The author takes on an optimistic perspective on the apocalypse genre in relation to Japan, arguing that it is profoundly optimistic and even yearning for a massive systematic reset and nostalgia for, even romanticization of, war-time comradeship and warmth. One iconic film related to this genre is the 1988 animated film Akira, adapted from a manga series of the same name. The influence of architecture and infrastructure on providing context to the film and forming the narrative of a cyberpunk Armageddon is shown from the stylized buildings in downtown neo-Tokyo to the intricate sewage systems where conflict takes place in the film. As opposed to the manga, the film is considerably shorter, and simplifies the complex doomsday conflict that occurs in neo-Tokyo, a city that appears familiar and unfamiliar at the same time. However, it does not show the state forces solving the conflict, but as the cause of the conflict instead.
Lau Cin Man Anais
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Appreciate your thoughts on Akira and the relationship between the architecture of the film and the actual city, and the differences between the film and the manga. Rather than simply being optimistic, to what extent do you understand Tsutsui’s analysis of the Japanese psyche through his description of the apocalyptic movies – in their production, representation of the cities and characters and reception (the audience keeps coming back, wanting more…)?