(en) « Akira Vol 1 », sur Marvel Database (consulté le ).
franceculture.fr
Nicolas Martin, « Akira : 30 ans au compteur » [émission radiphonique], sur France Culture, (consulté le ).
francetvinfo.fr
« Le manga culte "Akira" revient dans une édition définitive », sur francetvinfo.fr, (consulté le ) : « Néo-Tokyo en 2019 où Tetsuo [...] se réveille à l'hôpital et découvre qu'il détient des pouvoirs qui pourraient être en lien avec l'explosion qui avait détruit Tokyo 38 ans auparavant, et qui avait lancé la Troisième Guerre mondiale. ».
glenat.com
« Akira (noir et blanc) - Édition originale », sur glenat.fr : « En 2019, trente-huit ans après la Troisième Guerre mondiale, Néo-Tokyo arrive au terme de sa reconstruction. ».
« AKIRA functions as both the title of the manga series and the name of the mutant child who caused this Hiroshima-like apocalypse. The explosion triggers the onset of World War III, which envelops cities all over the world, from Moscow to New York, from Paris to Berlin, from Washington to Warsaw, from London to New Delhi. The story proper begins a few pages and thirty-cight years later, in the year 2019 in the city of Neo-Tokyo, which was rebuilt out of the ashes of Old Tokyo on an artificial island in Tokyo Bay. Although the translators of the English-language editions of AKIRA mistranslate the onset of World War III as "1992," thereby shifting the date of Neo-Tokyo to 2030, Ōtomo's original serialized version and the cur rent Japanese edition of the paperback collection use 1982 as the start date for World War III and 2019 as the beginning of the story proper in Neo- Tokyo, respectively. » — (en) Steven T. Brown, Tokyo Cyberpunk : Posthumanism in Japanese Visual Culture, Springer, , 256 p. (ISBN9780230110069, lire en ligne), p. 2
Jean-Paul Bourre, CAMION NOIR: SEXE, SANG ET ROCK'N'ROLL, CAMION BLANC (ISBN9782357794726, lire en ligne), "Ce rock'n roll futuriste, qui peut tuer ou rendre fou, est là, dans Akira, le manga subversif de Katsuhiro Ōtomo qui remplace Fort Apache et Le Corsaire rouge dans la cervelle des mômes du deuxième millénaire. Les décors à la Blade Runner sont là - les rougeoiments, les jeux d'ombres, les zo,es d'obscurité. Une bande de motards mutants, doués de pouvoirs paranormaux, déferlents dur Tokyo une nuit de l'an 2030."
(en) M. Keith Booker, Encyclopedia of Comic Books and Graphic Novels [2 volumes]: [Two Volumes], ABC-CLIO, , 763 p. (ISBN9780313357473, lire en ligne), "Manga became increasingly popular in the United Srates in the early 1990s, also in- fluencing the production of a number of manga-infuenced American comics. Some of the earliest and still most popular manga focused on post-apocalyptic situations; a genre thoroughly explored by a culture that had witnessed first hand the catastrophic effects of nuclear power. In Akira (1982), a motorcycle gang in Neo-Tokyo is torn apart as one member. Tetsuo Shima, gains psychic abilities and another, Shotaro Kaneda, attempts to stop him from abusing his power. Both are pulled into a larger range of events in a post-nuclear war world with some people developing new abilities while others are unwilling lab experiments." p. 480
(en) Steven T. Brown, Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture, Springer, , 256 p. (ISBN9780230110069, lire en ligne), Both dates are significant and should not be over- looked or mistranslated. [...] The second date, 2019, is equally significant. That Otomo chose to situate the postapocalyptic time of Neo-Tokyo in the same year as the opening of Blade Runner suggests I would argue that the mutant children inhabiting Neo-Tokyo in AKIRA possess more than a distant family resemblance to the replicants from Los Angeles in Blade Runner
