This is quite the opposite of Disney''s way to reach " global" audience -but nevertheless an efficient one. Akira is an empty structure for every reader to fill with his or her own experiences, dreams and desires. Space, time, narrative logics, meanings and values systems are methodically de-constructed -until the way to the future is left wide open to the optimistic energy of the youngsters with no signpost at all. Akira transcends the Original Experience by combining it with the " postmodern" sensibility. Since this experience was unique, the first mangas were not so much for export. They are deeply rooted into what Saya SHIRAISHI calls " the Original Experience and the Original Picture" -A-bombed Japan of 1945.
The aesthetical and ethical standards of manga are worlds apart from those of American mainstream comics (Disney and superheroes) and the " ecole franco-belge". This makes it a major element of Japan''s soft power and a worthy subject for academic research. Akira''s echo in the West -like Doraemon''s success throughout Asia -epitomizes the fact that contemporary manga is the vehicle of a culture which appeals to audiences all around the world.
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Akira the movie enjoyed worldwide success.
It also succeeded in the US -which is hardly an easy market either. It became a cult-serie in France, although this fortress of the " ecole franco-belge" is a very difficult market for foreign comics. It stands out as a highly sophisticated cultural object far away from the standard manga''s violence and sex routine. The fact is that Akira is in a class of its own. Its French publisher targeted well-educated high-income urbanites at a time when manga were still considered cheap stuff for children or semi-illiterate teenagers. When translated into French (1991-1995), the eleven volumes serie was given an unusual first-class treatment -complete with colors and hard-cover. OTOMO Katsuhiro''s Akira was published in Japan from 1982 to 1993.
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