Pluto

Upcoming spoilers

Osamu Tezuka was a monumental figure in the manga/anime industry, leaving behind an indelible legacy when he passed away in 1989. His most iconic work remains Astro Boy. Pluto is a seinen adaptation of Astro Boy, primarily written by Naoki Urasawa. Despite having to live up to one of the most widely known manga of all time, Pluto not only meets those expectations but surpasses them effortlessly. In Pluto, Urasawa leverages Astro Boy's world to craft a profoundly thematic tale encompassing war, race, human nature, and its central theme: Hope vs Hate. In just 65 short chapters, Urasawa achieves what most manga can't in 150, with a stellar cast, an engaging mystery, and consistently impressive art that feels almost nonchalant.

The story begins with the destruction of one of the seven most powerful robots in the world and the murder of a human. Both acts, it is soon discovered, could have only been done by a robot. However, due to the three laws of robotics governing robots in this world, it's nearly impossible for a robot to kill a human, an event that has only occurred once in recorded history. This sets up the central mystery of the story, which spans the entire manga. Like many of Urasawa’s works, Pluto occasionally detours to explore characters and ideas before tying them back into the main storyline, often switching protagonists in the process. This can be a double-edged sword, as shifting to a less interesting protagonist than the central one can diminish engagement, especially given Pluto’s already amazing protagonist. Nonetheless, Pluto pulls it off. Without lingering too long on any character, Pluto uses this storytelling style effectively to keep the narrative fresh and flesh out characters when needed, without overstaying its welcome in side plots. Overall, this tight narrative allows the story to explore everything it wants to, without ever wasting your time.

The characters in Pluto are nothing short of amazing. Our central protagonist, Gesicht, has become one of my favorite protagonists of all time and remains in my personal top ten characters. His journey is a thematically profound and emotionally resonant piece that elevates the story to new heights. Even without an amazing supporting cast, Gesicht alone would carry the character section for me. However, he’s not alone. The rest of the main cast includes Atom, Pluto, and Abdullah, all of whom are remarkable characters in their own right. One common thread among the main cast is hate. As mentioned, hope vs hate is a central theme of Pluto and these ideas drive much of their actions. This hate isn’t arbitrary; each character has his own past, usually tied to the emotional catalyst of this story, the war between U.S. of Tharcia and Persia. War is hell, and Pluto drives this point home, showing how deeply the war affected not only our main cast but also much of the side cast, particularly the other five strongest robots in the world. Outside the robot cast, we find two crucial characters, Dr. Tenma and Dr. Ochanomizu, who embody the duality of hope and hate. Dr. Tenma is especially intriguing, whose self-loathing and hatred corrupt his mindset into believing that to be human is to hate. Dr. Ochanomizu counters this, having set his mind post-war to making the world a better place, even through small acts like fixing an abandoned robot dog. These characters, along with others like Brau-1589, Uran, and Adolf Haas, make this cast one of Urasawa’s best and one of the best in manga overall.

Urasawa’s art and paneling have always been at least consistently strong, and Pluto is no exception. His panels remain consistent and easy to follow, though they aren’t especially inventive or unique. One criticism of Urasawa’s art is that while consistently good, it rarely peaks in the same way other stories do. However, Pluto bucks this trend, allowing Urasawa to flex his creative muscles, producing some of his absolute artistic peaks. One such aspect is Urasawa’s architectural panels. With the futuristic cities in Astro Boy, Urasawa’s talent shines through in the panels depicting different cities. It’s also noteworthy how unique and effective his character art style is. Their slightly exaggerated features give them a sense of realism yet uniqueness that immediately identifies them as Urasawa’s characters, reinforcing the idea that these are real people.

However, where Pluto truly excels is in its themes. In a 65-chapter manga, you can only do so much. You don’t have endless content to explore characters as deeply as other stories, so you need to create impact another way, and thematic execution is the perfect method. And Pluto doesn’t miss a beat. Human nature, war, racial conflict, and most importantly, hope vs hate. Every character and theme serves to reinforce this hope vs hate conflict, culminating in the final chapter. There’s no panacea here, just the faint hope that maybe, just maybe, through individual decisions, we can overcome our own hatred.

Overall, I adore this manga. It hits every note it needs to and rarely misses. That’s why you should read it. Even if it doesn’t live up to the hype I’ve given here, it’s only 65 chapters, so you’ll be done in no time.

One of those binge-worthy stories.

We follow the tale of Gesicht, a robot police detective in a futuristic society, trying to solve the case of a rogue robot systematically eliminating Earth's most powerful robots, while being part of that very group himself.

This is my first time reading this author, and they delivered on their promise. The story immediately draws you into its world with a fresh and intriguing protagonist, making it a thrilling read from the start.

Story: 9/10

Hatred, a quintessentially human concept present everywhere, reminds us of our imperfections. This idea is magnified through the lens of artificial intelligence; we love imagining creating beings like ourselves, but we shy away from giving them all our flaws. We understand the cycles of hate, vengeance, control, and manipulation. The story masterfully explores these themes, wrapping them up in a thrilling mystery. It presents a new world with new rules, moral dilemmas, and questions, culminating in an earned and explosive climax. My only quibbles are moments of confusion and added context that require rereading, slightly detracting from the initial experience.

No doubt, I loved this story, which is likely its strongest asset.

Art: 8/10

The artwork perfectly complements the narrative without overreaching or underdelivering. It strikes just the right balance and works seamlessly with the story.

Characters: 8/10

I wasn't as invested in the characters as I could have been. This is a grand-scale story told in a relatively short narrative of 65 chapters, covering many people simultaneously. While it mostly succeeds and explores everything well, few characters become truly memorable, even with significant deaths and emotional explorations. The themes resonate like those in Blade Runner, offering nuanced and sentimental perspectives. Despite some great character moments, the overall memorability falls short.

TLDR: A high 8/10 that could be a 10/10 for some, expertly crafted and told. While not always deeply connecting with its characters, it excels in many aspects and explores numerous fresh themes. Absolutely recommended. Surprisingly, technology isn't the most interesting part here; instead, philosophy and personal emotions take center stage.

Naoki Urasawa is often regarded as one of the finest manga authors in contemporary times. His plots are tightly woven and densely packed, his characters feel grounded and possess complexities rarely seen in most manga and anime characters. Since "Monster," his stories have tackled mature themes and ideas without succumbing to the common pitfalls of seinen manga, which often misuse their narrative freedom by overloading with gore and sexual content to appear edgy. For many fans of anime and manga who want to showcase the best the medium has to offer, Urasawa's works are frequently highlighted.

A few years back, after being thoroughly impressed by "Monster," I was thrilled to discover that he had penned a retelling of an Astro Boy arc. Having some familiarity with the franchise and Osamu Tezuka's other work, including watching episodes from the 2003 Astro Boy anime and playing the Omega Factor video game, my interest went beyond just another Urasawa story.

Needless to say, I was utterly blown away by what I read.

"Pluto" is, at its core, a science fiction work in the tradition of "Ghost in the Shell" and "Blade Runner," focusing on what defines humanity and where the line blurs between advanced machines and humans. Similar to "Ghost in the Shell," the world depicted has integrated robots into society for quite some time, so the story isn't about their emergence but rather explores the societal implications of beings increasingly indistinguishable from humans.

What makes "Pluto" not only work but excel is twofold.

Firstly, it is genuinely intelligent. Crafting new or interesting insights into speculative futures can be challenging when many ideas have already been smartly articulated in other works. While "Pluto" does revisit some familiar ground regarding the theme of "what makes a human?" it also offers compelling ideas of its own. It delves into the experience of living as a minority or second-class citizen, illustrating how legal protections don't automatically translate to social acceptance. Hatred and contempt remain potent forces, even in the absence of outright discrimination, with many human characters displaying casual disregard for robot welfare despite their rights and autonomy.

Hatred is a central theme of the story, repeatedly shown as a force incapable of creating anything positive or meaningful. Some characters hate robots so profoundly they form explicit hate groups akin to the KKK. Yet, hatred is also portrayed as a defining trait of humanity, suggesting that sufficiently advanced robots must eventually confront this emotion. This portrayal of crimes of passion, typically condemned in our society, as a spiritual rite of passage for robots is one of the story's more commendable achievements.

Secondly, "Pluto" excels in narrative economy, providing rich characterization and development for characters who aren't around for long. The unfolding mystery is captivating, making for a great page-turner as past political and social events intertwine. Urasawa employs a Spielberg-like sentimentality that could easily feel trite if not for its sincere delivery and the intelligence behind the setting and ideas. When characters suffer, you genuinely empathize with these Pinocchios striving to be human. The cast is immensely likable, with Gesicht standing out as one of manga's best protagonists. Their dichotomy—humans becoming more machine-like versus advanced robots embodying kindness and empathy—adds depth to the narrative.

While the manga loses some momentum towards the end, resulting in a somewhat anticlimactic conclusion, it ties up loose ends and remains engaging overall. Though it may be overly optimistic and sentimental, it has enough substance to justify its approach. Occasionally heavy-handed (like referencing Pinocchio), its intentions remain genuine.

Finally, while familiarity with Astro Boy or Tezuka's other works enhances appreciation, "Pluto" stands strong on its own. References to Tezuka's canon add layers of enjoyment for those acquainted with the original material, particularly in seeing Urasawa's take on these characters.

Pluto is a narrative filled with pain, hatred, and an exploration of humanity. While it may not break new ground in the realm of science fiction, it excels remarkably within its chosen framework.

The tale unfolds with an enticing mystery, masterfully plotted to lead readers through twists and turns without ever feeling jarring. The pacing remains steady and effective throughout, ensuring that while the story delves into serious themes, it avoids melodrama and never overwhelms the reader. However, the relentless heaviness can sometimes feel oppressive due to the absence of lighter moments—humor, levity, or even a glimmer of hope are notably absent.

The characters are exceptionally crafted. Despite my unfamiliarity with Tetsuwan Atom, I felt an immediate connection, as if these characters have always been part of my life. They are deeply developed and well-rounded, though I wish we could have seen glimpses of their lives beyond the central conflict. A few "slice of life" scenes would have added depth, making them feel more like real people.

The artwork is impressive. The character designs possess a lifelike quality, distinct from their iconic predecessors, offering a fresh visual experience. Action sequences are well-executed but not groundbreaking; however, the contemplative scenes are particularly captivating.

In conclusion, Pluto comes highly recommended, not just for its place among the most cherished manga of the 21st century, but also for its compelling storytelling, memorable characters, and striking visuals.

Hello everyone, this is my first review. I was planning to upload a video on Pluto manga, but due to my lack of confidence in doing voiceovers and poor editing skills, I decided to write a review instead of posting a video on YouTube. I'll try to keep it brief. Let's get started.

If you're someone who loves the sci-fi genre and enjoys suspense thrillers, congratulations – I have a manga for you: Pluto. But if you're wondering why Pluto, then this review is for you, my friend...

Art - 9/10
The artwork in this manga is consistent. However, sometimes the action panels can be hard to understand. But hey, who cares about the art when you have an exceptional story?

Story - 10/10
The story is definitely a thrilling mystery ride. If you're looking for a manga to binge-read, give Pluto a try. The suspense in this manga is fantastic. You won't stop reading until all your questions are answered. In short, it's nicely done.

Characters - 8/10
My favorite character is Gesicht. Other characters are also well-developed, but sometimes you wish to see more of their stories instead. Occasionally, Urasawa shows the lives of some characters after leaving a cliffhanger chapter. I was tempted to skip those parts, but then I remembered watching Monster, where skipping chapters would lead to confusion later on. That's why it gets 8/10.

Enjoyment - 9/10
I enjoyed the manga, although some parts were a bit boring.

Overall -
I want to give this manga an 8/10 rating due to some boring chapters and certain characters. This manga could easily make it into my top 10s because of its amazing storyline.

There's a certain repetitiveness in Naoki Urasawa’s drawing style. His talent for faces is arguably unmatched, both in design and caricature. He captures real people’s features more accurately than most manga artists even attempt, yet his characters still fit perfectly within the comic medium. However, after reading several of his stories, you start noticing similarities. The same exaggerated noses, large foreheads, skin folds, and jaw shapes recur. Rarely does he outright copy a single design, but he happily reuses the building blocks. It's akin to randomly selecting in a game’s character creator—the combination may be unique, but none of the pieces are truly new.

Unfortunately, the same can be said about his stories.

If you haven't read Pluto, but have gone through Monster and 20th Century Boys, along with Tezuka’s works that Pluto draws from, there isn’t much new here. Urasawa doesn’t push himself into new territories; he recycles concepts already explored, adding only an homage to his childhood favorites.

This doesn’t mean he lacks skill. He might be the most well-rounded, competent manga artist in the industry, excelling in both art and storytelling. His style is easy to read yet complex to analyze. The groundedness and Western movie influences make him an obvious choice for those who "don’t like anime." This mature mass appeal explains his high regard, and if you quantify how many things he does right, it’s easy to agree he’s one of the best. But the more I read his works, the more I find myself bothered by underlying issues.

There’s always the detective. And the villain, whose presence looms over the story but remains hidden. You feel the tension that the villain will strike next, and it's up to the detective to figure out what before they can stop it. Story progression is driven by key questions—who is the culprit, what is their goal, what motivates that goal, and what history gave them that motivation.

Pointing out these similarities between Urasawa’s works doesn’t say much. Yes, they’re mystery stories. How insightful of me, to note that they all do things mystery stories do.

But you could draw all these comparisons between Monster and 20th Century Boys. Doing so, I find 20th Century Boys attempts to innovate on what Monster did, going beyond Urasawa’s usual formula and adding new elements. Its plot structure offered constant surprises, even if believability was stretched thin. Pluto’s plot feels reminiscent to the point of repetition. Detective Gesicht goes from place to place, meeting people who give him bits of information pointing him toward answers. Again, standard detective fare. But so many scenes filled me with déjà vu. Doesn’t this scene feel exactly like something I’ve already read? Then why am I reading it at all?

One of Urasawa’s techniques is focusing episodically on side characters, exploring their emotions before tying them into the main plot (often by dying). I don’t mind him bringing this back—but again, I wish he did new things with it.

An early example emblematic of his writing style involves a blind composer playing piano for himself, not the world. His robotic butler, a robot soldier, wants nothing more than to create music to appreciate beauty. The composer believes a robot couldn’t do such a thing. Real music is analog and comes from the heart.

It’s a perfect setup—too perfect. If something like this makes you care and cry, then I’m happy for you, wishing I felt the same. I find it lacking something, unsure how to explain what. It’s far too predictable—you know the robot won’t give up, the composer will get angrier, but eventually understand each other better, before the robot dies fighting the villain. Conceptually strong, but fails to surprise me. It conforms too closely to the concept, riding on the idea alone, feeling generic rather than doing anything interesting. Perhaps because it plays its hand too early, making its intentions obvious rather than playing with reader expectations. Reading a summary evokes as much emotion as reading the arc itself. Execution is so clean it’s sterile.

The characters occupy a similar space. They’re crafted well, doing everything right. But I find them hard to care about. Gesicht is interesting in his skills solving mysteries, struggling with traumatic secrets and whether he can truly feel as a robot. There’s no blatant bad writing. But it fails to do anything truly compelling. Certainly not as interesting as 20th Century Boys’ Kenji or Monster’s Tenma.

This might be clearer with some side characters. Two former soldiers now work as robotic strongman wrestlers. They care about their families and giving audiences joy, but as the threat grows, they stake pride on trying to take it down. They fail, of course. But you knew that before I said it. Will you really care when their tragedies occur, or just feel like going through motions?

Maybe you cared. I’m explaining why I didn’t. It’s okay to feel differently.

Where Pluto succeeds is with its inspiration’s titular character, Atom, and his sister Uran. There, Urasawa captures something genuinely greater than tropes—an iconic, archetypal goodness seen in paragons like Superman. Atom feels like the main character, not of Pluto’s narrative, but of Pluto’s world. Despite never reading Astro Boy, Pluto communicated why Atom was significant. All robots, upon closer inspection, are as human and feeling as biological counterparts, just in their own way. But Atom felt even more so.

Atom is the focus of the final stretch, which isn’t quite good. Gesicht exits uninterestingly. If casualness was the point, meant to be incidental and unexpected, it didn’t work well. He doesn’t leave much legacy, even leading to a key plot development. Then Atom is the focus, and it’s no longer a detective story. Now it’s closer to standard action—not quite cliché battle shonen, but generic. It feels disjointed from the first half. Urasawa finally does something new, but it’s just his take on another author’s work rather than innovating. More later.

I like how the final stretch ties together themes. Normally, I hate cycle of hatred themes—forced, hamfisted, failing to justify supposed depth. If a character is consumed by hatred, don’t make changing their mind easy!

Pluto does it right. Hatred feels justified in extremity, expressed powerfully. Tied to other themes ingeniously—that hatred passed on and cycled in response to atrocities is the same strong emotion needed to activate an overly-complicated AI, testament to how under the right circumstances, a robot truly feels as much emotion as a human. Seemingly falls for my pet peeve—character consumed by hatred convinced too easily—but circumstances make sense, and Atom convinces him. Quality of writing makes me believe it.

Part of why hatred themes work is their source. Pluto grounds it in something Urasawa seems genuinely passionate about: The Iraq War. Not the real-life one, but an analogue where the US claims false weapons of mass destruction—robots—and invades, devastating the nation. Children die, desert replaced with flowers destroyed, invaders continue occupying and oppressing. Not subtle, but doesn’t need to be. Expresses how strongly Urasawa feels about US actions. Conveys horror of unjust war, explaining anger and desire for vengeance the villain feels.

Unfortunately, there’s a major misstep. The story shows and explains the unjust war, with the not-US President and teddy bear hyperintelligent AI supposedly orchestrating everything. Narratively, it makes no sense, feels vestigial and tangential, unsatisfying. How did they manipulate anything? What was their goal? Never explored. Villain could have done everything independently, less interesting because of this explanation.

Worse when considering political implications. Teddy bear AI manipulated the President, setting up everything back to the war, knowing it would lead to the villain’s plan, resulting in humanity dying so robots could take control. Already an unsatisfying, stupid reveal. Taking commentary on a real-life war, explaining its origin with rogue AI cheapens everything the story says. Could have challenged true reasons behind the war, or left implicit. Some things better left implicit than half-assed.

Perhaps the cartoonish explanation fits tonally adjacent to Astro Boy. Final arc tries to be Astro Boy, not another Urasawa mystery. Doesn’t do a bad job, but feels incohesive.

In recreating Astro Boy and Tezuka’s bibliography, Urasawa accomplished something. For all I think retreads and fails to make interesting as an independent narrative, Pluto wasn’t meant to be independent. It’s Urasawa revisiting his childhood, generation’s childhood, bringing new life. Imagine going from Final Fantasy 7 to remake—taking brisk, faster-paced minimal dialogue, filling imagined gaps, letting spend more time with characters.

Urasawa brings central Astro Boy arc to life, drawing from many Astro Boy stories and unrelated Tezuka manga, weaving them into coherent narrative. Doesn’t feel like taking breaks for other plots, disparate narratives, or out-of-place references. Pluto feels self-consistent and believable, someone might think original without knowing origin. Everything fits setting. Wonder if Pluto feels repetitive because Urasawa focused on making hodgepodge tapestry cohesive. Succeeded.

But reverence for past bothers me about Urasawa’s style. Skills undeniable, but ultimate boomer mangaka. Loves good old days, childhood culture. Not bad to explore those themes—20th Century Boys contrasted dreams of generation growing up believing anything possible with modern cynicism. As 20CB went on, narrative developments grew unsatisfying, reverence for rock and roll grew larger. Eventually, idealizing culture without purpose.

As discussed in fantastic essay included in Pluto volumes, 20th Century Boys told men Urasawa’s generation not to forget dreams. Pluto tells people few things—some solid—anti-Iraq war, robothood themes blatantly Asimovian but add notes. Core, Pluto is Urasawa musing love for Tezuka. Right people, good thing. Tying Tezuka stories impressive. Accomplishment doesn’t necessarily make Pluto better story. To some, grew up with Tezuka, sure. Can’t read from perspective, achievement doesn’t detract, doesn’t add either.

Homage in art fine, but led to story blander than previous, torn retreading own work, someone else’s. Might not have been possible tributing Tezuka better, but tribute could exist in better story.

Easier to respect Urasawa’s manga than love. Monster technically well executed, hard to care. 20th Century Boys hooked, had potential squandered. Felt polishing craft, almost loved despite failures. In Pluto, stagnated. Fell back on patterns recreating someone else’s, ended up not unique.

Pluto is a captivating and immersive piece of science fiction. [Spoiler-Free Review]

As someone who transitioned from being a cinephile to a manga enthusiast, I am thoroughly impressed by the masterful writing and illustration in Pluto by Naoki Urasawa. From the breathtakingly immersive cityscapes to the thrilling action sequences, Urasawa's Pluto provides an experience akin to watching a nail-biting murder mystery film unfold. Personally, I was completely engrossed from the moment I started reading Volume 001.

Unfortunately, I didn't grow up watching or reading Astro Boy, so I wasn't familiar with "The Greatest Robot on Earth" arc that Pluto is based on. However, this also meant I had the unique opportunity to dive into this story completely blind. Honestly, I believe this enhanced my overall reading experience, making me highly recommend Pluto to both Astro Boy fans and newcomers alike.

It's widely acknowledged that remaking a beloved story with iconic characters is always a daunting task, whether it be through film, anime, or manga. Yet, Naoki Urasawa managed to pull off something akin to what Denis Villeneuve did with Blade Runner 2049 and Dune. Urasawa delivered his vision while creating an excellent adaptation of Tezuka's original story, all while showing immense respect for the source material. The characters were meticulously crafted and developed with such love and care, clearly demonstrating Urasawa's admiration for Tezuka's work, which beautifully translated into his adaptation.

In conclusion, I strongly urge everyone to read Pluto, especially if you enjoy science fiction, murder mysteries, psychological thrillers, or even just some good old mecha action.

Pluto – Spoiler-Free – Recommended

TLDR
Story – 8/10 – 8 x 0.275 = 2.2
Art – 9/10 – 9 x 0.2 = 1.8
Characters – 8/10 – 8 x 0.225 = 1.8
Enjoyment – 8/10 – 8 x 0.3 = 2.4
Total: 8.2 -> 8

Story – 8/10
Pluto's narrative is unique, blending the genius of Osamu Tezuka and Naoki Urasawa into an adaptation of Astroboy's "The Greatest Robot on Earth" arc. Urasawa's storytelling prowess shines through this reinterpretation.

The plot follows a detective immersed in a world where advanced robots coexist with humans, serving as pets, detectives, or citizens. We meet Gesicht, an Europol robot investigating the murder of Mont Blanc in Switzerland. The story quickly engrosses the reader with cliffhangers and suspenseful moments, making it highly engaging. Fans of Urasawa’s previous works like Monster will recognize his signature style, balancing realism and high stakes. The tension is consistently maintained throughout the manga, even without Gesicht’s presence, showcasing Urasawa’s influence.

A central theme in Pluto is the relationship between humans and robots, exploring Isaac Asimov’s Three Laws of Robotics as societal rules. Urasawa delves deep into questions about robot emotions, love, memory, and what defines humanity. The discussion of robot rights is pivotal to the story. Robots are not depicted as enemies but as part of society, blurring lines between human and machine, friend and foe, good and evil.

The worldbuilding is robust, featuring a federated Europe and futuristic society. Urasawa’s Germanophilia is evident, adding depth to the setting.

Art – 9/10
Urasawa’s art is impeccable, supporting the worldbuilding with detailed, dynamic illustrations and great shadowing. Character designs are expressive, emotions are well-conveyed, and the art fits the world perfectly without over-the-top elements. While there are few awe-inspiring panels, the base art is excellent.

Characters – 8/10
The cast is strong, with robots playing significant roles while bearing complex emotions. The blurred line between robots and humans enriches character development, forming integral parts of individual arcs. Without spoiling, the cast can sustain the story even without the main character. There’s also a theme of creating the perfect sentient being, adding complexity to characters’ pride and ego.

Enjoyment – 8/10
Pluto is highly enjoyable, combining Tezuka and Urasawa’s talents to keep readers hooked. The thriller elements, filled with cliffhangers, make it thought-provoking about human-robot relationships and what defines humanity. For these reasons, it deserves a strong recommendation.

I used to believe that classic works were not generic, but perhaps my perception was flawed. When I reached Pluto's ending, it felt rather predictable.

Anyway, to start off, the first two volumes were truly fantastic. I was deeply engrossed in them, but somewhere along the way, I couldn't find the same enjoyment anymore and just wanted to finish it as quickly as possible. The anti-robot religious group had potential, but it was wasted in a hilariously bad way. What happened to Adolf and his family afterward? Did they just leave him alone?

Why did Gesicht harbor so much hatred? Why was his memory erased? So many questions remained unanswered.

Being the greatest of robots, except for Gesicht and Atom, all the others seemed lackluster! What was the point of being called advanced destruction weapons when you can't even behave like a robot? They were literally more human than humans themselves. Don’t even talk about their feats; aside from Gesicht and Atom, the other robots were practically useless. How can they be called the greatest of robots when they acted so pathetically? Even a human with an Iron Man suit could have done better for the story.

Gesicht was charismatic and entertaining as a character, but the moment he died, this manga lost its charm, and I lost my will to continue. Gesicht could have finished the story—it was his duty, his responsibility—but no, the author had to revive Atom. The antagonist of this manga was also disappointing. I don't understand how the robots lost to such a weak villain! "God of war," what a pathetic joke!

The art was good, and in some panels, it was great. No complaints there; it was detailed enough for my taste.

I don't really think this work should be considered a masterpiece, although many people seem to think so. But there were some good parts too. Certainly, this is not a bad manga, or perhaps I expected a little more.

Once again, Urasawa has succeeded with a work brimming with mystery and suspense. A brief yet impactful manga, though in my view it's too short; I'm accustomed to the mangaka delivering slightly longer pieces. Even though it may not be the best I've encountered from him so far, it still surpasses many others and warrants a read.

Moreover, Pluto pays homage to one of the most renowned stories from one of Osamu Tezuka's most celebrated comics.

This manga merits your attention. If you have yet to explore any works by this author, whom I have perhaps overly praised, you should consider starting with this very manga.

Pluto centers on artificial intelligence and takes a unique approach to the subject. The main character is the super-robot "Gesicht." At first, his AI nature seems irrelevant aside from his superpowers, which wasn't what I initially expected but gradually became more significant as the story progressed.

The setting is a futuristic Europe, some years after winning the "39th Central Asian War." Artificial intelligence has reached an advanced level and is widely accepted, with AIs enjoying something akin to human rights. Despite Gesicht being a Europol investigator, this isn't your typical murder mystery. You have several super-powered war robots trying to figure out who among even more powerful entities is attempting to destroy them.

I'd say the premise is solid, though not the manga's strongest point. The investigation propels the plot, but it mainly serves as a backdrop for exploring the characters. I give it a 7/10 overall.

I primarily kept reading Pluto for its characters. I was intrigued by how they dealt with their individual dilemmas: emotions or the lack thereof, robot PTSD, the distinctive elements that shape a robot's identity in the world of Pluto, and how AI minds handle manipulation. It gets quite abstract. I rate the characters at 8/10. The only major downside for me was Atom; I found him annoying and felt he got too much screen time.

The artwork is good, nothing extraordinary to mention. There are a few highlights here and there, but generally, it's clean and pragmatic. I give it a 7/10.

In total, we have scores of 7, 7, 8, 8. I'm giving it an overall score of 8.

Pluto Review. Initially, after finishing Monster, I expected this series to fall short of Naoki Urasawa's hype, but surprisingly...

I was right.

Pluto is a sci-fi series set roughly 200 years into the future. Everyone drives cool cars, lives in impressive buildings, and has holograms and robots at their service. The series begins with a murder. Someone killed a robot, and our protagonist must uncover who did it and how they managed such a feat.

As you'd expect from a series featuring robots, it raises questions like: What defines a robot? What defines a human? What differentiates them? Where do we draw the line? What actions should be taken when someone crosses it? While these themes have been explored countless times before, the author digs deeper into this specific scenario, executing it well.

If you couldn't tell, I disliked Monster. Calling it a bad series would be generous. So imagine my surprise when I found myself somewhat captivated by the first two volumes of Pluto. The series does an excellent job making the robots feel alive and blurring the lines between who deserves a heart. This is mainly due to the charisma of the main character, who is incredibly engaging. I enjoyed the dynamic between him and the humans and robots around him. Though not a masterpiece, the series is interesting and exciting enough to make you want to keep reading. The story is coherent, unlike Monster, where characters spent entire episodes doing mundane tasks. However, much of this enjoyment started to fade with volume three, specifically when the KKK-like group joined the story.

For a story that conveys the emotions of robots, the author struggles to evoke the same feelings from human characters. Everything beyond volume three starts to decline. The engagement fades as the main character takes a backseat for less interesting characters to take center stage. It gets worse with the introduction of more human characters that no one cares about. Weak subplots start pulling the series down.

The latter half worsens as the main character becomes even more sidelined. The story falters, and my enjoyment diminishes significantly. The villain was already weak and forgettable, but as the plot unfolds, inconsistencies and cracks become apparent. One of the main villains, the titular Pluto, doesn't make sense. His entire story feels weak. None of the villains stand out beyond being generic antagonists.

The ending is okay, but if this is Naoki's best attempt at an ending, I'll be incredibly disappointed with his other series. He can create great premises, but his execution is horrifyingly poor. The epilogue ending was just... meh.

TLDR: Overall, I was initially happy but then disappointed. I'm unsure how to score it. Part of me wants to rate it poorly, but that might be unfair, considering my bias. Yet, I also feel I might be too lenient. Considering how good the first two volumes were, I guess I'll give it a barely passing 6/10.