![]() That thinking was behind some of the intense detail he put into his boards - beyond even many manga of the day. Otomo boarded keeping in mind that Akira would be shot on 70mm film, a rarity for anime. “I think I did too much on my own for Akira ,” he later said. But it was Akira, the following year, that put Otomo on the map as an anime director.Īlongside his other duties on Akira, he drew the film’s 738 pages of storyboards by himself. His piece for the latter, The Order to Stop Construction, is a deeply underrated study in suspense. Otomo’s first director credits appeared in Robot Carnival and Neo Tokyo, a pair of obscure anime anthologies from 1987. He came at them like a manga artist who’d come at manga like a filmmaker. ![]() So, we have to keep this complex blend in mind as we approach Otomo’s storyboards. “It was different from the conventional rhythm in Japanese manga and more like something lifted from Kubrick or Peckinpah,” Urasawa said. As Urasawa noted, it felt more cinematic - Otomo was taking beats from film. ![]() ![]() It wasn’t just Otomo’s detailed, realistic drawing style. Read right-to-left - some of Otomo’s famous framing, pacing and rendering in Fireball
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