My Favorite Kaijus

Written by Barney Buckley

E-Mail Address: bbuckley@triad.rr.com


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Godzilla 1995

I love the design of the Desugoji suit which I will now give you some pretty neat information of this Godzilla suit and that is the 1994 Godzilla costume was perhaps the best proportioned of the Godzilla suits since Godzilla vs. Biollante. Featuring a stocky, triangular build, broad shoulders and heavy legs, the 1994 Godzilla combined the best featured of the 1992 and 1993 suits.

The neck of the 1994 suit was quite wide at the shoulders and featured much less pronounced ribbing. The face of this costume was basically the same as the 1992 and 1993 costumes. However, the eyes of the 1994 Godzilla appeared bigger than those of the previous suits, while the white areas of the eyes become more pronounced, thus giving this suit a slightly less menacing expression than its predecessors. The head of the 1994 Godzilla could also fully rotate independently of the body. However, this new feature was barely seen in the final film, perhaps because it caused a visible fold in the nape of costume’s neck.

For further information based on this suit go to the statistics page and get your fill. What else will be on this website is a gallery of artwork created by other artists who have an appreciation for burning Godzilla. I also will information on the Oxygen Destroyer that killed the original Godzilla in 1954, and somehow it is connected with this Godzilla. I will also have a synopsis based on the movies, some animated gifs, and also some wallpaper and screen captures from the movie. I will probably be doing more on this if some new material arises to the occasion.

I have several Godzilla suits that I favor and one of them is the Godzilla 1995 it is called Mogegoji-Desugoji suit. Is the Godzilla suit that was used in Godzilla versus space Godzilla and was redesigned to accommodate Godzilla’s meltdown? This time the design seemed to change. The face was much fiercer, the teeth were larger, and the dorsal fins were enlarged so that the side row was just as long as the middle.

The face was kept the same as the last, but the eyes glowed a spooky red. Marks all over his body were visible because of his melting on the inside. His dorsal fins were also glowing the red of the eyes. Holes in the body let out steam to show that Godzilla’s heart was getting extremely hot, and melt down was getting closer and closer.

The 1994 Godzilla costume was perhaps the best proportioned of the Godzilla suits since Godzilla vs. Biollante. Featuring a stocky, triangular build, broad shoulders and heavy legs, the 1994 Godzilla combined the best featured of the 1992 and 1993 suits. The neck of the 1994 suit was quite wide at the shoulders and featured much less pronounced ribbing. The face of this costume was basically the same as the 1992 and 1993 costumes. However, the eyes of the 1994 Godzilla appeared bigger than those of the previous suits, while the white areas of the eyes become more pronounced, thus giving this suit a slightly less menacing expression than its predecessors. The head of the 1994 Godzilla could also fully rotate independently of the body. However, this new feature was barely seen in the final film, perhaps because it caused a visible fold in the nape of costume’s neck.

The 1994 Godzilla suit was employed again for Godzilla vs. Destoroyah. To create the critical mass appearance of Godzilla for this movie, sections of the costume were removed and approximately 200 tiny orange light bulbs were inserted. These areas were then covered with semi-transparent vinyl plates. The suit was also fitted with a mechanism that allowed steam to pour from various parts of Godzilla’s body. The eyes were also modified to glow electronically. When enhanced with computer graphics, these changes to the 1994 Godzilla suit made the image of Godzilla reaching critical mass appear very convincing. Incidentally, Godzilla actor Ken Satsuma reported that the steam generated from the costume was pure carbon monoxide and that it caused him to faint several times during filming.

I am particularly fond of the way this suit glows in infrared and orange hue. I also love the way the dorsal plates look all the way down to its longtail. This suit within a Heisei Series and the other suit that I liked within the Heisei Series is the Biogoji – Ghidigoji Suit. I will talk about this suit on another page.

Is this Godzilla the most powerful Godzilla and the Heisei Series or the most powerful of all the Godzilla’s. I would have to say yes a lot of people would assume that because Godzilla is heading towards a nuclear meltdown he is at his weakest. To me it is just the opposite you that is most powerful the energy that he is releasing because of his heart is eventually breaking down and like most nuclear reactors that go off-line through their most destructive damage before exploding. This Godzilla even though Destroyah not Godzilla around and getting the better of him throughout the entire movie until the end of course.

They fight well and if Godzilla did not go through his nuclear meltdown he would not have defeated Destroyah I do not personally believe you would. As he is heading towards his meltdown of 1200° he admits his atomic breath which is extremely powerful because it destroys everything in its path. And when enhanced Destroyah is too much for the creature especially all the intense heat and it takes to the air only to get shot down by the Super-X 3 and falsity ground and explodes.

Godzilla reaches 1200° and goes through a meltdown that is literally quite sad to see this Godzilla dying. You can see his dorsal plates and his skin falling off as he melts away and with that eerie theme song it really is a sad sight to see almost to the point you would literally crying because he feels sorry for what he is going through. Godzilla melts away to completely nothing and all the radiation that is detected in that area is suddenly disappearing because just before his fight with Destroyah. Destroyah dropped his son whose name is Godzilla Junior as most people assume as Godzilla approached him after being dropped he breathed his nuclear missed to try to revive him however he is just two-week and is believed that he did die. Anyway all the radiation that was consumed in Godzilla before his meltdown was now being consumed by Godzilla Junior who now turns into a full grown adult Godzilla.

Here is my problem a lot of people get the timelines mixed up some have said that this Godzilla Junior who is now an adult has gone on to be Godzilla 2000 and this is not true and some people have said that the Godzilla in Godzilla final wars is Godzilla Junior that also is not true. The Godzilla Junior in the movie Godzilla versus Destroyah 1995 was never used after this movie. I think it would have been interesting to see where they would have took this Godzilla into its own timeline, but we may never see. Enough about this I have to say I am particularly fond of this suit I like the way looks and the way glows and the eyes are very catching as they are orange and yellow and you almost you will look in is a pretty cool looking suit.

Godzilla 1991

We will talk about another one of my favorite Godzilla suits from the Heisei Series and it is called the Biogoji – Ghidigoji Suit and this suit was used and modified from the movie Godzilla versus Biollante they came out in 1989 and was used and modified for the movie Godzilla versus King Ghidorah 1991.

I especially like the suit in the way that they transported the Godzilla source back in wartime and in 1940s they transported him to an off location in the ocean so that he could not become Godzilla, but in fact that would not stop him from being Godzilla because he runs into a nuclear submarine of modern times and grows from 80 m to 100 m because of modern nuclear energy, so when he comes up on shore he looks absolutely amazing.

This is where he has to fight the largest of all the King Ghidorah’s and this King Ghidorah gets the better of Godzilla at first however this Godzilla is much too powerful for this King Ghidorah as it totally annihilates King Ghidorah as he lays waste at the bottom of the ocean. His body is very straight with a nice big chest and his dorsal plates running from the top of his head all the way down to is extremely long tail makes him look truly amazing.

He has a double row of teeth that gives him a very sinister look, but enough about that if you read below is a very detailed description of the suits and some interesting facts about the suit so enjoy this page because this suit is my all-time favorite suit up all the Godzilla suits. I truly love the looks of this design. This in my eyes is how Godzilla should look.

In this series from 1991 to 1995 Godzilla is a result of visitors from the future going back in time to alter the past. They are called Futurians. They prevented the original creation Godzilla by teleporting a Godzillasaurus to the Bering Sea. This would keep Godzilla away from any nuclear energy. But an accident involving a nuclear submarine mutates this Godzillasausus into a Godzilla twice the size, and far more powerful than the original.

This suit was even better designed than the last. Once again with face expressions, the fins were enlarged even more. Godzilla was given animal like eyes, with no white outer part to show. The fins lit up by themselves. More movement was enabled in his neck; this helped a tremendous amount when he faced Biollante.  He was able to move his neck back, and his upper lip was able to lower down, to make it look as if Godzilla was looking with great admiration at his massive foe. A second row of teeth were also added to his mouth.

Godzilla 1984

This was not only the last Godzilla film produced during the Showa era in Japan (the reign of Emperor Hirohito; 1926-1989), but also the first film in a new series (later called the “Versus Series” in Japan), a direct sequel to the original film, Gojira (1954). The next film, Gojira tai Biorante (1989), was the first Godzilla film to be filmed in the Heisei era (the reign of Emperor Akihito; 1989-present). This led to some confusion with American Godzilla fans, who called this particular series the “Heisei Series.”

This suit was basically the same as the last. The face was slightly changed to look fiercer. It appeared more massive than before, with its chest bulked up. The fins stayed the same as before. The suit, though, had been stolen from the Toho lot. The suit was later found on the shore of Lake Okutama, outside Tokyo, by a terrified old woman. The suit was in terrible condition, beyond repair, and so it could not use for the filming.

This suit was the first suit that was really serious looking since Ghidorah the three headed monster. It was the first time that Godzilla was able to have face expressions. The dorsal fins were enlarged….. the side fins were made nearly as big as the middle row. The fangs were brought back, and the tail was lengthened. This suit was stolen from Toho a little while after Godzilla 1985, and still, nobody has been able to find the suit, or the culprit.

The 1989 Godzilla featured a triangular build, with stocky legs recalling the 1962 Godzilla. The chest and shoulders featured pronounced musculature, which gave the 1989 Godzilla a very powerful appearance. The number of dorsal plates was reduced, but oddly the largest plate placed at shoulder level. The tail was shorter than the previous suit and the underside was smooth, in common with all Godzilla suits from 1962 to 1975. The other features of the 1984 Godzilla, such as the fangs, ears and four toes were all retained.

The neck of the 1989 Godzilla was longer and the size of the head reduced. The face was changed radically, and featured a fierce expression with several new features; a feline-like upper lip, multiple rows of shark-like teeth and eyes with large, brown irises and very little white showing. The new face added much to Godzilla’s evil personality, making the King of the Monsters appear fiercer and more dragon-like than before. It also made him look more intelligent, as it seems like he would even know how to make a QR code.

A second costume was specially built for water scenes. Called Sea 1989 Godzilla, this suit was made of lighter material. Although constructed from the same molds as the land suit, the sea suit featured some differences, such as a pronounced crest at the top of the head and odd-looking, square shoulders. The sea suit was also used for Godzilla’s grand appearance as he lumbers out of the volcano at Mt. Mihara. Interestingly, the first constructed 1989 Godzilla suit was rejected, and is thus called the NG (No Good) 1989 Godzilla suit. Compared to the land and sea suits, the NG suit featured a wide, flat head, a short, thick neck and thinner thighs. The NG suit was employed for publicity photos, but also appears in the finished film when Godzilla approaches the Twin 21 Towers in Osaka. Previously, all Godzilla suits featured a zipper that ran along one side of the body to allow entry for the suitmation actor.

Both the land and sea Godzilla suits had a new feature that would apply to all later Godzilla suits; the dorsal plates were mounted on a separate block-shaped piece of rubber that could be detached from the suit by means of velcro strips. This set could be alternated with a special set of dorsal plates made in Fiber Reinforced Plastic (FRP) that would glow electrically, giving greater realism when Godzilla’s dorsal plates emitted light. Furthermore, a mechanical upper-half for Godzilla, which was constructed from the same molds as the costumes, was employed for close shots. This method was also employed in the subsequent films, though with a varying degree of success in matching the mechanical figures with the Godzilla suits.

The Land and Sea 1989 Godzilla costumes were repaired and employed in Godzilla vs. King Ghidorah (1991). The Land 1989 suit was fitted with a new head and used for the climactic battle with Mecha-King Ghidorah at Shinjuku. Compared to the previous head of the land suit, the new head looked a bit wider and flatter. This costume, 1991 Godzilla A, was later cut in half. The upper half was used in the scenes when Godzilla emerges in the Bering Sea, advances up the hill at Hokkaido, and also for tight shots during the first battle with King Ghidorah.

The lower half of the suit was later used when Godzilla tramples Rodan at Adonoa Island in Godzilla vs. Mecha-Godzilla (1993). The Sea 1989 suit was fitted with round shoulders, an especially pronounced chest, and a new head that featured a high crest and a splendidly fierce face. This costume, 1991 Godzilla B, was employed for the majority of the filming of Godzilla vs. King Ghidorah. In this author’s opinion, 1991 Godzilla B is the best and most powerful image of Godzilla in the Heisei Series of Godzilla films.

In Godzilla vs. Mothra (1992), 1991 Godzilla B was used in the underwater battle with Battra, when Godzilla emerges from the volcano at Mt. Fuji, and when Battra toppled the Landmark Tower onto Godzilla (though in this last instance the suit was empty and rigged into position with over-head wires). 1991 Godzilla B should have had QR code stickers on it, as it has the dubious distinction of being stolen from Toho before shooting commenced on Godzilla vs. Mothra (see sidebar by Bruce Comyn).

Godzilla 1984 is another one of my all-time favorite suits because it also has a Cybot that stands 15 feet tall and I believe it was supposed to be used a lot in the movie but it was only used a certain amount of times and in 1984 Toho Studios proudly announced that this robot was the next step in special effects technology. If you actually have seen it move in the movie it is known to jilt and be awkward in its movements it also could not walk or turnaround so we did not have much moving ability. The eyes, head, mouth, and arms have a certain amount of movement. With all that being said it was a really cool ideal to create a robot size Godzilla as it was very detailed and they used it for some great moments and some really good camera shots that zoomed in on its face. Kudos to you Toho Company.

Enough about the robot let’s talk about the suit is the very first time that Godzilla came back as a very dark movie once again. All through the Showa Series from 1966 to 1975 he was a good guy from 1954 it was a dark time and does all his first appearance, but from 1962 and 1964 he was an evil entity that have to be thwarted by another follow up Godzilla’s. In 1962 he had to fight King Kong and in 1964 he had to fight Mothra. As of 1966 through 1975 he was a good guy he fought for justice. In 1984 he comes back and makes his return eliminating all the Godzilla movies from 1962 to 1975 continuing on to that timeline and to make this was one of the better movies and still is one of the better movies when it comes to being Godzilla.

If you like the cybot robot and would like to see it in action as compared to the movie then click on the link below it will open a video that will show you the cybot on stage, but you will have to watch some Showa Godzilla action first, so be patience it will come up its cool to see it move.

As for Godzilla fighting other monsters they have improved but a standalone Godzilla movie this is one of the best ones out there and a lot of people would agree with me. The new Godzilla movie came out 2014 is a standalone movie but he does fight what is called Muto and these I believe our alien like creatures because they honestly do not look like anything Godzilla would fund here on the planet Earth. But that is another story. Anyway this is also one of my favorite Godzilla suits because I like his extremely large thighs as well as his structure very mass of the way he walks and his face even though some people say it has a goofy look at times, but you overlook that because this is a cool Godzilla suit.

For the rebirth of the Godzilla legend, Toho decided to once again portray the King of the Monsters as an evil creature. Thus the 1984 Godzilla would possess the general appearance of the 1954 Godzilla (from Godzilla, King of the Monsters) and the facial expression of the 1964 Godzilla (from Godzilla vs. the Thing), the latter incarnation being arguably the most evil-looking version of Godzilla up to that time.

The 1984 Godzilla suit therefore possessed features previously seen only on the 1954 and 1955 (Godzilla Raids Again) suits; fangs, four toes, ears, staggered rows of dorsal plates, and a rough underside of the tail. The detailing in the legs for the 1984 Godzilla was very good, but the musculature for the chest and shoulders were less well-defined, thus diminishing the costume’s overall image of power. The dorsal plates were very well-detailed, but also appeared to be more numerous compared to the 1954 and 1955 costumes. The largest dorsal plate was placed at waist level, which had not been done before or since.

The tail was longer than any previous version, the neck was short and the head was fairly large in proportion to the body. The 1964-style eyes, with red-brown irises, looked suitably evil. The 1984 costume also boasted a new feature for a Godzilla suit; the upper lip could curl up in snarl. It was so advanced, one might think it could even read a 3D barcode. For water scenes, a virtually identical Godzilla suit was built.

Since this was the first time molds were used to construct a Godzilla suit (as opposed to the scratch-built methods previously employed), it was very easy to build two matching costumes. It should be mentioned that a 5-meter tall mechanical figure of Godzilla, called the “cybot”, was used for several close-ups in the movie. Unfortunately, the face of “cybot” scarcely resembled the face of the suits, and in the finished film the alternating footage of the Godzilla suits with the “cybot” is very jarring.

As with the 1962 Godzilla (from King Kong vs. Godzilla), the 1984 Godzilla is an anomaly in the evolution of the King of the Monsters because it does not resemble prior or subsequent Godzilla costumes.

Grand King Ghidorah

Grand Ghidorah is definitely my all-time favorite of all the Ghidorahs. It is the most uniquely designed and realistic Dragon looking of all the Ghidorahs. Your original is my second all-time favorite Ghidorahs because I like to hear that is wrapped around its head given it a more old-school style and this one is truly unique in design as well.

My third all-time favorite Ghidorahs is King Ghidorah from Godzilla vs King Ghidora 1991. This Ghidorahs is the largest of all the Ghidorahs, but my all-time favorite is the Grand Ghidorah from the rebirth of Mothra series that came out in 1998 it was called “The Rebirth of Mothra: King Ghidorah Attack. I watch this movie and when I saw the Grand Ghidorah I do not believe they call the King Ghidorah in the movie but I could be wrong. As I was watching this movie I have noticed that Grand Ghidorah has different powers and some pretty unique powers but the detail of the actual suit is truly amazing and really stands out and this is my interpretation of how King Ghidorah should look.

King Ghidorah is one of the most uniquely and amazingly designed monsters in the Kaiju genre. Mothra is sent back into the past to stop the original Ghidorah and when he reaches the past he has to deal with what is called a Cretaceous Ghidorah. This is a prehistoric version of King Ghidorah/Grand Ghidorah. There also Cretaceous Mothra Larvae as well. Okay enough about that let’s do some more talking about Grand Ghidorah.

On one keynote Grand King Ghidorah is the smallest of the Ghidorahs and the main reason for this is as it was fighting Mothra and Mothra is not that big so that is the main reason why they downsized his size, so he wouldn’t look so intimidating and to think a Mothra could actually be a King Ghidorah that is over 100 m tall this is why they downsized.

Biollante

Biollante is one unique monster and the entire storyline in over 20 years at fresh new ideals and as I watch this movie at first I thought okay this is different we have a rose form of a monster that was easily killed by Godzilla and the thought that this rose form had the DNA of Godzilla and as it burned a crystallized into the night air. When he decided to return it returned as a big bad ass monster.

This monster had one gigantic mouth with an extreme amount of teeth all over its mouth so when he bit down is going to do some damage. Before Godzilla and it had tentacles which is I thought was a very cool idea for a monster? This monster stood at 120 m it is not the tallest of the monsters because King Ghidorah still owns that record. Monster X stood at 120 m as well. But that is in the future. Biollante is still holding the record for being the heaviest of all the monsters.

The monsters unique design and colors do resemble that of Godzilla and you would not see that until Godzilla 2000 comes out with Orga can change to anything simply by biting, and this is what it tries to do it tries to consume Godzilla and turn itself into Godzilla but fails miserably by getting his head blown off. Biollante is my all-time favorite enemy of Godzilla in the Heisei Series. So without further ado I give you the vital statistics of my favorite Heisei Series enemy of Godzilla.

    Powers / weapons: The bio-monster mutates into an even larger form, replacing its flower petals with fang-Iined jaws, fearsome tendrils, and bristling dorsal spines, as if to signify the shifting of genetic dominance from the gentle Erika to the bestial King of the Monsters. Though barely mobile on its root like “legs,” under duress the plant monster will uproot itself and travel overland with surprising speed. Biollante is capable of lashing out with vines and tendrils or spitting a stream of corrosive radioactive sap. Its thorny strikes could pierce Godzilla’s thick hide, and the suffocating embrace of the plant monster’s tentacles almost proved to be Godzilla’s undoing .The two battled to a standstill, with Godzilla retreating into the ocean while Biollante dissolved into a shower of spores, its ultimate dissolution releasing heavenward the trapped soul of Erika. Biollante may have been responsible for the genesis of another new Godzilla foe, the star-spanning Space Godzilla.

    Weaknesses: Biollante is the first of the new breed of Godzilla foe, and is perhaps the most carefully thought out in design and execution. The very concept of Biollante a monstrous tendriled plant remains unique in the Godzilla series for all of the Big Guy’s other foes are either machines or derived from animal origins.  The result is a towering monster plant that is strangely beautiful; However, after it is attacked by Godzilla’s radioactive ray,  It takes a strange reaction to his ray also causing the rose form of Biollante to burn and wither away into a starry cluster or angel dust  like form and floats up into the sky.

Biollante also has the most plausible genesis. In an attempt to salvage the life essence of his beloved daughter Erika, geneticist Or. Shiragami combined her DNA with that of her favorite roses and then, to guarantee her immortality, added the eternally self-reproducing  DNA of Godzilla. This DNA mix of a human, a rose, and Godzilla himself makes Biollante the first monster created by biotechnology.

Toho released Godzilla vs Biollante in 1989, which was a direct sequel to Godzilla 1984 (1985). This film begins where 1984 left off with Godzilla being sent into a volcano and with Japan now in need of rebuilding, something which they haven’t faced in this scale since Godzilla’s attack in 1954. Biollante is the first of three new monsters introduced in the Heisei series, which were all received with mixed reactions fans. A lot of people I have talked to enjoyed this movie, but I understand that it did not do so well in Japan.

In 1984 Godzilla is sent into a volcano. In the aftermath of his attack, Godzilla cells have been found all over the remains of Tokyo and the battle for them has begun. At first some American soldiers take the ones they find before they are chased by Japanese soldiers, but they end up in the hands of an Arabian assassin who kills the Americans.

Meanwhile Dr. Shirigami (Koji Takahashi) who works with an Arabian oil company is struck by surprise when a bomb goes off in one of the labs killing his daughter, Erika (Yasuko Sawaguchi). In attempt to save her life, Dr. Shirigami merges some of her cells with those of a plant.

Four years have passed by and the threat of Godzilla has returned when a psychic named Miki Saegusa (Megumi Odaka) senses Godzilla is alive and awake. To prevent Godzilla from reeking havoc across Japan again a project has been initiated to use his cells to come up with a virus that will kill him. Dr. Shirigami volunteers to help only if he is allowed to borrow them and when he does, he mixes them with the cells of the plant containing Erika’s cells, which grows into Biollante. Will Godzilla be strong enough to defeat this giant…plant?

Hedorah

Well at all of the characters in the Showa series Hedorah is the most interesting one of them all. I have watched Godzilla movies from 1954 to the present and I have the entire collection on DVD as well as I took them and ripped into my hard drive so I can watch them on my flatscreen TV. The main reason why I like Godzilla versus the smog monster is just the monster’s extremely tall and to me uniquely designed his eyes they really stand out while the detail. His head one he’s discharging smog on to Godzilla’s head opens up and starts glowing red. The suit itself has very unique colors is a fantastic looking suit in my eyes. The movie itself I like it because it is set in the 70s and it has a very psychedelic feel to it. What a lot of you grew up in this era knows what it’s all about.

So I can appreciate this era. Well anyway another thing that I like about Hedorah is his 3 separate stages of growing. He is an alien that crashes down into the ocean from outer space and consumes the pollution causing him to grow into a tadpole and exist. And then he grows into a flying form as well as a crawling form before going into his final huge form. These are the reasons why I like Hedorah and also want to mention that the reason I created this webpage is because I was upset with the movie Godzilla final wars it did not showing off of Hedorah, so I said to myself if you’re not going to show him I will so I created this page to put it out there so people can see it because I think the doors one articles monsters out there. Clearly it on my favorite monster is it goes like this Godzilla, Hedorah, Mechagodzilla 1974 and 1975, and Gigan these are my favorite from the Showa series. In the Heisei Series it is Godzilla 1985 this is my favorite of all the suits, Destroyer, Biollante, and King Ghidorah. In the Shinsei Series in this order Godzilla, Mechagodzilla, and in Godzilla final wars my all-time favorite would have to be Gigan, Monster X and that’s it.

A Marine biologist Dr. Yano is in treatment a fisherman brings him a strange saltwater tadpole. Then on television news, Dr.Yano see the gigantic version of that same tadpole sink a ship. The scientist takes his young son Kenny on a diving expedition in the area where the creature was found. While underwater, Dr.Yano is attacked by the monster tadpole, as his young son Ken is attacked on shore. Both are lucky enough to survive. Now scarred by the attack, Dr.Yano explains to the press that the creature is a living mineral made it from industrial waste. Each piece-or tadpole-has a life of its own. When combined, the creature becomes a single, huge, and dangerous entity called Hedorah, the smog monster.

The smog monster mutates in different forms. A flying disc-shaped form that spews poisonous asset in the air and one flies over people they instantly die. Another form would consume pollution from smokestacks. As a group of teenagers staging a Woodstock-like it go-Festival at the base of Mount Fuji Hedorah attacks. The teams are saved by the timely arrival of Godzilla. The battle between the monsters is a draw, and the military arrives with weapons to use against Hedorah. The combined might of humanity and Godzilla finally destroys Hedorah. But is the threat gone forever?

First I would like to say am going to point out the good points about this movie 1st Hedorah obviously a fantastic costume. The eyes that are extremely red I think Google local with details the yellow and hints of green. When Hedorah is taking a ship on Godzilla I don’t mean that in a bad way but he does do that his head expands and starts glowing red pretty damn awesome. His height and the color scheme of the suits really does stand out and especially the many stages of Hedorah another plus. Another thing I like about this movie is the storyline it sends a message that we are polluting way too much and I sent my share of redeeming slow down or not but it doesn’t seem as bad as it is oversized publicly known.

Another plus about this movie is the psychedelic theme because this movie was made in 1971 inch, straight out of the 60s you can still see the hints of the 60s especially in the disco it has squishy blood screen in the background I think that’s cool you have the female who sings the song “Save the Earth” she’s wearing psychedelic outfit that you don’t see today it would be nice though show off the shape of those women LOL. They didn’t like about the movie is affected tried to destroy Hedorah I’m just joking around. The negative parts that I didn’t really like and do not the worst things about it is that crazy Woodstock seen, but it is what is it was what they did that time. People were free they are not today we’re locked into some serious crap. Not much else I can say is really bad about the movie because it is my all-time favorite one of the Showa series with the exception of the original of course that was cool because I like everything about that movie it’s background of the prompts the Godzilla suit everything.

King Kong, Anguirus, Mothra, and Rodan are representative of Godzilla’s early foes: basic no-frills monsters who rely on horns, claws, and teeth in battle. But the 1970s ushered in a new style of monster, radical in design and often sporting an arsenal of garish ray beams and other fantastic weapons. Leading the pack of more elaborate monsters is Hedorah, aka the Smog Monster, a mobile sludge pile created when an alien spore from space combined with Earth’s overpowering industrial waste. Uke Mothra, Hedorah is a transforming monster, beginning life as a multitude of tiny, tadpole like creatures swimming in polluted water throughout the oceans.

Two by two, the tadpoles meet and unite, growing ever larger until they evolve into a gigantic form that moves onto the land in search of more concentrated forms of pollution. Hedorah’s next incarnation is a flying form, soaring across Japan like a filthy Frisbee, spewing sulfuric acid mist and disintegrating every thing unfortunate enough to be caught in its path. Rnally, the ultimate Hedorah appears as a towering, standing creature, but it is able to transform back into flying form as the need arises .Never before had Godzilla fought a foe with such a variety of weapons at its disposal. In addition to the choking sulfuric smog it spews, Hedorah can fire an explosive crimson ray from the corners of its eyes, spit globs of acidic mud, or suffocate its foe in a lava like flow of liquid muck.

Being comprised of sludge, Hedorah seems invulnerable to conventional attack. Punches go right through with no permanent damage, while Godzilla’s ray is deflected and diminished by the alien mineral content of the Smog Monster’s mass. Hedorah’s only susceptibility is to dehydration-a weakness that allowed human technology to combine with the power of Godzilla to finally bring down the curtain on Hedorah’s reign of terror. 1971 was the beginning of a new era in Godzilla films. Every Godzilla movie after Godzilla vs. Hedorah had foes with some sort of super weapon (i.e. ray, acid, eye beams, etc,) with the exception of Titanosaurus

Godzilla vs Hedorah (also known as Godzilla vs the Smog Monster, and Gojira Tai Hedorah in the original Japanese) is a 1971 film. Part of the Toho studio’s Godzilla series, it was directed by Yoshimitsu Banno with special effects by Teruyoshi Nakano.

Hedorah was an alien life form that landed on Earth and began feeding on pollution. Thanks to his toxic nature, as well as his acidic, poisonous body, Hedorah very nearly put an end to Godzilla in their struggle. Godzilla finally put an end to Hedorah by completely drying him out using electrical generators set up by the military and his own radioactive breath. The movie contains several strange impressionistic animated scenes portraying the smog monster at his evil work.

On a side note, this was the first time we see Godzilla fly. He uses his atomic breath as jet propulsion.

Tomoyuki Tanaka, who produced the first 22 Godzilla films was in the hospital while the film was made. Upon recovery and actually seeing the film, it is said that he told the director of the film that he ruined the Godzilla series and that he would never direct at Toho ever again.

This was the eleventh Godzilla film. It is one that has earned its own special niche, due to a listing in the Medved Brothers The Fifty Worst Movies of All Time (1977), as the worst of all Japanese monster movies. Which is not quite the case. Certainly, there have been worse films made. Even worse Godzilla films – the subsequent entries Godzilla vs Gigan/Godzilla on Monster Island (1972) or Godzilla vs the Cosmic Monster (1974) are much worse than this, for instance. Japanese monster movies require a necessary state of critical suspension – they make a peculiar kind of sense when viewed not as monster movies but as a kind of pulp fairy-tale. Although by this point, the Godzilla series had become so pitched to juvenile audiences that he can be shown as a toy played with by the film’s token child. And the Godzilla on show is not the best looking of Godzilla’s – its neck for some reason being much longer and scrawnier and absurd-looking, while its appearance comes accompanied by ludicrous mock Spaghetti Western music.

The Hedorah creation has much potential as both metaphor and monster. Pollution had now supplanted the Bomb as the major anxiety in the Japanese national psyche and featured in one way or another in most of the Godzilla films of the 1970s. “As we created it, Hedorah is our punishment,” says one character with typical Japanese monster movie self-flagellation at one point. (Although the American version creates confusion by then throwing in an entirely muddled explanation about Hedorah having arrived from outer space on a meteorite). A dubbed song goes on about pollution: “We have cobalt full of mercury/Too many fumes in our oxygen/All the smog now is choking you and me/Good Lord, where is it going to end ?/… For tomorrow you and me, we’re movin’, movin’ to the Moon now/We know what it’s worth to save the Earth/Come raise your voice.”

Gamera Three

In the Heisei Series of Gamera movies Gamera has gone through various changes in the movie that came out called Gamera: Guardian of the Universe he had a very friendly look until Gamera had to fight Legion in 1996 in the movie Gamera versus Legion or Gamera: Advent of Legion this is where he fights his toughest opponent which I will talk about later and give you the reason as to why Legion is his most lethal foe. But as for right now we will talk about the Gamera suit in Gamera three or Gamera versus Iris.

Now when I first saw this movie I have to say to myself when I saw Gamera flying over the building and his shells flap up and down I thought that was truly amazing special effects and when he landed he landed with such massiveness that he destroyed everything in his path. This domain they took a realistic impression on how monsters are and as big as they are and what effects they have when they come crashing down to the earth they did a perfect job on this. When I saw were Gamera looks like it was truly bad ass it was so amazing the way he looked truly looked evil they enlarged his mouth and reshaped his head and his eyes had no soul in them whatsoever and his body along with his shell were extremely widen to give him a more monstrous look and they did this perfectly IMHO.

The movie itself it was okay the monster default Iris she was a spawn of Gyaos this creature is popular throughout the Gamera series. It is probably like King Ghidorah is to Godzilla Gyaos is to Gamera. Iris also had tentacles and a very modern but you need look her tentacles have serious laser weapons or plasma balls that address they do harm to Gamera. Gamera in this film is totally misunderstood as an evil entity. He is neither evil or good is just misunderstood. In the end this Gamera loses his hand, but in the process gets a burning fist. As he walks out of the Kyoto station a whole bunch of hyper Gyaos is zooming in on him and the movie ends.

There is a fan fiction film that was created to somehow complete this Heisei Series movie because the way it ended they need to finish it. The fan film is called Gamera 4 and the company that owns Gamera gave this director of the fan film permission to release it in Japan, but cannot distribute it for profit and it is not released all over the world. Which is a shame to me because I would have loved to seen this movie. They need to complete this series or breaking into a new reboot and asked for Gamera 2006 while they went back to the child friendly Gamera in this one is a little turnover grows up just like the GMK thing with Kanekos Ghidorah to me this is just wrong.

Gamera 3 Young Ayana is still pretty steamed at the flame-breathed, jet-powered, giant turtle Gamera ever since the cataclysmic battle four years earlier between “The Guardian Of The Universe” and the winged Gyaos; a catastrophe that killed her parents. Entering a cave on a dare, she discovers a strange egg, and an even stranger tentacle creature inside. She christens it “Iris”, and intends to raise it to defeat Gamera.

Meanwhile, the Gyaos are being sighted with distressing regularity across Japan. Gamera comes out of his shell (rimshot!) to do battle with one in the Shibuya district of Tokyo, where the city is, predictably, razed. Public opinion turns on Gamera for the destruction.

As Iris grows, it needs to fuse with a human counterpart to complete its metamorphosis. Soon, it will become an even greater threat to mankind, and the shamed Gamera, than the hordes of Gyaos. Tourists, stay out of the Kyoto train station and beware of falling debris!

Legion

Daiei had assembled the team to conjure a winner in 1995`s Gamera, the Guardian of the Universe, so they reunited them to continue the winning streak with 1996`s Gamera 2. While Gamera’s rebirth was filled with kaiju athleticism, this second foray took its cure from Toho`s final entry in the Heisei Godzilla saga. This sequel is somber, slower-paced, and Gamera’s adversary is a multi-formed alien beast called Legion (after the Biblical prophecy of a demon who, when exorcised by Jesus, claimed he was `one of many`).

Daiei had assembled the team to conjure a winner in 1995`s Gamera, the Guardian of the Universe, so they reunited them to continue the winning streak with 1996`s Gamera 2. While Gamera’s rebirth was filled with kaiju athleticism, this second foray took its cure from Toho`s final entry in the Heisei Godzilla saga. This sequel is somber, slower-paced, and Gamera’s adversary is a multi-formed alien beast called Legion (after the Biblical prophecy of a demon who, when exorcised by Jesus, claimed he was `one of many`).

This film takes place several years after the conclusion of the first. Tokyo itself has been repairing the damage caused by the Gamera/Gyaos clash (we are even treated to an image of the restoration of the damaged Tokyo Tower), and the world seems at peace. During a meteor shower, a huge meteorite impacts south of Sapporo. When investigated by the Self-Defense Force science team, including Yusuke Watase, Mr. Hanatani, and Midori Honami of the Youth Science Museum, no remains of the meteorite can be found.

Next, objects made of silicate material all begin to disappear, including fiber-optic cables and beer bottles (here we see our police detective from G1 has been demoted to being a security guard at the bottling plant), and these incidents are on a path heading towards Sapporo. In the subway, insectile human-sized creatures ambush a train, killing passengers in their attempt to consume glass and other silicon based substances, while above ground, a vast, plant bursts through a building. It is quickly determined that these alien life forms are symbiotic and related to the crashed meteorite.

The plant itself seems preparing to germinate, and it is full of pure oxygen, which it will use as a form of rocket-fuel to explosively launch its seed back into space (naturally decimating Sapporo in the process). As the military is preparing to destroy the plant prior to the detonation, Gamera appears and obliterates the plant with his plasma fireballs, but the small soldier-Legion creatures emerge from underground and swarm over him.

Gamera is being overwhelmed, so he does his flying saucer bit and flies away, flinging the soldier Legions from him, but splattering nearby buildings with blood from his many small wounds. Next, a vast Legion emerges from underground and takes to the air. It is a wonderful image, translucent insect wings bear it aloft like a gargantuan wasp. The Japanese military attacks with jets, and the beast disappears, leaving a bit of wing behind.

Our intrepid heroes examine the remains of the soldier Legions and determine that these are alien creatures who communicate via microwaves. Since electrical waves can disrupt their microwave communication, some sources of this are considered hostile by Legion, hence cities will be targeted for attack. Other electronic emanations attract them like pheromones.

The next urban area to be infested is Sendai, and again a giant plant grows and the populace is evacuated. This time, Gamera arrives too late and the plant detonates with the force of a nuclear bomb, decimating the city and immobilizing Gamera, whose charred form stands immobile at the edge of ground zero. This is a stark and powerful image, conjuring memories of Hiroshima and Nagasaki.

The giant Legion now heads for Tokyo, while Asagi, Gamera`s `priestess` from the first film, gathers a group of children around his still form to invoke his re-awakening. The military attack Legion, but they fail to slow his advance. In a mystical sequence, the combined energies of the children revive Gamera, who proceeds to Tokyo for the final climactic confrontation with Legion. But significantly, the amulet which forged the connection between Asagi and Gamera is destroyed in his resurrection.

This climactic sequence is an extraordinary battle, as Legion is far larger than Gamera, and his energy weapons do great physical harm to our heroic turtle, and can ward off the plasma fireballs. It commences with Gamera`s spectacular entrance, landing from the air and sliding from inertia through buildings and firing plasma fireballs at Legion as he goes. In this conflict, Gamera even succeeds in tearing off Legions mandibles (which he`s been using to focus his energy), but then Legion calls forth what can only be described as spear-tipped `energy whips` which lash out and pierce Gamera.

It looks quite grim for Gamera and humanity, but Gamera has an ace up his sleeve. Summoning the energy of the Earth itself, which flows in titanic waves from distant parts of the globe to a point above him in an awe-inspiring image, Gamera concentrates the planet’s life force in his heart. His breast plates open and an irresistible fountain of pure energy flames out and blasts Legion to atoms in a cosmic conflagration. Our lead character’s ponder the future direction of Gamera allegiance, now that his link to mankind has been sundered.

Once again Daiei`s four horsemen have done the nearly impossible: created a sequel which advances beyond their first, excellent film. Kaneko`s script is imaginative and plausible, revealing Legion`s nature as a series of mysteries are solved. Higuchi`s effects are even more spectacular than from G1, with Gamera himself getting a makeover that lends him an even fiercer look, replete with sea turtle-like arm fins to serve as ailerons during flight (they metamorphose via CGI back to clawed paws upon his alighting to earth). Legion`s various forms are imaginative and convincing, from the very deadly black soldier Legions, to the bizarre full-sized crustaceous creature which needed two actors inside the unwieldy suit.

The giant plants also are beautiful architectural structures. Kaneko crafts many impressive images, from intense close combat between the kaiju, to the somber and funereal image of the charred comatose Gamera limned in red by the setting sun. And Otani`s score is absolutely on-target, responding to the more mysterious and slower pace of this film. Clearly he is a talent who is making a mark with work of excellence, and a worthy contender for Ifukube`s mantle. .

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