The Ed Sizemore review of Pluto 003

[cybotron]

http://comicsworthreading.com/2009/06/02/pluto-urasawa-x-tezuka-book-3-recommended/You can go here for more reviews of Pluto Manga

Review by Ed Sizemore

At the end of volume two, Uran, Atom’s little sister, helped tame and recapture some loose zoo animals. This volume opens with her at police headquarters explaining how she got involved in the first place. We learn that Uran can sense strong emotional states, especially fear. A few days later, on the way to school, she senses powerful feelings of fear and confusion. She skips school to find the distressed person and help him/her. She discovers what appears to be a homeless robot suffering memory loss. He’s very disoriented and is scared to go for proper treatment. Uran visits him daily hoping to help him get well.


Pluto: Urasawa x Tezuka Book 3
Buy this bookAdolf Haas is a German businessman who hates robots. In fact, he belongs to an underground organization, KR, which is seeking to repeal the International Robot Laws and to once again make robots slaves and property of humans. His brother was a criminal killed by the police during the commission of a crime. There is now evidence that it was a robot police officer that killed Adolf’s brother. KR hopes to use this evidence to prove the danger of unrestrained robots. Adolf is simply looking for revenge.

This volume is a change of pace. The Pluto investigation story arc is put on hold; instead, we are introduced to two new protagonists. The first is Adolf Haas. His story arc lets us see the other side of a world with robots. He dramatically experiences some of the negative impacts that the mass productions of robots create.

Adolf Haas’ father was a factory worker. When the factory became fully automated, he lost his job. The need for human physical laborers continually decreased, so he couldn’t find a new one. Adolf’s father was arrested for a petty thief by a robot police officer. The arrest and unemployment eventually drove him to suicide. Understandably, Adolf and his brother grew up hating robots.

Adolf’s story is a reminder that sometimes technological advances come with a human cost. It’s great that humans have been freed from simple manual labor, but there is a large segment of the population that makes its living from jobs like factory worker, housekeeping, construction worker, etc. It takes humans time to be reeducated with new job skills and to shift to a new economical model. This transition period won’t be kind to everyone. Some people and their families will find themselves left behind as the world marches on. It’s easy to see how the newly disenfranchised wouldn’t sing the praises of robots or see any benefits to mass-producing them.

Also, it would be foolish to think that everyone will readily accept robots as persons. To some humans, maybe most, a machine is a machine. The fact that humans designed and created robots is proof that they can’t be our equals. Robots have off switches, they have electrons running across circuit boards, they have to be programmed to work. True living creatures can’t be shut down, they have blood flowing through veins, and the moment they’re born they live and function by their own will. Artificial life is an oxymoron. It’s an insult to human dignity to say a sophisticated toaster has the same rights and should be treated with the same respect. Robots are tools and never anything more.

Because Urasawa is such an adept storyteller, Adolf and the KR aren’t moronic bigots. They are intelligent, successful men who refuse to acknowledge robots as equals. Adolf’s hatred of robots is tied to the devastation they brought to his father. His own experiences have shaded the way he looks at and evaluates robot actions. Adolf may not be a sympathetic character, but his actions are understandable. Unfortunately, not all writers take the time and effort to craft such well-thought-out villains.

It’s a testament to Urasawa’s skill as a world builder that he includes the dark side of this vision of the future. It further adds to the depth and realism of this series. Any radical change in society is going to naturally bring opponents of that change. Like Marvel’s X-Men, Urasawa is drawing from American civil rights history in shaping this subplot of the story. This becomes obvious when we see the KR dressed in the same ceremonial robes as the KKK. This natural human response allows him to create new dramatic tension and possibilities.

Uran is the other major cast addition. She has always been a foil to Atom. I’ll admit I’ve never been satisfied with Tezuka’s characterization of Uran. She comes across as impulsive and reckless. Atom always seemed to be annoyed at his sister, and he treats her like a child, rightfully so. Urasawa remolds Uran, making her a fully developed person in her own right. Her ability to sense strong emotions has shaped who she is. Uran has chosen to respond to such feelings with compassion and a desire to alleviate their suffering. She’s still impulsive, but for a good cause. She’s still a foil to Atom, but now it’s because of a fundamental difference in their approach to life. Atom is logical and formal. He is the typical eldest son. Uran is emotional and casual. In fact, she comes across as more human in her behavior than even Atom. She’s not afraid to stand up to her older brother for what she believes in. She still frustrates Atom, but he can no longer treat her like a child. Urasawa’s Uran is not only likable, but she’s admirable. That’s an amazing transformation of this character.

Urasawa’s art is as wonderful as always. I love the way he draws Uran, especially her facial expressions. You can see how bored and frustrated she is with the police questions. I’m glad these pages were in color. The emotional scenes really make this volume. Adolph’s anger at discovering his brother was killed by a robot jumps off the page. Pluto’s brief appearance is powerfully filled with raw emotion that just smacks you in the face.

I’m also still amazed at the amount of detail Urasawa puts into his backgrounds. They really give his art a sense of solidity and reality. The mansion where the KR meet is an incredible architectural structure. His cityscapes are some of my favorite eye candy. It’s a testament to his creativity that with each volume there is always a new backdrop that stops me in my tracks. I find myself just staring at the panel, soaking in all the marvelous details.

I also want to commend Viz on a beautiful printing job. There are some pages in here that had to be particularly difficult to get right. It’s essential to one part of the story that the pages have a particular feature. Viz does it flawlessly and creates the effect that Urasawa wants when the reader get to that section. Well done and thanks, Viz.

I will say this volume can be a little disconcerting to read. I think it’s the Uran section that causes this reaction. We are given a lot new information that doesn’t fit with anything we know so far. I trust Urasawa enough to feel that what’s revealed will play an important role in the volumes to come. I also think that once we see how this section fits into the overall story structure, these are chapters you’ll go back and reread so insights can be better understood.

At this point, I don’t know what more I can say to recommend this series to readers. Anyone who values well-written, meticulously executed comics of any genre or format should be reading this series. Urasawa is a master of the craft and will be remembered in the same breath as his idol, Tezuka.

P.S. See if you can catch the reference to Jungle Emperor Leo in this volume. Urasawa really rewards Tezuka fans who pay attention to details.

[jeffbert]

Though I appreciate sharing, I do not think it appropriate to post the entire text, much less without <quote> brackets. You should have cited a paragraph that you found particularly interesting, while of course, providing the URL.

Because Urasawa is such an adept storyteller, Adolf and the KR aren’t moronic bigots. They are intelligent, successful men who refuse to acknowledge robots as equals. Adolf’s hatred of robots is tied to the devastation they brought to his father. His own experiences have shaded the way he looks at and evaluates robot actions. Adolf may not be a sympathetic character, but his actions are understandable. Unfortunately, not all writers take the time and effort to craft such well-thought-out villains.

It’s a testament to Urasawa’s skill as a world builder that he includes the dark side of this vision of the future. It further adds to the depth and realism of this series. Any radical change in society is going to naturally bring opponents of that change. Like Marvel’s X-Men, Urasawa is drawing from American civil rights history in shaping this subplot of the story. This becomes obvious when we see the KR dressed in the same ceremonial robes as the KKK. This natural human response allows him to create new dramatic tension and possibilities.

-Paragraphs 7 & 8 of the review found here: Pluto: Urasawa x Tezuka Book 3 — Recommended

Ed Sizemore notes that the hooded thugs are reminiscent of the KKK & the struggle likewise of the Civil Rights movement in the USA, but, though he notes that he has read the Tezuka manga, he omits any mention of these plot elements therein. In the Frankenstein story, there was a similar hooded gang that created havoc that it blamed on the robots, though the B&W & 1980s animated versions omitted this element. In Devil's Balloons Diafuku (Beancake) hired Skunk to discredit robots. Diafuku had lost his job to robots, and could not afford medical treatment for his daughter, who then died. Yet, this reviewer omits any reference to this story, instead noting only that Adof Haas' character was complex rather than merely villainous. Urusawa drew his plot elements from Tezuka's Astroboy corpus, not necessarily directly from history, though there certainly are elements from this source.

[cybotron]

Yes I'll remember your Protocols next time. I.m unsure that I am able to carry out any discussion of Pluto. Universal pictures contrary to Dr.Jerks fantastic and relished diatribe against me, has effectively taken away Astro Boy into the noirish cinema of Post industrial Cyber Pop culture. An adult version of Astroboy. She said no fandom as she measured fandom she even called it a failure in her sights. Then hang up as it were. Good old Dr.Jerk. Well all her conclusions were bogus. Universal bought it without Box office. Without Fandom. So why buy it? The motivation is obvious and she had no inkling because THERE IS more to Astro than ENTERTAINMENT. Now you guy's decide. Pluto is gonna be big. Do we drop it? Dr.Jerk said she would not waste her precious money on the Manga. She won't even read it for free. Pluto that is. But now Astroboy the movie has been seen on Starz. And Universal has the rights and the "Dispicable Me" producers have started production. Are we then to dismis the why and wherefore of Pluto because it is the "Adult version of Astroboy?"
Do you want us to ignore Pluto. Or do we embrace it? It will be Astro and Uran and you see the themes. Do we ignore it or follow the Hollywood promotions? Do we do the Pluto Cybot thing?
Bad Enlish! Random irritating emoticon usage.

[jeffbert]

Maybe you should post this is the Pluto thread, or in a PM.

[cybotron]

Maybe you should post this is the Pluto thread, or in a PM.

well you could move it to the pluto thread. I guess it's ok to speak openly.

[jeffbert]

BTW, check the link you provided; I posted there & was pleasantly surprised.

[cybotron]

Well I'm glad you guys got such a great interface! So are we gonna embrace pluto on that level?

[jeffbert]

Well I'm glad you guys got such a great interface! So are we gonna embrace pluto on that level?

Plain English, please.

[cybotron]

[QUOTE=cybotron;109754]Well I'm glad you guys got such a great interface! So are we gonna embrace pluto on that level?

Plain English, please.[/QUOTE]
Pluto, on the level you find yourself, is being promoted as "The Adult Version of Astroboy!"
Are we allowed to speak openly of the Political and social iconography and metaphor in pluto? And of course Ed saw you as an authority in Tezuka Cybot sector of the datafeed. You are a real Astroboy. And now Hollywood must have the Pluto Manga. are we allowed to openly bespeak Astroboy to the level of Pluto?

[jeffbert]

[QUOTE=jeffbert;109777][QUOTE=cybotron;109754]Well I'm glad you guys got such a great interface! So are we gonna embrace pluto on that level?

Plain English, please.[/QUOTE]
Pluto, on the level you find yourself, is being promoted as "The Adult Version of Astroboy!"
Are we allowed to speak openly of the Political and social iconography and metaphor in pluto? And of course Ed saw you as an authority in Tezuka Cybot sector of the datafeed. You are a real Astroboy. And now Hollywood must have the Pluto Manga. are we allowed to openly bespeak Astroboy to the level of Pluto? [/QUOTE]

O.K. As I see it, political discussions in themselves are banned; however, we may discuss political content in Astroboy's stories, including Pluto. Yet, the other rules still apply: be polite, do not poke at other peoples' beliefs, etc. Try to keep the political content in the stories, do not relate it to real world events or people. I know this is tempting, but we do not want to start any heated political arguments, or lose members because they are offended.