda the leader of a biker gang whose childhood friend Tetsuo acquires telekinetic powers after a motorcycle accident which threatens the military complex of the city admits the chaos and rebellion of neo-Tokyo where he can only be stopped by his friend Kaneda, a resistance leader called Kei and a group of psychic children. At first Akira comes across as a fun and entertaining sci-fi dystopian film, however scratch a little further and the film becomes a metaphor for Japan’s post World War II anxieties commenting on the effects of the atomic bomb.

The opening of the film shows world war three in 1988 where Akira destroys Tokyo with a psychic blast in a clear parallel to the atomic bomb. The next shot shows a river of blood from a Birdseye perspective looking down as it turns into an aerial shot of the city. This is in order to contrast the old and new Japan commenting on the nuclear anxieties in a post-war environment, this shot demonstrates the loss of Japanese identity via idealisation and American occupation, resulting in neo-Tokyo being formed 25 years after world War three. The creator in which the title of the film appears over mirrors a bomb crater, again giving a clear visual indication to the atomic bomb. The first major shot shows a news broadcast commenting on a governmental rebellion, which shows neo Tokyo in a power struggle between religious zealots, corrupted capitalists, and violent parentless youth. It is in this scene where the film introduces the two main characters of the film Kaneda the leader of the bike gang and Tetsuo Kaneda’s childhood friend and a fellow biker gang member. In the introductory scene with the two of them Tetsuo argues about riding Kaneda’s bike which Kaneda says would be too powerful for him. This highlights key themes running throughout the film being teenage youthful rebellion as well as machoism and masculinity as at the beginning of the film Tetsuo is perceived as being weaker than Kaneda.

The film shows neo Tokyo is a city spinning violently out of control as demonstrated by the scene where the two gangs the capsules which Kaneda is the leader of and Tetsuo is a member of fighting a rival gang called the clowns. The way they fight each other indicate a power struggle a key theme throughout the film as the violent youthful rebellion that inhabits the world of the film is a by-product of post-war era Japan, still spluttering in the wake of world War three they have no direction and therefore must carve out an existence for themselves. The music in Akira consists of traditional Japanese drums laid over 80s synth music as this mixture of old and new reflects the themes of Akira. Akira is a film about a country still grappling with the horrors of past whilst trying to fight for a better future. The riots shown between the students and the riot police further showcases that through the allegory of teenage youthful rebellion the world of Akira seems to be in the midst of a socio-political power struggle, as factions fight in order to take control of the city in order to carve out a better distance for themselves in the wake of the atomic bomb.

As the bike chase is going on, a man is seen stumbling through the streets trying to protect one of the mutant children with psychic powers. He ends up getting shot by the police as the child unleashes a psychic blast. Ryu and Kei, resistance movement members, witnesses this, characters that will play a key component later in the film. The man is then shot to death as the Esper child releases a psychic blast. The Esper children showcase a direct relationship to victims of radiation poisoning caused by the atomic bomb due to both their visual aesthetic, and the fact that they have powers which is commonly a result of radiation within fiction. Again, Neo-Tokyo is shown in the midst of a socio-political riot demonstrating the post-war anxieties in the power struggle for Japan. This idea of post-war struggles are shown in the three main factions wanting to take control of the city being religious zealots, corrupted capitalists, and violent parentless youth further emphasising the films teenage youthful rebellion angle. Several characters in the film demonstrated to go from powerless to powerful, rich to poor, power to fear, this demonstrates the loss of Japanese identity via industrialisation and American occupation.

These two stories finally intertwine when Tetsuo crashes his bike into one of the Esper children and is taken away by the military, again showcasing Japan in a post-war power struggle. This scene also reflects the machoism of the film’s Tetsuo is perceived as weaker than Kanada and therefore he was the one to crash. As well as this the Esper children are symbolic of Japanese radiation poisoning due to their visual aesthetic and the psychic powers they seem to possess throughout the film. During the next scene, a sign is shown advertised in the Olympic Games. The Olympics is a recurring theme throughout Akira, showcasing the infiltration of Western culture into Japanese society post World War II.

When Kanada and the rest of the gang go to the police, a revolutionist tries to set off a bomb only for it not to go off and is then attacked. This further cements the idea of governmental post-war power struggles throughout the film. Kanada ends up getting Kei out of being arrested and tries to ask what happened to Tetsuo and gets nowhere, as this is going on Tetsuo’s story becomes one about governmental experimentation again highlighting Japan’s post-war anxieties due to the effects of the atomic bomb. As the colonel talks to a politician about the incident, the film again shows neo Tokyo in a socio-political power struggle between religious zealots, corrupted capitalists, and violent parentless youth further emphasizing the themes of teenage youthful rebellion. As Tetsuo is examined by scientists and military, they discuss the possibility of him having the same psychic power as the Esper children and Akira have which caused the explosion that led to neo-Tokyo. The colonel says, “maybe we shouldn’t mess with that power” to which the scientists says “the power of God”. Akira is ultimately a metaphor for post-World War II anxieties reflecting the atomic bomb. The mutated government says subjects like Akira and took to the reflect radiation poisoning. However Akira also has a religious ideology as well as a cultural one. Within the film Akira acts like a god punishing humanity, believing that technology has ruined man due to their advanced militarily. Akira therefore could be seen as a judgement as humanity did not learn its lesson and the punished by God, as the explosion at the beginning of the film could be seen as biblical.

As this is going on Kaneda and the rest of the gang are disciplined by being beaten at school by their teacher as prostitutes then try to pick them up. Kaneda and his gang reflect the violent parentless youth that come about due to a post-war environment, as with no parental or authority figures to look up to they create their own ideology further cementing the themes of teenage youthful rebellion. Tetsuo escapes from the hospital where he was being held and meets up with his girlfriend Kaori as they talk about wanting to escape city. This idea reflects the overall theme of wanting to escape from the shadow of the atomic bomb and the scars of the country’s past. Tetsuo in the stealing Kaneda’s bike and rides off with Kaori. This further reflects the idea of machoism and masculinity and teenage youthful rebellion within Akira with Tetsuo proving himself to be a man, the sign the bike stops by as it runs out of fuel says “end of Shimamoto labour union strike” further showcasing the power struggle in neo-Tokyo. Tetsuo and Kaori get beaten up by bikers as Kanada and the others come to save them. Tetsuo however is angry at this as due to these actions he is perceived as not as masculine, highlighting his character as a tragic hero one who is angry, jealous, and immature. Tetsuo then receives flashes inside his head of people saying Akira announcing him like a god. He then has visions of him falling through the road into metal pipes which is juxtaposed with Tetsuo’s organs spilling out showcasing how people died of radiation due to the atomic bomb.

The government then comes in to retrieve Tetsuo and take him away as Kanada tries to fight back against them both showing the themes of masculinity and teenage youthful rebellion running throughout the film as well as the power struggle neo-Tokyo finds itself in. The rebels then fight back against the government by blowing up a shopping centre showcasing neo-Tokyo in a power struggle rejecting the Americanisation of the country’s culture. As Kanada and Kei rescue each other from government soldiers, Tetsuo is scanned in a machine. The film then flashes back to when him and Kanada met each other in a foster home as Tetsuo said gave him away, as in the playground they bonded with one another. This memory is interrupted however by dream sequence of the city crumbling along with themselves clearly paralleling the atomic bomb. Tetsuo then wakes up causing a light to crack indicating his telekinetic powers resulting from radiation poisoning caused by the atomic bomb.

The colonel goes to visit one of the Esper children again as a clear parallel to radiation poisoning. She says that if the boy escapes the city will be destroyed and people will die as Akira will return. This clearly highlights the post World War II anxieties of Japan as Akira it is effectively a metaphor for the atomic bomb. Not only this but throughout the film Akira seems to be likened to a god punishing humanity, believing that technology such as a advanced militarily has ruined mankind. Akira therefore is a judgement, as humanity did not learn from their mistakes and was therefore punished by God highlighting the explosion at the beginning of the film as Biblical.

The colonel believes in the soldier’s way and acts on commands due to him being a world war three veteran highlighting the themes of machoism and masculinity throughout the film. The colonel and the scientist then go down to see Akira’s chamber. This idea of the fear of scientific progress is shown the scientist believing that they can control the next stage of human evolution, whilst the colonel, battle hardened, Is scared by the power of science as he has seen it fall into the wrong hands. The colonel criticises science for sealing away Akira like Pandora’s box. Akira, symbolic of the atomic bomb, is also symbolic of God punishing humanity as technology has ruined the soul of man with an advanced militarily. It turns out that Kei and Ryu are part of a revolutionary group wishing to bring down the corrupt government. Kanada is then captured as he tries to sneak into the conversation and explains his story to them, which Ryu explains to the Minister. This further showcases how multiple powers throughout the film exploiting each other for their own personal gain, as neo-Tokyo is in power struggle between religious zealots, corrupted capitalists, and violent parentless youth.

The religious zealots are a key part of neo-Tokyo’s socio-political power struggle. They see Akira as a judgement, humanity did not learn from its mistakes of the past as evidenced by world war three and the explosion at the beginning of the film and is therefore punished by God, as the explosion is seen as biblical. They praise Tetsuo believing he is Akira returning marking him as divine. This showcases the way that humans can evolve into gods, as in the absence of God man creates his own. This is clearly apparent by the way they write on the pavement “Lord Akira that enlightened” and chant bout Lord Akira’s awakening. “That which is called science prevents providence! That which is called progress encourages extravagance! That which is called civilisation devastates the spirit of man! The time of atonement is upon us! The time of his awakening is nigh! The time of Lord Akira’s awakening draws near! Are your hearts prepared!”. Amid this the government ministers fight amongst themselves over trivial matters and ultimately decides to put the colonel before a committee. This further highlights the post-World War II anxieties of the atomic bomb showing neo-Tokyo in a power struggle between religious zealots, corrupted capitalists, and violent parentless youth. As within the loss of Japanese identity via industrialisation and American application, Akira is seen as a god punishing humanity as technology has ruined man by creating an advanced militarily.

The film then cuts back to Tetsuo in hospital, using his telekinetic powers to remove the glass of water to his hand symbolic of radiation poisoning. In Tetsuo’s surreal dream sequence miniature versions of children’s toys (a bear, a bunny and a car) in the room crawl onto his bed where Tetsuo grabbed them and they disappear. Lots of different little component parts combine together to form a giant mutated to a teddy bear that crashes through the ceiling and secretes a white substance (this can be linked either to blood or breast milk) that then attacks Tetsuo as a mutant rabbit is also formed. The wall is then destroyed and becomes Lego blocks as a giant car comes walking out of the hallway and sprays Tetsuo with a white substance (again this can be linked to either blood or breast milk) knocking him back. As Tetsuo founders around he steps a piece of broken glass causing blood to secrete from his foot, the monsters go back in horror are showing that they are the Esper children. This entire sequence showcases the loss of the youth due to the effects of the atomic bomb and how many lives including innocents were lost due to this experience. However, as well as this the scene also shows how the youth have to live within this post-war world and how their childhood has been warped and destroyed by the effects of war and they are now roaming through a world that they do not understand and see it as a living nightmare.

Tetsuo embraces his flaw and his newfound powers by killing people and making his escape from the hospital demonstrating the post war struggles of Japan. As this is happens Kaneda, Kei and the resistance group infiltrate the hospital. Tetsuo then enters the baby room to find the children hiding in the mutated child’s toys which were used as disguises by the Esper children. They then tried to attack him, but he destroys the disguises revealing the children, showcasing how he sees it as the destruction of his child self and his transformation into adulthood further cementing the themes of teenage youthful rebellion. Tetsuo then uses his psychic powers to blast away the toys revealing the children, showcasing that through post-war struggles Tetsuo is a tragic hero. Due to always being in kanada’s shadow if he has become angry, jealous, and immature, embracing his flaw, and becoming the villain of the story. This showcases how he rejects his child self and, in his mind, becomes an adult, symbolically showing how the bomb destroyed people’s childhoods as Tetsuo embraces his power. Kei is shown to also have psychic powers as one of the Esper children use the medium to communicate showing how this power can be used for good. Tetsuo and the Esper children engage in a telekinetic mind battle, as they comment on the responsible use of power and how Tetsuo has misused his power, the power lies inside everyone but you need to choose how to use it. They say that he will awaken Akira, which is what Tetsuo wants to do in the first place believing that he is the only other one with the power to stop him. Tetsuo making his own choice and abusing power for his own means reflects the post-war anxieties of World War II.

Kanada comes in to try and save Tetsuo but Tetsuo refuses saying he does not need him anymore. Tetsuo personifies post-war struggles, he embraces his flaw and becomes the villain as Akira is a film about crying out for a responsible use of power and how that power can be misused, as well as showcasing the masculinity of the characters in a post-war environment and the themes of teenage youthful rebellion. Tetsuo then goes to find Akira as he believes that he is the only one that can challenge his godhood. When the professor says, “his developed so much power in such a short time”, it reflects how Japan went from a poor economy to a rich one in the 80s. Kei and the Esper children talk to one another again, demonstrating that she has psychic powers and that power lies inside everyone but you must choose what to do with it. The colonel gets fellow military personnel to kill a government worker when he says he is to strip him of his position, by saying that they are one in the same and that together they can work to stop this. This further exemplifies the World War II anxieties at the time a post-atomic bomb society. Due to neo-Tokyo suspended in a power struggle between religious delegates, corrupted capitalists and violent parentless youth, Akira is seen as a god punishing humanity believing that technology has ruined mankind due to their advanced militarily and that they have chosen to use their power in a negative way.

Tetsuo then goes to the door of the bar that says, “adults only”, showcasing his immaturity as he smashes up the bar and kills the owner embracing his flaw. Sitting on top of the wreckage inside the bar talking to his fellow gang members with pills in hand, this indicates both drug addiction and how Tetsuo now sees himself as a leader/boss. This speaks to the themes of the film with neo-Tokyo caught in a power struggle Tetsuo sees himself as the one coming out on top further highlighting the themes of teenage youthful rebellion. He is a tragic hero, angry, jealous, and immature he embraces his flaws and becomes the villain. Tetsuo wants to know where Kanadas bike is so he can go and destroy it, again showing himself as someone powerful in charge as showcased by him standing in a vending machine looking down at his ex-motorcycle gang members, further showcasing the themes of masculinity and teenage youthful rebellion throughout the film and how Tetsuo embraces his floor and makes his choice by becoming the villain.

The conversation between Kei and Kaneda as Kei explains what Akira is showcasing it as an atom, linking it to the atomic bomb, as well as showing it a condensed form of power, power that can be used as such has to create as to destroy in the wrong hands.  Kei- “Ryu told me about it once. He said that akira is absolute energy.” Kaneda- “absolute energy?” kei- “humans do all kinds of things in their lifetime right?” kei- “discovering things building things. Things like houses, motorcycles, bridges, cities, and rockets. All that knowledge and energy where do you suppose it comes from?” Kei- “humans were like monkeys, once right? And before that reptiles and fish. And before that plankton and amebiasis. Even creatures like those have incredible energy within them.” Kaneda- “because of genes I guess” Kei- “and even before that maybe there were genes in the water and air. Even in space dust to I bet. If that’s true what memories are hidden in it? The begging of the universe maybe. Or maybe even before that. Maybe everyone has those memories. What if there was a mistake and the progression went wrong, and something like an amoeba was given the power of humans?” kanada- “and that’s what akira is?” kei- “amoebas don’t build houses and bridges. They just devour all the food around them.” Kanada- “that’s what tetsuos doing? Your saying he has that kind of energy?!” kei- “a long time ago there were people who tried to control that power. At the government’s request, you see. They failed and triggered the fall of Tokyo. That power is still too much for…”. All of this is told to kanada from the Esper children who communicate though Kei showing her psychic abilities. Kanada and his fellow gang member meet up where he cries over the death of another one of their members. Kanada says they have always been together, they went to the same children’s home and that he was in klutz and everyone made fun of him. Kei walking on water with the Esper children shows that she has psychic powers, the Esper children explain this to Kanada. “akira’s power lives inside everyone. But when that power is awakened, even if you weren’t prepared for it, you must choose how to use it. And he has made his choice. Tetsuo is a newest companion. Were partly to blame for his actions.” Akira is symbolic of post-World War II anxieties mirroring the effects of the atomic bomb. This nuclear anxiety is reflected in the mutated government subjects of the Esper children reflecting that radiation poisoning. This also showcases the loss of Japanese identity via industrialisation and American occupation. Throughout the film Akira is likens to a god punishing humanity as he believes that technology has ruined man through things such as military advancements. Akira is a judgement, humanity did not learn and is therefore punished by God hence the biblical explosion is seen at the beginning and the film is the main message of the film seems to be power lies inside everyone but you need to choose how to use it.

As the military coup is underway the following scene shows Akira’s story presenting themes relating to post ww2 anxieties post atomic bomb as Neo Tokyo is in a power struggle between religious zeolites, corrupted capitalists and violent parentless youth. As the military coup is underway a politician panics and burns his files. As the rebels burst through the building the politician packs up ready to leave as the other ministers have killed themselves in the bathroom. Ryu comes in saying that the mission was a failure and that only he made it and in response he shoots him and they both end up dying in the street with the politician overdosing on pills, highlighting the theme of drug addiction throughout the film. During the rioting neo-Tokyo, Tetsuo emerges from the flames of the wreckage of the city, demonstrating how Akira and Tetsuo are likened to religious figures judging humanity, which is further shown by him draping himself in a red cape like a mythical figure or an Emperor or a superhero (or super villain in Tetsuo’s case). The tank that fires the shell at Tetsuo is called samurai spirit, further highlighting a Japan trapped by its past. Tetsuo stops the shell as it explodes in mid air and then destroys the tank with his psychic powers. In a post atomic bomb world with no God, mankind creates its own in the form of Akira and Tetsuo, showcasing how through the youthful themes of teenage rebellion they can either bring about a better world or follow in the mistakes of its past as people believe Tetsuo is Akira. They praise Tetsuo as Akira’s return believing him to be divine showcasing how humans can evolve into God’s through apotheosis (the elevation of someone to divine status).

The press then gets cut off in commenting on the action, further showcasing the World War II anxieties in a post atomic bomb neo-Tokyo. A cult follows Tetsuo believing him to be the reincarnation of Akira, as Tetsuo uses his telekinetic powers to destroy the bridge and topple them into the sea. The film also shows them waving banners saying “we worshipped the great Lord Akira” and the cult leader saying “oh, flames of purity, raise this corrupt city! Consume our own clean hearts! Fear not! Our bodies will be purified in flames!”. This further illustrates Akira’s post war anxieties reflecting the atomic bomb as the religious zealots believe that Tetsuo is Akira and by extension that Akira is a God punishing humanity due to their technological evolution. Akira’s judgement shows that humanity has not learnt its lesson and needs to be punished in a biblical way. They praise Tetsuo as Akira’s return believing he is divine showing how in the absence of God man creates his own raising them up from men. Both Akira and Tetsuo are like religious figures judging humanity and with Tetsuo destroying the bridge it shows a rejection of both governmental and religious control.

Kei controlled by the female Esper child again shows that good can come from using such powers tells Tetsuo, “you shouldn’t use your power this way. In the end you won’t be able to control it.” Tetsuo uses his powers to raise Akira’s chamber up from the ground as Tetsuo and Kei fight showcasing the good and evil of psychic powers. Tetsuo opens up the chamber mirroring opening up Pandora’s box, and instead of finding a suitable enemy he finds the remainder of Akira was dissected for science, as the colonel tells him, “there is sure Messiah”. Again, Akira has been raised up as a God punishing humanity through a biblical judgement as evidence by the explosion. Due to this they praise Tetsuo as Akira’s return, worshipping the divine and raising humans up involving them into God’s as in the absence of one man creates his own, allowing Akira and Tetsuo to become religious figures judging humanity.

The general explains that Akira’s body was subjected to every test known to science, scared by the discovery they hid it away to be found by future generations. Tetsuo lashes out in anger over this like a child further cementing his tragic hero character. Tetsuo is angry, jealous, and immature and embraces his floor becoming the villain. This in Tetsuo’s mind gives him more masculinity as Tetsuo feels less emasculated by Kanada and therefore lashes out as a both prove to each other they are men by fighting one another as well as highlighting the themes of teenage youthful rebellion. Kanada’s “and now you’re the boss of this pile of rubble” line showcases that being in command means nothing if you have destroyed everything around you to get to this point, you are still ultimately powerless. They then fight one another proving their masculinity and demonstrating teenage youthful rebellion as Tetsuo starts winning hence his line “feeling frustrated Kanada now do you understand how it feels”. A satellite blast cuts of Tetsuo’s arm as he goes into space destroying it, Kanada, Kei and the other biker member managed to escape as the satellite falls to earth. Tetsuo then rebuilds his arm with metal, teasing the body horror of Akira that will come later in the film. This scene demonstrates how through Japan’s economy and industrialised progress their traditional culture was destroyed, resulting in a loss of Japanese identity via industrialisation and the American occupation.

A conversation between the Esper children goes as follows. “When Tetsuo’s power reaches its peak? That’s when we do it. But will it work? The future doesn’t proceed along a single course. That ought to be a future we can choose.” This demonstrates the idea of building a better future in the wake of World War II and that Japan must pick itself up from the ruins to form a better world. The Professor is amazed by Tetsuo’s statistics believing that it could change humanity, as the colonel gets angry at him by finding out that they had been monitoring Tetsuo’s power and attacks him. This further links into the idea that Akira is a God punishing humanity since technology has ruined mankind as evidence with the advanced military in the film. The scene where Tetsuo sits on the throne as Kaori asks him why people are calling him Akira showcases Tetsuo’s character of being that of a fake god. The throne he sits on the is symbolic of an outcry for a responsible use of power, Tetsuo however has misused his power for his own ends. Wires then burst out of Tetsuo’s arm in a body horror-esque scene. This demonstrates that Japan’s economy and industrial progress destroyed its national culture, resulting in a loss of Japanese identity via industrialisation and American occupation. Tetsuo refuses to become like those kids demonstrating his masculinity and teenage rebellion. This also showcases Tetsuo as a tragic hero. Angry at Kanada he is jealous and immature, and therefore embraces his floor and becomes a villain.

Tetsuo’s arm and body grows and mutates as it engulfed the colonel almost killing him. This transformation shows that Japan both took pride in its place in the New World but also expressed fear of it, leaving that it will result in a loss of Japanese identity via industrialisation and American occupation, as Tetsuo’s transformation is symbolic of a new Japanese identity. Tetsuo and Kanada then both fight one another showcasing their masculinity and teenage youthful rebellion. The Esper children then pray to Akira waking him up. Akira acts as God punishing humanity believing that technology has ruined mankind is showcased by the advanced military. Akira is a judgement. Humans did not learn and are punished by God, as the explosion is biblical. They praise Tetsuo believing he is the reincarnation of Akira and therefore divine. This showcases how humans can evolve into gods as man creates his own good, as showcased by Akira and Tetsuo who are like religious figures judging humanity.

Tetsuo’s transformation at the end of the film into a grotesque giant flesh metal hybrid clearly showcases the film’s use of body horror. Body horror within the context of Japan alludes to the fact that Japan’s economy and industrial progress have destroyed their traditional culture. This transformation shows that although Japan took pride in their place in the world, they were they were also afraid of it believing it could eradicate their traditional culture. Tetsuo’s transformation shows a new Japanese identity and is symbolic of post-war Japan after World War II. Japan is exiting an old traditional state of being into a one showcasing how this can both overpower people, culture, society and the country as a whole but also allow the country to form changes that are both threatening and exciting showcasing a new Japan and a new world. Japan is now no longer a victim of powerful outside forces and has become a powerful nation, showcasing how rapid technological change can both overpower humanity but also push humans into forming new empowering and exciting identities. Not only this, but Tetsuo’s transformation is not only physical and cultural but also spiritual, showcasing a loss of humanity and an evolution into a new type of being.

In Tetsuo’s transformation he looks like a foetus again symbolising the birth of a new Japan and a new world. Tetsuo then kills Kawore shows how innocent people die in a post-war environment. Tetsuo engulfs Kanada who again becomes a scared little child as Kanada blasts out of Tetsuo showcasing his masculinity and the themes of teenage youthful rebellion. The colonel and the Esper children are engulfed by Tetsuo as they wake-up Akira. Akira, symbolic of the atomic bomb, traps Tetsuo in the giant ball of light, creating a giant explosion This further demonstrates Akira is being symbolic of the atomic bomb as well as being a judgement as humanity did not learn and is punished by God hence the explosion. The colonel is saved by the Esper children as he then takes shelter in the tunnel, as Tetsuo and Kanada are trapped in the giant ball of light resulting Esper children jumping after them to save Kanada.

In a surreal scene Kanada is seen floating in the spectre of light as the film shows his and Tetsuo’s back stories. The film shows Kanada teaching Tetsuo how to ride a motorcycle and  Kanada and Tetsuo striking a friendship at school with Kanada who were both transfer students abandoned by their parents, Tetsuo was weak but Kanada stood up for him getting his toy back and getting beat up in the process. Throughout all the mass devastation and big philosophical themes playing throughout the film this moment creates a good little personal vignette to emotionally connect with the characters. The back stories of the Esper children are also shown including Akira’s. They were children at a nursery who had telekinetic powers, although they were somewhat happy they all knew what was going on and that ultimately they are government experiments as this scene is the memories of both Akira and the Esper children. This scene also creates a nice little bit of emotional back story giving more depth to the characters to offset the widescale destruction. The Esper children tell Kanada that they must take Tetsuo away to another dimension, however the film showcases a sense of hope in that great power can be used for good in the form of Kei who also has telekinetic powers.

As the scientist monitors what is happening it shows on the his screen Akira becoming an atom, symbolic of the atomic bomb this showcases the birth of the New World as a scientist is killed by his own pipes for meddling in things beyond his control. Neo-Tokyo is destroyed by the mass amount of energy caused by Akira. However, the heavens then part revealing that a new world is created as shown with Kanada holding a atom in his hand before it fades symbolic of life. Kanada clutches the essence of life in his hands in a kneeling position reminiscent to praying, as the light from the small ball makes him glow for a second showing his enlightenment. As Kei and the rest of the gang meet up with him, the heavens then part revealing the New World as they drive off determined to make it a better one, as demonstrated by the voice-over of one of the Esper children, “but someday we will be able to, you see it’s already begun”. This idea is encapsulated with the final scene of the film where Tetsuo is now part of another dimension shown as a spectre of lights in the circle as he says, “I am Tetsuo”. Akira takes Tetsuo to a new dimension symbolising a new Japan free from the burdens of the past. Tetsuo in a new world creates a new universe, as in a biblical sense destruction brings about a new world. Although destruction and creation are part of the cycle, Akira’s message is not to repeat the mistakes of the past, as Tetsuo can start again creating a better world than what came before.

Akira is ultimately a metaphor for Japanese post-World War II anxieties mirroring the dropping of the atomic bombs on Hiroshima and Nagasaki and the aftermath of the event. However, rather than wallowing in the horrors of the past Akira presents a positive message of freeing yourselves from past burdens and forging a new world for yourselves better than what came before and being determined not to follow the same mistakes.