Not knowing a significant amount about Astro Boy outside of having seen Atom the Beginning, I perhaps entered the stage show Pluto with a very different perspective; one of a true outsider to the source material, aware of it by reputation and not so much from personal familiarity. This open-mindedness will inform this review; I am aware of the debt so much science-fiction anime owes to Astro Boy, but only from this secondary perspective.
Atom The Beginning is a curious series; unlike the precedent it would appear to follow of socially-conscious updates of traditionally simplistic hero series like Gatchaman Crowds (which like it or not explored the obsolescence of superheroes and indeed government in an internet of things-based society) or Yatterman Night (which was an able if occasionally awkward exploration of the nature of villainy in a simple black-and-white morality superhero narrative) it has yet to properly dig into any of the moral issues it would appear to focus on. The precedent is there for something rich. Astro Boy was a universe that within its child-friendly framework played on ideas of the morality of android technology and machine sentience. But Atom the Beginning is set in that era in a time before the events that led to the creation of, arguably, one of the first super robots.