Review by Ian Keogh

Osamu Tezuka’s perennially cheerful boy robot first emerged in 1951, and is revered in his homeland with a status akin to Batman in the USA or Tintin in Europe. He’s starred in numerous manga and anime series, and in several films, but has never replicated his Japanese success abroad. The internationally released 2009 movie didn’t do much to change that. The first digitally produced Astro Boy, it neither satisfied devotees nor converted new fans.

So where does it leave this adaptation? Despite titling it after the film, IDW seemingly decided early to distance themselves, as Ashley Wood’s impressionistic cover is far removed from the film’s bright digital precision. Other than that, though, writers David and Scott Tipton cover the film’s main mysteries and action while delivering a few surprises along the way, one being the tragedy that occurs early.

E.J. Su keeps the art simple, and allowing for the plot, joyful. Integral to Astro Boy are scenes of his just revelling in what he’s able to do. Just being able to fly was a phenomenal imaginative leap in 1951, and while every second superhero now flies Su manages to show what an incredible experience it can be. He also defines the differences between the floating Metro City, inhabited by the elite, and the hand to mouth squalor the population on the planet’s surface endure. Su doesn’t exaggerate the comedy, so when Astro Boy makes new friends the incompetent robots are endearing rather than pitiful.

Neither do the Tipton brothers over accentuate elements of the film with real world parallels, such as a planet endangered by an arms race in the name of protection. While not looking exactly like the Astro Boy of old, this reflects Tezuka’s themes and ideals. The entire story would have been more effective if Astro Boy had been given the time to know people a little better, but then it wouldn’t have been so true to the movie. Once you’ve enjoyed this, find some original Astro Boy translations for a real treat.