all, see Jacques Derrida, "LIVING ON: Border Lines", in Deconstruction and Criticism, translated by James Hulbert, New York: Continuum, 1979. 69 Two other spheres of special significance in the film: one, the orb of kingship on the dining table in one segment of the famous Breakfast Montage Sequence; the other, the increasingly spherical figure of Kane himself, prefiguring what Orson Welles would himself become. 70 See Stephen Hawking, The Universe in a Nutshell , Sydney: Bantam Press, 2001:99. Insofar as Hawking is "bounded in" a wheelchair, does he not make that wheelchair a nutshell? This is turn recalls Virilio's treatment of the wheelchair in The Aesthetics of Disappearance , translated by Philip Beitchman, New York: Semiotext(e), 1991:63, where after Jean Renoir he poses it as figure of the spectator's seat in the movie theatre -- a very fecund image for our speculations. 71 On these aspects of Akira , and more, see my "Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla and Baudrillard", in Baudrillard West of the Dateline , edited by Victoria Grace, Heather Worth and Laurence Simmons, Palmerston North, New Zealand: Dunmore Press, 2003. The Trinity test explosion of the first nuclear bomb July 16, 1945 quickly led to the atomic detonations at Hiroshima and Nagasaki August 6 and August 9, 1945, respectively -- the mushroom-shaped cloud demi-sphere of the atomic bomb that initiates World War III in Akira recalling and inscribing that of all three. We would add: Akira foregrounds its narrative as spiral/spherical, too! Indeed,