Ain't It Cool News (www.aintitcool.com)
Movie News

Mature Astro Boy Re-imagining Pluto May Be Coming To Life

Logo handmade by Bannister Column by Scott Green
Deadline is reporting that Universal Pictures and Despicable Me producer Chris Meledandri's Illumination Entertainment are teaming with Tezuka Productions to adapt Naoki Urasawa's Eisner Award nominated manga Pluto as live action/CG hybrid film. The thoughtfully mature reimagining of a classic Astro Boy story manga was released in North America by VIZ Media. "With Pluto, Naoki Urasawa has defined an imaginative world full of inventive action and adventure but it was his characters and heartfelt story that compelled me towards acquiring these rights," Meladandri said in a statement.

A previously posted look at the manga's first volume.

Manga Preview Pluto: Urasawa x Tezuka 001 by Naoki Urasawa Released by VIZ Media

Naoki Urasawa's Pluto is a Blade Runner re-imagining of Astro Boy, not in terms of plot or environment, but in terms of tension. While the manga deals with a detective trying to find the truth behind two, specific, potentially incendiary deaths, it's not just one troubled individual in the spotlight with a dimmed, inactive world around him. Whatever that detective sees, whether it is a mundane day to day struggle, evidence of a haunting past or an acute tragedy, it does not go away when he leaves the room. The consequences of those deaths may turn out to be apocalyptic, and the worst may be averted, but even then, Pluto projects a tomorrow which is likely going to be trying for all involved. Looking into a disaster plowing through a forest of social problems, this story is palpably stressful. Of all the reaction manga can evoke, few are as likely to cause you to rub your temples as Pluto. I don't know if "not maudlin, but genuinely sad" is a selling point for manga, but in terms of substantial sci-fi, I couldn't recommend Pluto any more strongly. As translated by Frederick L. Schodt in the Dark Horse release of Astro Boy, Osamu Tezuka's laws of robotics start with article 1: Robots exist to make people happy and end with article 13: Robots shall not injure or kill humans. In Turn, Pluto starts with two murders: Montblanc, the beloved robot of the Swiss Forestry service, veteran of the 39th Central Asian War, and poet and Bernard Lanke, a member of the movement to preserve the robot laws with a reputation for attracting enemies. Law 13 is evidently fundamental to Pluto's murder mystery, but law 1 seems equally essential. When I was studying for a BS in computer science, there was a junior year writing requirement. I forget the course title, but it had something to do with technology ethics or principles. So, in addition to learning tech writing, we were supposed to produce written responses to issues like piracy, privacy, life threatening software glitches, the intersections between social problems and technology and the like. While there were no Pollyannas in the class, there was a prevailing sentiment that there was a technological solution to most problems. The trick was to find that solution. I still see that idea around, and not just in the computer science/software field. We're looking for the right technology to save the auto industry, to protect the environment, to fix the economy... Pluto asks, what if we had what we thought we needed? What would things look like if we had everything that sci-fi of the 50's and 60's promised us? What if there were geniuses who could push artificial intelligence to the point where those systems were scientifically proven to possess subconsciousness? The manga seems defined by its sadness. Despite the hover cars and servant robots, humans seem to be of the same disposition that we were at the point at which the manga was written (2003). And, with talk of "weapons of mass destruction," they seem to be engaged in the same mistakes. On the other hand, between fulfilling their functions, contending with both casual and outright bigotry and largely being denied outlets for what could be thought of as their humanity, the robots of the manga look like they’re bearing Atlus' burden. Stripped of how Urasawa actually represents Pluto, many of its scenes verge on being laughable. A detective informs what is basically Rosie, the maid from the Jetsons that her husband Robbie, the police robot was destroyed in the line of duty. A Hannibal Lecter exchange is enacted with a heap of what looks like the robot that attends Luke Skywalker when he gets battered in Empire Strikes Back slotted in for the killer. In the Rosie case, Urasawa illustrates a figure trying to figure out what to do with herself to deal with her grief. She has routines, such as fixing tea, but her ability to express her emotion fails her as she stands with a cup of tea in each hand. She is able to draw a relationship to other experiences she has had and state her sorrow eloquently "I work as a made for a family. And they have a little boy. A human boy of course. Before the boy was born the family adopted a pet dog... the boy and the dog were fond of each other. But then the dog died. The little boy cried and cried for days. I tried my best to comfort him.. but only now do I understand how he must have felt." The image, as well as its implications concerning the world of robots and the less speculative human condition are heartbreaking. One of the classic, memorable stories in Osamu Tezuka's Astro Boy is 1964's "The Greatest Robot on Earth," also known as "The World Strongest Robot" (published in volume 3 of Dark Horse's release of the series, unfortunately, the only volume I can't find from my collection at the moment). Filling a volume of manga, and running two episodes in the 1963 and 1980 anime incarnations, it's one of the longer Astro Boy stories. Generally, the longer Astro Boy stories find their length by twisting and developing in unexpected directions. In contrast, The Greatest Robot on Earth is obviously a big one from its inception, and its premise enables it to work like a modern graphic novel narrative. A power hungry Sultan commissions the creation of the robot Pluto and sends the million horse power titan out into the world with the mission to destroy the seven most powerful robots, thereby commanding a spot as the king of all robots. With Pluto, Astro and six other super-powered robots battling across the globe and with heartfelt exchanges between Astro, Pluto and Astro's sister Uran, it's both a perennial favorite and one of the Astro Boy stories with the most potential to capture a new reader. One of the seven robots was the gold, "Zeronium" plated detective known as Gesicht (Zeron in the dub of the 1980 anime), who took up the mission of apprehending Pluto and determining his motives. Despite Gesicht's intellect and robotic abilities, a fight between the two ended tragically for Gesicht. Tezuka's stories depicted robots that looked human, and there were cases where humans could be mistaken for robots and vice versa. While the Gesicht of the Greatest Robot on Earth was a golden figure with gadgets protruding from his chest, Pluto's Gesicht can pass for human. And like a human, he is haunted by nightmares, exhaustion, the fear that he is an inadequate husband and inadequate to the task at hand. The notion of a more "adult" take on a popular children's character has been around long enough that its parodies have become obvious. This isn't to say that familiarity should breed contempt. In recent years, we've seen both straight mature variants (Batman Begins) and parodies (Venture Bros.) that have been quite exceptional. It's that the concept is now far from novel and Pluto does not get credit for simply being Astro Boy for an older reader. Pluto is not Astro Boy with the violent or sexual signifiers of a mature work. Though, you were never really going to get that excess in a non-doujinshi manga. As related in The Astro Boy Essays, Urasawa approached Osamu's son, Macoto Tezuka in 2002 about his ideas for Pluto. The Tezuka family is protective of Astro Boy, and were especially so in the time leading up to the 2003 planned relaunch of the Astro Boy phenomenon. After meeting with Urasawa, Macoto Tezuka agreed, according to Essays, on the condition that "Urasawa would not create a mere homage or parody, but do something original." And Urasawa has succeeded in creating manga that is as sophisticated and unique as any in his own award winning body of work. Pluto ran in seinen (older teen/adult manga audiences) anthology Big Comic Original, which has also been the home to Urasawa's Monster and Master Keaton, the 35+ year long baseball manga Abu-san, Haguregumo by the controversial George Akiyama and the dramatic omnibuses Rumic Theater (by Inu-Yasha creator Rumiko Takahashi) and Human Crossing (anime versions of which were released in North America by Geneon). As with the manga tradition itself and genres of manga within that tradition, no anthology is entirely monolithic in its traits. That said, characteristics do emerge. Among seinen, anthologies, you can look at Afternoon and note the presence of Hiroki Endo's Eden: It's an Endless World, Hitoshi Iwaaki's Parasyte, Mohiro Kitoh's Shadow Star/Narutaru, and Hiroaki Samura's Blade of the Immortal. Given the commonalities of those work, you can say that the anthology has a place for manga that mixes blood splatters and metaphysics. At the same time, with works like Hitoshi Ashinano's Yokohama Shopping Trip, Kenji Tsuruta's Spirit of Wonder and Yuki Urushibara's Mushishi, you can say that Afternoon also has a home for more subdued, contemplative works. If you look at Ultra Jump, with Yukito Kishiro's Battle Angel Alita: Last Order, Hirohiko Araki's Jojo's Bizarre Adventure spin-off Steel Ball Run, Oh! great's Tenjo Tenge and Kazushi Hagiwara's Bastard!!, you see a collection of what could be thought of as graduated versions of shounen. Not to say that the insight for how to handle introducing an adult perspective into Astro Boy was hatched by the Big Comic Original editors rather than Urasawa, but looking at the anthology's works, it is noteworthy that the series are more about a human dimension than they are visceral shock and awe. Likewise, Pluto is chiefly concerned with the weight of decisions, society and history on its characters and offering a chance to witness how those characters think and react. Minor spoilers... There is a scene in which Gesicht takes a lunch break to books a trip to Japan. Distracted by considering witness testimony about the Lanke case, the conversation swerves into a blindside when the holographic projection of an attractive travel agent asks him what might be a pointed question. "Forgive me for asking, but will this be your first trip?" "First trip?" (I believe this get sensitive quickly because, as listed in Schodt's Astro Boy Essays, the fifth robot law is "Robots shall never go abroad without permission.") Gesicht mutters that it is in fact his first time travelling to Japan, where upon the agent asks "excuse me, but both you and your wife are robots aren't you?" Gesicht goes from half attentive to knowingly sad as he responds "why yes... any problem?" The agent then informs Gesicht that she too is a robot, she's a bit envious of the trip and finds Gesicht's intension of taking his wife to be sweet. "Well, she deserves a trip... after all, she's had to put up with.... I'm usually too busy to pay her much attention." This is an unguarded moment for Gesicht. In the cafeteria foreground we see a detective had been scowling and barking about Lanke, relaxed to the point where he looks half asleep as he listens to his holographic conversation partner. Compared to the visible tension in Gesicht's shoulders, and expressions that might indicate that he was on the fast track for an ulcer if he were human, his yo-yo shifts between pleasure, knowing distaste and back seem mild. It also seems telling that he is prepared to be face with bigotry, even in the middle of receiving a sales pitch. Again, the "robots exist to make people happy" dictate echoes in this exchange. During the course of the volume, another peer of the seven strongest/greatest, who like Montblanc fought in the 39th Central Asian War, leaves his warrior role with aspirations to play the piano. It's a tragic story. In a way the smiling travel agent is just as tragic. To her, the exchange with Gesicht seems to signify freedom that some robots can obtain, even if it is out of her personal grasp. She's a person who explicitly exists to make others happy, seeing at least some people in her position can find a release. And she does it with a smile on her face the whole time. To distill this into something even more mundane, within a couple of pages, Gesicht will mention that he can tell a robot from a human by the superfluous movements that humans make. It might be that he was distracted, or a function of the holographic technology, but he is visibly taken by surprised when he hears that the agent is a robot. A subtle comment about Gesicht's personality, or a subtle comment about the position of sales people? End spoilers For anyone enthusiastic about Tezuka lore, Pluto is a must. Like Tezuka might have done himself, Urasawa pulls in other figures from Tezuka's body of work. Volume one has at least one cameo that will have fans grinning ear to ear. Beyond that, the manner in which Urasawa works within the framework of the Greatest Robot on Earth is sure to be a pleasure for anyone familiar with the original. For example, one the seven who tracks down Pluto to pick a fight with rampaging super robot is the Turkish wrestler Brando. In the original, he turned up to avenge his friend Mont Blanc. The exchange was more about Astro and Uran trying to stop the fight before Pluto did something terrible than it was anything in terms of deep characterization on behalf of Brando. Urasawa works out a fully developed philosophy for the character. Everything about him is interesting, from how he views on robot wrestling competition to how he establishes a personally fulfilling place within human/robot society, to how he believes that he can deal with Mont Blanc's killer. Yeah, you can kind of see this as fan service, and yeah, you can see the excitement that Urasawa felt after finally convincing Tezuka's family to let him work with one of the greatest casts in the manga tradition, but at the same time, Urasawa's talent for characterization really has an opportunity to produce an effecting, provocative story with this framework. A reworked version of the World's Strong Robot via the 2003 Astro Boy on Hulu

AICN Anime on Tumblr

Ain't It Cool News Animation RSS Feed
Readers Talkback
comments powered by Disqus
    + Expand All
  • Oct. 20, 2010, 2:14 p.m. CST

    When did Astro-Boy . . .

    by Nice Marmot

    . . . imagine Pluto the first time around?

  • Oct. 20, 2010, 2:17 p.m. CST

    SECOND!!

    by darthderp

    Dammit, Marmot...

  • Oct. 20, 2010, 2:27 p.m. CST

    I saw Astro Boy on the sign at Kyoto station

    by disfigurehead

  • Oct. 20, 2010, 2:43 p.m. CST

    I was surprised to find that I liked Astro-Boy

    by RETURN_of_FETT

    I thought it was well made and entertaining and I thought it looked skull-fucking-retarded from the trailer. But it looks like this has nothing to do with that film?

  • Oct. 20, 2010, 3 p.m. CST

    ahem..

    by smylexx

    Did i miss the Tom Bosley obit then?

  • Oct. 20, 2010, 3:36 p.m. CST

    TOM BOSLEY DEAD!

    by RETURN_of_FETT

    Worms gotta eat.

  • Oct. 20, 2010, 3:45 p.m. CST

    Great idea

    by EvilPants

    This actually could work. This is a fantastic comic book. Don't let the Astroboy origins scare you away, I know less about Astroboy than I do about astrophysic, and I think this comic is incredible. It's more I Am Robot than Astroboy. Also check out his other works, Monster and 20th Century Boys.

  • Oct. 20, 2010, 4:10 p.m. CST

    I saw 'Pluto' in the title and immediatly thought...

    by Sigourneys_Beaver

    'Pluto Nash'. How fucking sad is that? No more Smirnoff and Cherry Coke for me.

  • Oct. 20, 2010, 4:35 p.m. CST

    ROBOTS OF MASS DESTRUCTION

    by 2soon2eat

    HORRIBLE horrible manga all about the iraq war. Oh they don't call it that, but when you are beaten over the head with "robots of mass destruction" it's not too hard to put the "clues" together. Very lame.

  • Oct. 20, 2010, 4:41 p.m. CST

    Unrelated, but...

    by Lemure_v2

    if you've ever wanted to see Marvel's best Tron-ised...head on over to empireonline.co.uk.

  • Oct. 20, 2010, 5:49 p.m. CST

    KUNG FU CYBORG duh!!!

    by Monkey_King

    Mature enough Astro Boy.

  • Oct. 20, 2010, 6:08 p.m. CST

    Marmot

    by the_box_drone

    Pluto is based on the Astro Boy story "The Greatest Robot On Earth" or something translated as "The World's Strongest Robot" It was adapted for the 1960's, 1980's & 2003 cartoons and is a pretty sweet story. Atom, (aka: Astro Boy) is a character in the Manga, but not the main protagonist. He doesn't even show up until several chapters in. His role is initially pretty small, but it increases as the story goes on. I used to think a gritty, realistic portrayal of Astro Boy would be a pretty stupid idea - Until I read Pluto. I REALLY hope this film comes to fruition.

  • Oct. 21, 2010, 8:15 a.m. CST

    The Decline and Dismissal of ANIME

    by ForgetfulPete

    couldn't be coming at a more welcome time. Anime and manga sales have totally collapsed to the point where they've been pulled from bookstores and even Best Buy stores have shut down their anime shelves because of lack of demand. Nobody but nobody is reading/watching this stuff any more, to the point where Funmation Network can't even get a single advertiser any longer and must fill itself with self-promotion like a dog humping a cheap dildo. It's phenomenal to see America finally start to wake up to the dismal "art" (often just traced images repeating themselves and still panels with moving backgrounds). There's a reason George Lucas refers to this stuff as those "awful cartoons." They're not brilliant. They're manufactured mass-produced crap that is mistaken for brilliant because it's foreign and violent, no other reason for its success in the US at one time. Thankfully, we'll pretty soon see an end to the import of this material given the current trends. Couldn't happen at a better time. SAY NO TO ANIME AND MANGA. Oh wait the US already has! HAHAHAHAHAHAHA!

  • Oct. 21, 2010, 10:22 a.m. CST

    I haven't read Pluto

    by veritasses

    but I'd be interested in anything to do with Urasawa.

  • Oct. 21, 2010, 1:23 p.m. CST

    The Astro Boy movie was surprisingly excellent

    by FeralAngel

    It was one of those films that make you say, "Fuck you, professional movie critics. Fuck it hard." I almost passed on it because a lot of movie critics gave it 2 stars and so on. So glad I saw it anyway, the animation was near-Pixar level of quality, the voice work was superb, especially Freddie Highmore playing a difficult role as the conflicted, victimized central character, and the script, aside from some dippy-but-minute political references, was solid. I enjoyed it more than the angsty Up, or morbid downer Toy Story 3, to be honest, although I respect those films. Too bad Summit was distributing it; that studio kills just about all its films with horrible promotion and advertising. As for Pluto, the comic was amazing, and I think the right treatment could make it into an awesome movie. I'm definitely interested in seeing it.

  • Oct. 21, 2010, 1:31 p.m. CST

    However, hopefully the movie will leave out the Iraq stuff

    by FeralAngel

    That was a bit heavy-handed in the comic, and I'm afraid it'd hurt its chances at the box office, and furthermore, it was completely unnecessary to the plot. So I hope that bit will be excised. Political baggage in a film is so damn lame, and seldom entertaining. Pluto doesn't need it to give its story drama; its excellent characters do it just as well.