the story, at which point the logo changed again and he removed the "H" from his surname. The fourth logo for Akira, used for chapters 49–71, returned to using katakana and was created by manga artist Hiroshi Hirata as Otomo wanted a Japanese calligraphy-style. Otomo's name was still written in English until chapter 55. Having come to the "final chapter" of the series, Otomo figured he should change the logo again and went with an English font similar to Impact for the title and his name for chapters 72–120. He had already been using Impact with the top "trimmed off", which gives a dignified and American comics feel, for the covers of the collected volumes. However, some fans believe some of the fonts actually used do not match the above named typefaces. Otomo was meticulous in creating the collected tankōbon volumes of Akira, often leading to them being released late. During serialization he faced not only schedule deadlines but also page limits and would have to cut stuff in order to fit said limit. He therefore would draw rough designs of what he actually "wanted" to draw in the margins of the chapters' manuscripts so that he would remember when time came to redraw the collected volume. He also had to make alterations in the collected volumes due to all the chapter title pages being removed, for example to make sure two-page spreads ended up on opposing pages. He wanted everything about the collected volumes, including the page count and paintings, to give a deep and full American comics feel. The covers are entirely in English, but he said this was not with an eye towards global distribution, he simply "had this incredible enthusiasm to just try to make something new." With its all-English cover, B5 size and painted page edges, the first volume of Akira caused a sensation in Japan. Otomo painted the cover illustration of the first volume very thick, while its inside cover illustration was influenced by Tetsuji Fukushima's manga Sabaku no Maō and how he used colors like American comics. Because the first volume had a "hot" red cover, Otomo felt volume two should have a "cool" one. Its back cover image was created using video, and he said he ruined Kodansha's VCR by repeatedly changing the color balance to get it right. Following the American and European cover images of the previous two volumes, Otomo