Maeda got his start in the anime industry working at Studio Ghibli on Hayao Miyazaki films like Nausicaä and Castle in the Sky. One thing that makes this more special than your average anime-to-manga adaptation is the involvement of Mahiro Maeda, which really surprised me, to be honest. Anyone that’s seen the anime is well aware of these changes, but the manga shouldn’t necessarily be overlooked by those that have already worked their way through the 24-episode series.
His horrifying backstory begins to unravel after that another example of one of the chief differences between this work and Dumas’s. The first volume follows these events through the Count’s arrival in Paris, where he meets some of the nobleman of the land. Guess who comes to his aid? Once the dust settles on these events, the Count notes that he will be traveling to Earth soon, and promises to continue making Albert’s acquaintance in Paris.
After a cordial evening of drinks and dining, they part ways, but before long, Albert finds himself in a bit of a pickle that involves both a plundering ladyboy and a vicious gang. When chance finds them crossing the path of the eponymous Count, Albert’s life is forever changed.
Through some substantial plot changes, Monte Cristo is told more through the eyes of Albert de Morcerf and his friend, both on vacation on the moon colony of Luna. Then again, his head might explode at the mere thought of his 19th century setting being zapped forward into the year 5053. But what about the classics? Would Shakespeare roll over in his grave if he saw a cybernetically implanted Robo-Romeo ripping out his wiring along with his love Juliet? Maybe it’s best to ask the ghost of Alexandre Dumas, whose famous work The Count of Monte Cristo was given the sci-fi anime treatment by Gonzo back in 2004. Many have come and gone before us with one simple thought: “Wouldn’t this be cooler… in SPACE?” We saw it happen to the critters of the film series Critters, and we even saw it happen to Jason Vorhees in Jason X.
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