Akira, the Manga (1982)

First volume cover.

Synopsis

Akira, written and illustrated by Katsuhiro Ōtomo, is a cyber-punk manga taking place in a post-apocalyptic Neo-Tokyo. The series ran from December 20th, 1982, to June 25th, 1990, and had 120 chapters between 6 volumes. Akira chronicles a Tokyo that is decimated by a mysterious blast, inciting World War III and leading to the formation of Neo-Tokyo, a corrupt, seedy metropolis. Kaneda, a teenager and one of the story’s focal characters, is the leader of a motorcycle gang with his best friend Tetsuo. After a run in with an “esper” (a powerful child with telekinetic powers), Tetsuo gains psychic powers of his own. From there, the story becomes a race against time as the government and Kaneda try to contain Tetsuo and his destructive powers so that he doesn’t incite another World War. 

Tokyo Getting Blown Up in Volume 1 of Akira (Oh No).

The Dystopia of Neo-Tokyo (Wow, This Place is a Dump)

When it comes to shady underbellies, Akira has you covered. Not only is this a world riddled with biker gangs, military experiments, and political unrest, the city of Neo-Tokyo is built directly atop the ruins of old Tokyo, a constant reminder of World War III. Nuclear anxiety is one of the story’s strongest dystopian themes, evident through the military’s constant presence and pursuit of Tetsuo. The overbearing government control in Akira leads to youth rebellion and the formation of violent gangs, all of which are exclusively male-dominated (more about gender in the next section). While Neo-Tokyo’s neon-lit infrastructure and advanced cybernetic technology should be signs of societal progress, its decay and disillusioned populace make it an anti-capitalism work about what happens when consumption and power goes unchecked. Akira explores dystopian themes of societal breakdown and mass destruction, and this is only further enhanced when discussing the gender performances of Kaneda, his gang, and Tetsuo.

Really cool bike activities from Kaneda and his gang.

The Capsules and Male Camaraderie

 An important aspect of Akira (and probably my personal favorite aspect of the manga) is the hyper-masculine performances of Kaneda’s biker gang, The Capsules. As disillusioned products of their environment, Kaneda and his friends resort to violence to assert dominance over other men (especially The Clowns, a rival gang). Analyzing The Capsules and their relationships with one another could prompt an interesting conversation about the portrayal and dynamics of male social groups. Kaneda’s gang bonds primarily over dealing drugs, catcalling women, vandalizing buildings, and driving recklessly, but the gang does share moments of genuine connection and emotional bonding outside of hyper masculine performance. They do care for one another in this world on the brink of collapse, and analyzing both the positive and problematic aspects of their gang could prove fruitful for a discussion about gender. There are very few women featured in the manga, so I think the work is practically begging us to think about men and their relationships.

Late stage Tetsuo (I am frightened of this man)

Tetsuo and Toxic Masculinity through Body Horror

As the series main antagonist, Tetsuo is constantly put down by the gang for being slower on his bike and physically weaker when compared to the other members of the gang. After gaining psychic powers, he begins to abuse his new-found physical strength and displays extreme aggression. He begins sexually harassing women, kills some of his fellow gang members, and craves authority and control. I can think of no better character to analyze for Gender and Dystopia, as Tetsuo represents a textbook case of toxic masculinity. His need for dominance is rooted in deep-seated insecurity brought on by his fellow gang members teasing and emasculating him, and I think there is a case to be made that his repression of emotional pain and vulnerability leads to his downfall. One of Akira’s most memorable facets is its body horror centered around Tetsuo, and I think that the mutation of his body could be worth exploring as a metaphor for his suppressed trauma…also...Kaneda and Tetsuo’s relationship reads a little romantic sometimes…but that’s not a conversation the people are ready for (however, I am. Queer theory and homoeroticism abounds). 

Conclusion

Akira is a work interested in exploring abuses of power and systemic corruption, so finding parallels that relate to patriarchy and toxic masculinity is certainly no coincidence. I think the manga has a lot to say about male relationships, both positives and negatives, and it’s absolutely worth investigating through a gendered lens.

Sources

Ōtomo, Katsuhiro. Akira. Dark Horse Comics, 2011.