Shin Godzilla’s Requiem


Shin Godzilla Movie Synopsis

Written by Barney Buckley

A movie synopsis that is filled with all kinds of spoilers and this is all of the movie synopsis for Shin Godzilla. If you do not want to know about the film and it spoilers my suggestion is not to read the synopsis.


The movie itself begins with the Toho Motion Picture Company and its new logo. Shortly after this new logo is followed by a more traditional 1960s version of their logo. Soon after the logos appear we do here Godzilla’s footsteps as well as the 1954 famous roar. This is a dedication to the entire franchise as it celebrates Godzilla’s 62nd anniversary. Finally before the movie actually begins we do see Shin Godzilla and Katakana. This is Japanese lettering and it is very similar to the 1954 original movie which has the logo in giant letters that are white with a black background.

The Actual Movie Synopsis

There is a very small boat located in Tokyo Bay and it is completely empty. The government officials climb aboard the boat and realize it is completely empty. What they find is an origami swan, a pair of glasses, and a pair of shoes. (This is very odd) they are under the assumption that the owner and crew of this boat must have jumped overboard and committed suicide. The question is why would they do that?

Suddenly, the entire boat is rocked by a huge explosion, from underneath the boat. Suddenly a fountain of red bubbly like blood seems to from within the water itself. Meanwhile they had to Aqua line tunnel that is located beneath the bay and his son starts (Spoiler Alert) “the second stage of Godzilla has made its way out all the bay and into the mainland. As it makes its way does matter is to slither into the city and then suddenly as a military is called upon it manages to slip back into Tokyo by.

The next time we would see him it would come back again it has gone through another stage of development and this time it is called the third stage. Suddenly the third stage manages to crawl and slithers way into the city where it is seen and it collapses on the streets above the Aqua line and suddenly blood is pouring out of its gills.”

The Japanese government is prompt to take action. Rando Yaguchi our main character in the movie is a Deputy Chief Cabinet Sec. with aspirations of being a Prime Minister for Japan one day. The current Prime Minister (Ren Osugi) seems, pretty much a pushover, and as we soon realize not the best man for the job. When it comes to a crisis control. There is a lot of chatter or talk between the officials as they discuss at length what they must do about the situation that just occurred in and out of Tokyo Bay. The scenes are carefully crafted by director Hideaki Anno and the special effects for this film is done by Shinji Higuchi who has done the special effects for the Heisei Series Gamera films. As well as the Attack on Titan films. During this particular film they handled this situation very similar to what actually happened in real life in Japan on March 2011.

On March 2011 Japan was rocked by a huge earthquake and soon after that they were hit by a tsunami. Hideaki Anno took advantage of this particular situation and you do see as it does heighten the sense of tension and dread within this film. Rando Yaguchi believes that this incident was created by the fault of a strange creature, and there are images seen popping up on the Internet through videos within the next few days. However his client is refuted in the government sites the situation as being an earthquake or possible volcanic eruption or disturbances as being the cause.

However they would soon change their mind and they do in fact see a gigantic tail emerge out of Tokyo Bay. They now realize it is a creature of gigantic proportions. Suddenly it is seen slithering out of the bay this would be the second stage which is called the platypus stage or giant turtle. Oatami Hiromi (Mikako Ichikawa) is the National Conservation Bureau Dir. and he manages to call in the specialists to try and identify this particular creature.

However they come to the conclusion that they are clueless as to what it might be. It is then that the Prime Minister is now in a conference and letting people know of the situation and he is making promises that this particular creature will not make landfall. (Spoiler) “This Eventually Does Not Come True!)

The Prime Minister while in the conference is informed that, well… You guessed it? It does in fact, sure in Kamata. However it is slithering through the city. The creature does eventually reveal itself (Spoiler) “the four stages of Godzilla are very similar to that of Hedorah.” There is a clay rendition of the tadpole version on the Internet as you do not actually see this stage at all during the film. This would be the first stage of Godzilla’s development.

Now back to talking about the third stage and it vaguely resembles that of a dinosaur creature that is bulging, with fish like eyes or squid like eyes, it has little nubs that would be where the arms are. As they are not fully developed yet! It does in fact have a very long tail, with several rows of underdeveloped Mapleleaf-like dorsal plates. The monsters actually seen essentially crawling across the ground horizontally. Its dinosaur -like legs are not fully developed as it manages to slither across the ground using its chest. It slithering around like a snake.

We would classify this monster formation that is very similar to that of a “Proto-Godzilla and is seen dragging boats and cars along with the rising of the water and its ensuing carnage clearly reflects that all the horrible destruction that is eerily similar to the tsunami that occurred on March 2011. Now during this scene this is where the composer Shiro Sagisu and his chilling peace from the first video that you do see all the trailer is located on the Internet and it is called “Persecution of the Masses” as it suddenly appears.

The Prime Minister is now being pressured by the cabinet to declare a state of emergency in Japan. The Japanese Self-Defense Force (JSDF) is suddenly called into action. This prototype version of Godzilla manages to slither and crawl up a building inside it collapses from his weight and somehow manages to get back up on its feet now. This is because its legs and ankles as well as his feet are growing even stronger. It does in fact certainly stand up and now goes through another stage of development as a slumbers enters a sleep like pattern.

There is another reason that this particular scene is quite noticeable it is when it’s going through his transformation stage is set to the musical score of “Akira Ifukube” this generally original thing from Godzilla 1954 where he does in fact arrived on the mainland of Tokyo Bay. It is called “Godzilla Comes Ashore” this is very Showa Series like and very cool to say the least. I will tell you this is the actual original score that was used 62 years ago. Not a re-orchestrated version by Shiro Sagisu. While you are listening to is very startling and unexpected, but hauntingly appropriate for this particular scene.

It is during the transformation stage that he does go through a moment where he does attain the original 1954 Godzilla more. This again is neither edited nor changed. Again I have to say this is a very nice touch.

The Japanese Self-Defense Force finally arrived on the scene to attack the monster. However they are suddenly forced to call off the strike when they discover that there are still civilians in the area. This is where the third stage Godzilla manages to slip back into Tokyo Bay. It does in fact disappear right off the radar.

The government is now deliberating on how to deal with the situation and Rando Yaguchi has been vindicated for his opinion that the creature existed in the first place does in fact receive permission to start a specialized group to study this monster. Because I realize they made a mistake, so they honor him with this particular responsibility. The “Enormous Creature Special Disaster Headquarters”, or “Team Yaguchi” is finally established and in their first discovery they realize that the creature did in fact the something behind. It was determined that this monster is emitting radioactivity, although not seriously high levels of radiation. At least not yet.

Now this is where we get to meet that pretty little Japanese-American girl her name in the film is Kyoko Ann Patterson (Shitomi Ishihara) she comes off as being somewhat a cocky Japanese-American girl. Who is a special envoy for the president of the United States of America. She certainly arrives on the scene and this is where you get references and connections (although not canonical) to the previous Godzilla films or they were suddenly introduced at this particular point in the film.

Kyoko is looking for the scientist named Goro Maki (Akira Kubo’s Name in the movie “Son of Godzilla” and also the lead character of the movie “The Return of Godzilla”, and this to me was a nice touch.) This person has been working on an energy research in the United States, and ultimately determined that it was Goro Maki who in fact committed suicide in Tokyo Bay. Leaving the people with both the mysterious envelope along with the origami crane. They now realize that these are strange maps and documents that have been recovered and they were shown to Kyoko. She does in fact share some information with Rando Yaguchi and when he looks at these documents he notices a strange word or an unusual word in English “Godzilla”.

Kyoko does inform Rando Yaguchi that this is a codename that was used by the United States of America for a creature that did attack Japan and its true name is “Gojira”. It was Goro Maki who actually name the creature and he took the name from… Wait for it… The name of a giant God revered on the island grew up on… Odo Island.

Goro Maki as it turned out have been studying this bizarre life form known as Godzilla for many decades. It had been over 60 years earlier (Circa 1954) the lawsuit was discovered feeding off of nuclear waste and was studied in secret. Now the exact origins of Godzilla and for what purpose the United States was studying him is still left a mystery.

What is ultimately discovered by Team Yaguchi is the fact that this particular monster they call Godzilla does contain a great amount of radiation within his body. They also know that this monster does emit great heat and radioactivity when it does move. As they do further studying there are suddenly interrupted by yet another interruption of the great monster Godzilla as he makes his way out of Tokyo Bay once again and this time he does make his way to landfall again.

This time Godzilla lands in Kamakura. Now suddenly this beast has taken on a different form that does closely resemble that of the classic Godzilla and it appears as the “Shin Godzilla Design” that we are all familiar with. We have seen this particular design in trailers, posters, and toys. Now whether you want to believe it or not this is the fourth stage of the monster with the previously seen Proto-Godzilla and it’s two other forms being the second and third form overall. This is the fourth stage as you do not see the first stage (Tadpole Stage).

I did mention earlier that we do not see the first agent all in the film. But there are images out there that are based on a play form of the actual image. Before stage is the biggest and most powerful version of Godzilla so far. While watching this on screen the name is mentioned as “Shin Gojira” several times during the film. Let’s further elaborate on the word “Shin” in Chinese it simply means “Evolved” or “Evolution” and it also means in Japanese “New”. There are other meanings to the word “Shin” it could mean… “True”, “King”, and “God”. It just simply means is another new version or description of the “King of the Monsters”.

I’d also like to mention that a lot of people assume that this is the final form of Godzilla. It is for this film. However I do not think is the last form as we have not seen a truly developed Godzilla yet! I believe it will need to go through further development (Spoiler) we see Godzilla walking through Kawasaki and certainly more “Akira Ifukube” music makes an appearance. When the monster son emerges from the water before walking to Kawasaki the famous Godzilla theme thunders across the film. Now during this particular scene the soundtrack is from and composed by “Akira Ifukube” and it is the score from “King Kong versus Godzilla 1962” and that it does certainly transition into Godzilla’s theme that was used in the movie “the Terra Mechagodzilla” which came out in 1975. Keep in mind as you are watching the film you are going to see that it is a very classic Godzilla in nature and as the scenes themselves when the monster is slowly advancing through town and crushing the buildings and causing panic throughout the entire city as it is crushing the buildings and causing chaos you do see the people fleeing from the monster and tear. Hearing this for during the scene it does in fact feel very appropriate or welcome to the longtime friends. You will appreciate this particular part!

Tomogawa is the particular line of defense against the monster and the Japanese Self-Defense Force five began their attack by having their helicopters fire their Gatling guns directly into Godzilla’s face. The tanks themselves dear fire artillery shells at the monster’s legs and torso, what to know about because we all know that Godzilla is damn near indestructible and unstoppable. Does in fact keep walking like nothing is happening. This my friends is the nature of Godzilla. In this particular film it is said that the military in this film do not miss their shot. Every single shell and bullet that is fire on Godzilla does in fact hit the monster.

Yet again and all Godzilla films with the exception of Godzilla 1998 (That One Is Not a Monster. It was a gigantic Animal) we do see human weapons can’t stop or even attract the attention of Godzilla. They were in fact ricochet off his skin and the artillery shells would literally bounce off and explode in the air right in front of his body. It is the most hauntingly effective attack seeing in the history of the Godzilla franchise. I also like to make note that there is a use of some classic Eiji Tsuburaya sound effects of explosions when the missiles are fired onto Godzilla. They give you that Showa Series sound effects (Very Cool Concept).

Now we’ll talk about the special effects and at this time we were clear up some confusion that seems to come out from “The Toho Motion Picture Company” and the promotion of the film as it features nothing but an all CGI Godzilla and rest assure Tokusatsu fans “This Is Not the Case”. They do use CGI in some aspects however Godzilla is in fact suitmation with CGI. I will tell you this the CGI in this film has improved immensely as we all know Japan was a little behind the eight ball when it comes to CGI as compared to American films using CGI in their films.

I will tell you this that the CGI in this film as I have not seen it yet, but I have been told that it is nothing short of astonishing. Let’s compare if you have seen the now famous “Ultraman 2016” trailer that uses Ultraman entirely in CGI and is seeing in Tokyo fighting a monster. That is naturally comparable to Shin Godzilla is very similar to that, so you will be impressed with the CGI in this film with a few exceptions of course. If you are picky and you are trying to compare that to Godzilla 2014 and you’re obsessed with the whole realistic CGI concept that my suggestion is not to watch this film.

The Toho Motion Picture Company as I mentioned has made leaps and bounds with their computer-generated imagery abilities in the last decade or so. You would be hard-pressed to believe that this is the same company that animated that passable, but definitely clearly CGI fact films such as Godzilla Final Wars. As well as other Godzilla films you will be impressed. I will say that the CGI in this particular film according to what I have been told is very much in the Tokusatsu spirit. It does make you feel very authentic.

However as good as the CGI work is in Shin Godzilla the practical effects are truly breathtaking as well. So whoever stays or even mentions that this movie is not that good CGI wise and along with the practical effects are either expect too much, or are spoiled, or just simply don’t know what they’re talking about. How about this maybe they’re overly opinionated!

In short Shinji Higuchi has achieved what I consider to be a new gold standard for not just a Godzilla series, but Tokusatsu in general. Now Godzilla is handled in an old-fashioned white with a large-scale pop. With only a few shots mostly involved in the mosses maneuverability and contorted in the ways that it seems to be very difficult to pull off with a gigantic puppet. These particular scenes were created digitally, so keep that in mind. However that would be the case in most movies anyway. Much of the CGI used with this so-called final form involves atmospheric embellishments such as the smoke and the debris. This is one of the CGI steps and does what he needs to do. The incorporation of all the CGI practical effects used for Godzilla in the real world environment of this film are absolutely flawless. With the combination of Hideaki Anno’s tight and all inspiring directing simply based Godzilla filled more realistic and terrifying at the same time. This will make Godzilla even more powerful.

Now Godzilla is directly in the center of Tokyo and suddenly the B-2 bombers suddenly drop MOP2 bombs directly onto Godzilla’s back and when explode it causes is back to explode with that red fluid coming out of his back. In this aspect when they are bothering him and he does do damage I think it is because he is still very sensitive as he is not fully healed as it can be easily will until his skin hardens. When the bombs hit there are geysers of blood that come from his back is then that we suddenly see his entire body started blowing purple. The actual color emanates from Godzilla’s back to dorsal plates as well as his entire body. Godzilla certainly bends over with his face almost to the ground and suddenly Godzilla opens his mouth and it hinges as well as the lower jaw although split wide open very similar to that of the movie “Blade 2” where the vampire’s lower jaw split wide open and this is very similar. It kind of reminds me of Orga from Godzilla 2000 or even better yet it reminds me of that of a mandible stretching like a snake you’re all that on hinges itself in a natural way. These are some of the elements you see Godzilla doing at this particular point in time.

It would be a few seconds later that that purple glow within the beast does in fact give way to a massive belt of high intense energy which starts out like a bluish fog like substance which erupts from Godzilla maw (This Is Just the Beginning). It is then it certainly ignites into a fiery substance that is so destructive in nature that it is flooding the entire city when a mass energy and it is flooding the city and it is very similar to that of the movie “Independence Day” where you see the spaceships firing down on the cities is that kind of destructive nature that Godzilla uses. It is literally bursting out of Godzilla’s mouth like a rocket engine in the fire spreads throughout the entire downtown Tokyo. At a tremendous rate that at the same time it will impress every viewer that is looking at it with extreme shock as it is impressive to look at.

Then suddenly it changes into something a little bit more accurate very much like the Gyaos in the Gamera series. He has a very accurate laser light weapon that shoots out of his mouth Godzilla has something very similar. And it is ridiculously accurate and even more destructive than his initial atomic breath. As he uses this weapon and if he his head to the right or left it will slice and destroy anything in its path. It slices through these buildings and will he shares them into dust. I have never seen anything this destructive. Godzilla 2014 does not stand a chance against this Godzilla. I will tell you this after he is done the entire downtown Tokyo is a flaming wasteland of rubble as if it were in an apocalyptic wasteland.

I will tell you this many famous landmarks and that includes the Waco building and in case you don’t know what this is it is a famous landmark that was used and destroyed by the original Godzilla in 1954 it has a clock tower within this establishment. I will tell you this as he is lighting up downtown Tokyo the composer Shiro Sagisu hold a beautiful piece that they call “Who Will Know?” Is heard when the second trailer when he makes his first appearance.

Even though Godzilla lays Tokyo and a fiery wasteland the destruction is not over yet. He has yet another weapon that is even more impressive. This new Godzilla has lasers shooting out of his back. He can manage to shoot an average of 12 of those impressive laser beams simultaneously and as he moves his back they move simultaneously with him until they hit their target in the sky. If you look at the scene they do resemble that of Godzilla’s dorsal plates looking like searchlights (If You Can Imagine That). As I mentioned before the actual purple beams that are shooting directly Godzilla’s dorsal plates they have incredible accuracy. They do hit their target every time.

I do want to add one more thing and that is the fact that when he shot those laser beams out of his back he did manage to destroy the choppers and even the shopper there was carrying the prime minister and the cabinet. They all perished! The thing about his atomic breath in its atomic laser stage does have to gear down and when he does it returns to its fiery destructive nature as he continues to burn the entire city and the Holocaust claims. If you remember back in the original Godzilla 1954 movie either the entire city up in flames this is reminiscence to that.

In the meantime we see Godzilla is surrounded by fire like some primordial devil. When his purple glow does subside does manage to close his mouth and he slowly, but surely comes to rest and freezing in place like an enormous statue. Now it seems Godzilla has expended all of his energy and decay of monsters must recharge much like Gamera did in his films. Gamera in the movie “Gamera: Attack of Legion” falls into a temporary stay of dormancy, slowly building up his strength for the next attack and this is what this Godzilla is doing.

It is during the total destruction of downtown Tokyo that the Japanese people are left in a state of confusion, panic and terror. It seems all the attempts to kill this monster and this was even with the combined efforts of the Japanese and American military has simply failed. This monster now simply rests and is a stiff statue right in the middle of a burning Tokyo. He is in the process of recharging his energy.

Well it seems that Godzilla’s devastating attack simply left the city of Tokyo and a smoldering wasteland as it seems that with the Prime Minister and the entire cabinet all gone in one big shot. They all know that in due time they will be able Prime Minister to assume control. The UN has a plan to deal with Godzilla and the solution is simply to hit the monster with a nuclear attack. This is their believing that the monster will not survive a full on assault by nuclear weapons. I will say this this has been tried or they made the attempt of using nuclear weapons on Godzilla on several occasions. It simply will not stop Godzilla.

There is a third main character in this film and he does assume the role of the new prime minister and his name is Akasaka (Yutaka Takenouchi) ultimately does support the fact and use of atomic weapons. Believing that they had enough time to evacuate the entire city and sacrifice whatever is left. This new prime minister does assure the UN it will help rebuild and so comes the ideal of peace with the atomic bombing on Godzilla’s homeland.

Rando Yaguchi and Kyoko both are steadfast and opposed to the ideal nuclear weapons. Rando Yaguchi does believe that there are alternatives less destructive methods to dispose of the King of monsters. Kyoko displayed pressure from her American father who is a powerful government official and her old political aspirations doesn’t want Japan to suffer from the destruction of nuclear weapons. Furthermore Kyoko does inform Rando Yaguchi that there are plans for to transfer control over Godzilla and the decision to use nuclear weapons on Godzilla. This would be transferred to the UN. It is then that Rando Yaguchi refuses to accept this and quickly reforms Team Yaguchi to further study the monster while it is in a dormant state.

On the first major discovery by Team Yaguchi and this is courtesy of some rapidly growing Godzilla tissue samples (this is most likely small tissue samples from the red liquid that erupted from his body when the B-2 bomber attacked it. He found out that the monster cells do reproduce asexually. They also discover that allowing the individual G cells to grow and develop an alarming rate this also tells them that it does have the capabilities of feeling very fast. They also fear that this is less likely due to the fact that it is an asexual reproductive system very similar to that of the TriStar Godzilla and a bit more comparable to Sanda and Gaira from the 1966 movie “The War Other Gargantua’s”. In this movie there is tissue samples that were from the original Frankenstein monster that fault Baragon in “Frankenstein Conquers the World” which came out in 1965 and in this movie it seems that these tissue samples I reproduce asexually and re-created the monsters Sanda and Gaira. We now realize that Godzilla being in his dormant state he is in fact recharging.

They have done scientific studies and realize that he will eventually way from his dormancy on according to what they think would be 360 hours and that gives Team Yaguchi at least two weeks to come up with a formula or a possible solution to actually disposing of Godzilla.

Rando Yaguchi is pleading with Akasaka and Team Yaguchi are desperately trying to find a solution to the Godzilla cellular structure and internal mechanisms as Tokyo is slowly evacuated. We now know that the clock is finally counting down and certainly a breakthrough would be discovered. As Rando Yaguchi realize that the answer is right in front of him the whole time it was cleverly hidden within the artifacts collected from the boat from the late Goro Maki. The man who made and actually studied this Godzilla it was Brown right there in the envelope that was located on that desert is ship in Tokyo Bay. It also have strange diagrams that could not be deciphered.

This along with that origami crane. Rando Yaguchi unfolds the actual origami crane and discovers a map that was hidden inside. The resulting data finally reveals that the molecular structure of Godzilla and with Goro Maki’s writing code that was actually meant to protect his work are very similar to that of Daisuke Serizawa and is very coincidental that he would mentally take his work with him after he killed the very first Godzilla. This is a similar scenario. It was ultimately discover that Godzilla’s process of cooling down or is in the process of going down within his body are very similar to that of a nuclear reactor.

Godzilla body and the radioactive heat that generates within his body needs a cooldown. Rando Yaguchi and his team also theorize that as they create a coagulant that can be actually developed that would actually speed up the process of is: and go beyond that and actually freeze Godzilla’s circular system and keep his body from reheating naturally. This would be a way to stop the monster. Now there is a race against time to actually develop a coagulant before Godzilla would actually return reach some more havoc on Japan or the UN is forced to use nuclear weapons on the monster.

Now that I have exactly 2 days left before the creature actually wakes up and reset it on Tokyo you. However there is a tragic situation that does develop (Uh-Oh). They are facing insurmountable pressure and Team Yaguchi is desperately seeking a chemical property for the coagulant. They look for outside help and they seek help from friends in Germany as a step in to help them develop the coagulant. Finally on the morning of Godzilla’s return Team Yaguchi’s plan goes into effect and it is Japan’s last hope.

Shortly after delivering a rousing speech to his men Rando Yaguchi begins the operation to bring Godzilla down for good. Certainly triggering explosions brings Godzilla back out of his state of dormancy and a series of further explosions incur the wrath of the beast. This is where we suddenly see Godzilla unleashes highly destructive weapon right directly from his mouth and yes from his tail. However this would quickly expand his energy. It is during this scene that most people would appreciate the musical score of Akira Ifukube this is probably the most exciting part as we now hear the march from the movie “Battle in Outer Space which came out in 1959.

Here is a little known fact that most fans know this particular piece as you listen to it is an adaption from “Japanese Military March” written for the original 1954 Godzilla film which in itself was later developed for a World War II March named “Kishi Mai” this was later fully developed for the now famous theme “Monster Zero March” this is the main theme from “Godzilla Versus Monster Zero” which came out in 1965.

By this time Godzilla will eventually expend a great deal of his charged energy with a series of explosions arbitrator this time in the surrounding buildings around him. The massive structures do eventually collapsed on top of the monster knocking into the ground and into the city streets below. It is door this point in phase 2 the operation does go on to a friend and all the tanker trucks that are loaded with the coagulant speed towards the downed monster. These particular machines have massive hoses that can be extended and are extended directly into the creature’s mouth and the trucks begin to pump coagulant down his throat.

However we all know Godzilla is not yet, and he begins to quickly struggle and ultimately rises back on his feet again and wreaks havoc once again. There was a first attempt and suddenly it does fail. Rando Yaguchi initiates a backup plan. It would be moments later that the Japanese famous bullet trains that are all loaded with explosives begin to shoot down the tracks at a very rapid rate and suddenly crash directly into the front of the trash and into Godzilla and they begin to explode on impact around the monster’s feet and chest. Now Godzilla is pissed off… Once again Godzilla unleashes a purple atomic breath however this time reviewing a terrible new ability with the purple being now escaping from the tip of his tail allowing the monster to attack front and back as Godzilla’s tail whips across slicing everything in his direction.

Unfortunately and eventually Godzilla does fall into Rando Yaguchi’s trap. Is then we see a sudden burst of atomic energy that was expended from the monsters body and then it suddenly falls from yet another massive explosion that is triggered by Rando Yaguchi’s men. This time the tanker trucks are able to deliver massive amounts of coagulant into Godzilla’s body.

We do see Godzilla eventually recover again however this time it is too late. The coagulant suddenly takes effect as a monster does prepare for another attack however his entire body again solidifies like a statue. This time it was against Godzilla’s will. With his body no longer be able to recharge Godzilla the bizarre and nightmarish beast suddenly emerges from the sea like an angry God and manages to level Tokyo into a fiery wasteland stands peacefully directly in the center of the city and Godzilla was defeated at last.

Highlights and Cast of Shin Godzilla



The latest movie in the Toho vault is simply called “Shin Gojira”, “Shin Godzilla”, “Godzilla Resurgence” these are the 3 tentative titles for the new movie that will be coming out on July 29, 2016. The tentative title for the American release is simply called Godzilla Resurgence this is the upcoming Japanese science fiction Kaiju film featuring the latest incarnation of Godzilla and it is produced and distributed by The Toho Motion Picture Company.

This particular movie is intended to be The Toho Motion Picture Companies own reboot of the franchise. This particular film is the 31st entry in the franchise and it is the 29th Godzilla film that was produced by this company.

This film is co-directed by Hideaki Anno and Shinji Higuchi with the screenplay written by Hideaki Anno. The special-effects will be directed by Shinji Higuchi who also did the triple threat of Gamera movies that came out in the Heisei Series and they were spectacular to say the least. The 3 Gamera movies that came out in the Heisei Series surpassed all other Godzilla films and special-effects and storyline. These movies were hard to match however bringing these 2 guys on board want to make this movie that much better.


Hiroki Hasegawa – Hasegawa will play a government official. After Toho offered him the role, Hasegawa immediately accepted, stating, “Who wouldn’t want to be involved in a Godzilla production?”

Satomi Ishihara – Ishihara will play a U.S. agent. She became excited after accepting the role but stressed that her character features “English-heavy dialogue”, stating, “Sometimes it’s so frustrating, I just want to cry.”

Yutaka Takenouchi – Takenouchi will play a government official. He stated that the film will contain a “deeper message”.

Production of Shin Godzilla


As of December 2014 the Toho Motion Picture Company announced plans for a new Godzilla film that will target the year 2016 for release. One of the members of Toho did quote “This is very good timing after the success of the American version this year: if not now, then when? The licensing contract we have with legendary pictures places no restrictions on us making domestic versions. So what this means is they can simply make their own version of Godzilla without any copyright infringements of the Legendary Pictures Godzilla. As we already know there are 2 more films coming to the horizon of Legendary Pictures.

The next one is set to come out in 2018 and it will feature classic Kaiju such as Mothra, Rodan, and King Ghidorah. How this movie is going to work storyline is yet to be seen. In my opinion I think Godzilla needs to team up with Mothra and Rodan to defeat the incredible monster King Ghidorah. The next movie for Legendary Pictures is said to be released in 2020 that will be 2 years after this release. This one will be as I expected before it even came out King Kong versus Godzilla or as a lot of people will probably call it Godzilla versus King Kong. This movie should prove to be interesting.

Minami Ichikawa will serve as the film’s production manager and Taiji Ueda as the film’s project leader. Ueda confirmed that the screenplay is in development and filming has been planned for a summer 2015 shoot. Toho will additionally put together a project team, known as “Godzilla Conference” or “Godzi-con”, to formulate future projects.

As of March 2015 The Toho Motion Picture Company did mention that Hideaki Anno and Shinji Higuchi will both collaborate on this particular film and just for the record Hideaki Anno is a director who created the anime series Neon Genesis Evangelion. Both Shinji Higuchi and Hideaki Anno also did the film the live action film called “Attack on Titan” which features gigantic humanoid monsters that eat humans and there are supergiant beings called Colossus which have a part in sworn flashlight feature to them this is also rumored to be incorporated into the new Godzilla design as well as possibly a deformed arm giving Godzilla a nuclear holocaust look. In my opinion this is going to be the truest evil incarnation of Godzilla to date.

The principal photography for this film started in September 2015 in the greater Tokyo area. According to Shinji Higuchi he has stated that he does want to provide what is called “most terrifying Godzilla that Japan’s cutting-edge special-effects movie-making can muster.” The special-effects technology will be a hybrid of computer graphics as well as practical special-effects, similar to the work I did on the live action film “Attack on Titan”

more on the principal photography for the film it did in fact start on September 1, 2015 with an online location film shooting at Kamata Station in Tokyo under the working title “Shin Gojira” on September 23, 2015 the Toho Motion Picture Company revealed the film’s official title as Shin Gojira in Japan this was chosen for the film for a variety of meanings that it conveyed such as either”, “true”, or “God”. These are the meanings of Shin Gojira.

The principal photography for the film did wrap up an end on October 2015, with special effects work scheduled for November 2015. In November 2015 without any prior announcement the Toho Motion Picture Company screening a promo reel at the American Film Market for a potential sale for overseas market, revealing the film’s official English title as Godzilla Resurgence.

In December 2015 the company did reveal the films 1st teaser trailer and teaser poster revealing Toho’s new Godzilla design and the film’s July 29, 2016 release date. Chunichi Sports reported the size of the new Godzilla to be 118.5 m tall make it 389 feet tall and that Mason 10 m taller than the Legendary’s Godzilla.

On Gino about the teaser trailer it does not show anything significant it pretty much just shows people running in the streets looking up in the sky for obvious reasons the running from Godzilla, but that’s all you see and then towards the end of the trailer a big right in white letters it shows the release date of Godzilla as well as the 1954 classic roar of Godzilla. I am pretty sure that I modified the roar and make it much more monstrous sounding.

Shinji Higuchi and Hideaki Anno

Shinji Higuchi

Written by Barney Buckley


Shinji Higuchi was born on September 22, 1965 he is 49 years of age as of today. He was born in Shinjuku, Tokyo, Japan. His spouse’s name is Noriko Takaya and Shinji Higuchi is a storyboard artist. He has done some notable work: Lorelei: The Witch of the Pacific Ocean, Nihon Chinbotsu, Hidden Fortress: The Last Princess. Even one a Japanese Academy old war or prize for special technology award based on special effects in movies.

During his teenage years he has become a fan of this particular genre. Started out as one of the founding forefathers our company call Daicon films is now called “Gainix” all along with fellow director Hideaki Anno, Yoshiyuki Sadamoto and Takami Akai. A highly talented artist, he worked on many of their early anime and tokusatsu productions, doing storyboarding as well as special effects.

Soon, he got to help out special effects director Teruyoshi Nakano as an uncredited assistant for The Return of Godzilla (1984). But his first major FX credit came with Daicon’s 1985 low-budget daikaiju epic-comedy, The Eight-Headed Giant Serpent Strikes Back. He continued to be a storyboarder for anime such as Gunbuster (1988) and Otaku no Video (1991), and was the special effects director for Toho/Tsuburaya Productions’ 1991 SF-thriller, Mikadoroid.

Shinji Higuchi was a key player and member of Daicon/Gainix and he also played a major part in the creation of one of the most popular anime series in Japan. This anime series is called Neon Genesis Evangelion. He was a writer and assistant director and art director as well a story border for the series. According to the anime series ShinjiIkari is the namesake to Shinji Higuchi. A little-known piece of trivia you would later voice at a musician modeled after himself in episode 2 of Karekano.

It would be later that year would have a turning point for Shinji Higuchi as he would eventually go on to direct the special effects for the highly acclaimed revamped or remastered Gamera trilogy. All 3 films were directed by Shesuke Kaneko. Shinji Higuchi proved himself to be a top master in the field of Japanese special effects with the final film of Gamera 3: Awakening of Irys which would come out in 1999. He continued to direct FX for movies such as Sakuya – Slayer of Demons (2000), Princess Blade and Pistol Opera, both 2001. That same year, he helped out with the sequence in Kaneko’s Godzilla film, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, where Godzilla is confronted by JSDF jet fighters, and retaliates with his radioactive breath.

Shinji Higuchi also provided the CG animation for the 1st Hamtaro movie and storyboards as well as the fight scenes for the CGI tokusatsu superhero epic Casshern which came out in 2004 is based on the 1973 anime series of Tatsua Yoshida.

By the year 2005 he would go on to direct the tokusatsu SF/World War II epic, Lorelei, which became a box-office success in Japan. His next project was a remake of the classic 70s Toho disaster film Japan Sinks, released in 2006. The latter film was a massive success at the box office, but was poorly received by critics and won second place at the Bunshun Kiichigo Awards (the Japanese equivalent of the Razzie Awards) in 2006. Recently Shinji Higuchi directed Hidden Fortress:

The Last Princess, released on May 10, 2008. It is a remake of Akira Kurosawa’s The Hidden Fortress. The next film is a live action film of the animated series they call “Attack on Titan” which has already been released and I believe it is a two-part series the 1st part is already out there as you would go on to do the next project that most Godzilla fans will appreciate and it is remake of Gojira, which is based on a screenplay by Hideaki Anno.

Hideaki Anno

Written by Barney Buckley


Hideaki Anno born May 22, 1960 in Ube, Yamaguchi) is a Japanese animator, film director and actor. He is best known for his part in creating the popular anime series Neon Genesis Evangelion. His style has become defined by the bits of postmodernism he instills into his work, as well as the extensive portrayal of characters’ thoughts and emotions, often through unconventional scenes incorporating the mental deconstruction of those characters. He married manga artist Moyoko Anno on April 27, 2002.

Anime directed by Anno that have won the Animage Anime Grand Prix award have been Nadia: The Secret of Blue Water in 1990, Neon Genesis Evangelion in 1995 and 1996, and The End of Evangelion in 1997.


Childhood and personal life

Anno was born in Ube City; he attended Wakō Kindergarten, Unoshima Municipal Elementary School, Fujiyama Municipal Junior High School, and Yamaguchi Prefectural Ube High School where he was noted for his interest in artwork and making short films for Japanese Cultural Festivals.

Anno is an agnostic and has stated that he has found Japanese spiritualism to be closest to his beliefs. Anno is also a vegetarian.

Early work

The God Warrior from Nausicaä of the Valley of the Wind, which Anno animated.

Anno began his career after attending Osaka University of Arts as an animator for the anime series The Super Dimension Fortress Macross (1982–1983). Wrapped up in producing the DAICON III and IV Opening Animations with his fellow students, he was eventually expelled from Osaka.

Anno did not gain recognition until the release of his work on Hayao Miyazaki’s 1984 film Nausicaä of the Valley of the Wind. Running short on animators, the film’s production studio posted an ad in the famous Japanese animation magazine Animage, announcing that they were in desperate need of more animators. Anno, in his early twenties at the time, read the ad and headed down to the film’s studio, where he met with Miyazaki and showed him some of his drawings. Impressed with his ability, Miyazaki hired him to draw some of the most complicated scenes near the end of the movie,[9] and valued his work highly.

Anno went on to become one of the co-founders of Gainax in December 1984. He worked as an animation director for their first feature-length film, Royal Space Force: The Wings of Honneamise (1987), and ultimately became Gainax’s premiere anime director, leading the majority of the studio’s projects such as Gunbuster (1988) and Nadia: The Secret of Blue Water (1990–1991). However, Anno fell into a four-year depression following Nadia — the series was handed down to him from NHK from an original concept by Hayao Miyazaki (of which Castle in the Sky is also partly based upon) and he was given little creative control.

Neon Genesis Evangelion

Anno’s next project was the anime TV series Neon Genesis Evangelion (新世紀エヴァンゲリオン Shin Seiki Evangerion?) (1995–1996), which would be touted as an influential animated series.

Anno’s history of clinical depression was the main source for many of the psychological elements of the series and its characters, as he wrote down on paper several of the trials and tribulations of his condition. During the show’s production, Anno became disenchanted with the Japanese “otaku” lifestyle. For this and other reasons (although perhaps by design as well), Evangelion’s plot became increasingly dark and psychological as the series progressed, despite being broadcast in a children’s television timeslot. Anno felt that people should be exposed to the realities of life at as young an age as possible, and by the end of the series all attempts at traditional narrative logic were abandoned, with the final two episodes taking place within the main character’s mind.

The show did not garner high ratings in Japan at its initial time slot, but after being moved to a later, more adult-oriented venue, it gained considerable popularity. Budgeting issues at Gainax also forced Anno to replace the planned ending of Evangelion with two episodes set in the main characters’ minds. After these last two episodes were aired, Anno received numerous letters and emails from fans, both congratulating him on the series and criticizing the last two episodes.

Among these were death threats and letters of disappointment from fans who thought Anno had ruined the series for them. In 1997, Gainax launched a project to re-adapt Evangelion’s scrapped ending into a feature-length film. Once again, budgeting issues left the film unfinished, and the completed 27 minutes of animation were included as the second act of Evangelion: Death and Rebirth. Eventually, the project culminated in The End of Evangelion, a three-act film that served as a proper finale to Neon Genesis Evangelion.

In September 1999, Anno appeared on the NHK TV-documentary “Welcome Back for an Extracurricular Lesson, Sempai!”, answering some Evangelion related questions, including the origin of the name Evangelion, and teaching children about animation production.

Shin Gojira: A Tokyo Nightmare

Written by Barney Buckley

Email Address – bbuckley@triad.rr.com


It is a very calm day in Tokyo the year would be 1954. The citizens of Tokyo are going about their lives going to work doing what is necessary in everyday routines. However something is just not right, but the people of Tokyo are not aware. We zoom out to a small island located outside of Japan where the island is suddenly sinking due to the nuclear fission that is slowly destroying the island and creating such great energy.

As the island is sinking the nuclear fission that is being created by the sinking of the island as somehow created an anomaly which is slowly taking shape. It is festering in the waters where the island was originally located before being destroyed by nuclear fission. We now zoom to the future it would be 2016. That particular anomaly is now taking a very large shape and is floating around in the water. It is a large rock like formation that is roughly over 350 feet long and about 80 feet wide.

The military had out to that particular location because that particular anomaly is giving off tremendous amounts of radiation and the military are monitoring his progress. With sonar and radar they figure out the size and the shape of this anomaly. The monitor the progress of the radiation and they realize it is increasing in nuclear fission. Suddenly the anomaly begins to crack open with glowing effects and outcomes a giant monster is just floating there whether it is alive or not we do not know.

They don’t dare send divers into the water because they have to leave immediately because now the nuclear fission or radiation has increased tenfold. They do not leave they will get sick and die. However because of the tremendous increase of radiation the entire crew is affected. The ship that they are on is called the Kata Maru. It is a Japanese freighter that has military equipment on their to monitor progress of radiation that is our main job. The entire crew slowly started dying because of the radiation is so high that only a few are now surviving.

All of the few that are surviving they suddenly see something rising out of the water very slowly. They 1st see a very grotesque head with creepy little eyes as he slowly rises out of the water they realize it is a monster. The size of this monster is extremely huge as it continues to rise out of the water now stands at waistline over the ship. The few men that are surviving are looking at this monster as he towers over the ship. This monster lets out a tremendous roar it is a deafening roar. One of the crewmembers suddenly gives it a name before he dies he calls it Shin Gojira. The word “Shin” can mean a lot of things but in this case it means “True” and “Gojira” simply means any combination of 2 words meaning gorilla, and Kujira which means whale in Japanese. So we will interpret the meaning of “Shin Gojira” as being a “true, gorilla like whale” or as big as a whale which in this case he is.

Shin Gojira is a gigantic monster that stands over 350 feet tall and has a very huge head and his entire body is rippled with torn flesh and a burn like feature all over its body. This is because this monster was created by the nuclear fission caused by the destruction of the island. Shin Gojira’s head is rippled with this affect and he has very small beedy eyes. His mouth is gigantic and has 2 sets of very short jagged in like teeth. Along his back are 5 rows of what looks like gigantic dorsal place that are ridden with glowing red and torn flesh that is hanging off the dorsal place. This monster is absolutely terrible looking.

Shin Gojira suddenly looks to the sky and all of a sudden his dorsal place start glowing red and his mouth is festering with fire. Suddenly he raises his head and then looms down at the ship firing on the ship. He fires on the ship with such destruction that it literally rips the ship apart. The Kata Maru is completely destroyed with all hands on deck dead. It is then that Shin Gojira suddenly roars and it rips through the sky and the people of Tokyo here this is suddenly realized there is something dangerous coming. It is then that Shin Gojira suddenly lowers into the water and heads for Tokyo.

Meanwhile on Tatodohama Beach people are frolicking and have a good time and suddenly they hear a loud boom. The entire beach suddenly shakes and all is quiet as people look out into the ocean and all around them to see what made the noise. They don’t see nothing at 1st until someone notices a gigantic head rising out of the ocean. It is Shin Gojira he is now at the beach. You rises out of the ocean as people run frantically to get away from this gigantic monster. Shin Gojira lets out a gigantic roar and people run even faster as they are now petrified. Shin Gojira works his way to the beach and suddenly makes his 1st for print into the same. He looks at the people and suddenly his dorsal place light up and suddenly he lights up the entire beach with his fire.

This particular monster is not friendly at all as it has no respect for human life. It lights up the entire beach and the mountainside connected to the beach and all the people suddenly burned into ash. Only if you manage to make it up off the hillside and away from Shin Gojira. Shin Gojira makes his way past the beach and works his way towards Tokyo. It is then that the entire nation is now under attack by gigantic monster called Shin Gojira. The military advance and create formations all over Tokyo as a realize this monster is heading for the city. Along with the military are science as trying to figure out what this monster is what his intentions are and how he was created.

The one scientist name is Dr. Ishiro Honda (Appropriately Named) this particular doctor is a doctor of paleontology as well as radiology. He proceeds to study this monster while the military bands and get ready. Dr. Honda is in a helicopter and he heads towards the shoreline to get a look at this monster. He suddenly sees the monster is is looking as he studies that he realizes that this monster is in development. He studies the torn flesh all this monster and realize that this torn flesh is falling off the monster as he slowly develops into something new.

They follow Shin Gojira as he heads towards the city and then suddenly Shin Gojira is waving back and forth as if he is going to faint. Shin Gojira is very weak as he was 1st born is not totally full strength. He collapses outside the city limits and passes out. Meanwhile the military and the scientists gather around the monster as close as they can without getting any radiation poisoning. Suddenly the monsters skin and body development is slowly changing before their eyes. He is shutting at a rapid rate and slowly his skin texture becomes more reptilian like.

Shin Gojira suddenly wakes up as he gained strength and he does look different no longer has torn flesh or a radiative feature is slowly developing into a smooth skin monster. Shin Gojira makes his way to the city crashes through the buildings as if they were made of cardboard and destroys everything in his path without hesitation. Suddenly Shin Gojira is in the heart of Tokyo and his dorsal place begin to light up as he lights up the city with his fire. He slowly makes his way through the entire city burning the entire city down to ash. He continues to light up the city and the military are attacking him with their helicopters as they shoot missiles at, but with little or no effect. Godzilla continues to destroy the city as a military try to stop him he doesn’t even notice them there and this is because he such a massive monster and has an indestructible nature about him.

Suddenly Shin Gojira makes his way towards the Diet Building which is located at 1-chome, Nagatachō, Chiyoda, Tokyo. He suddenly looms over top of the building looks around and we have helicopters such as Apache helicopters that are shooting at him at a constant rate. He fires on some of the helicopters catching them as they fall to the ground in fire. Suddenly Shin Gojira begins to way back and forth once again as his body goes through another change he suddenly collapses on top of the Diet Building. Completely destroying the building and everyone in it. Once again the military and the scientists gather around watch and study as once again Shin Gojira goes through his final stage of change.

It will not be long before the final stage is complete and we see a much cleaner looking reptilian looking monster they call Shin Gojira. Shin Gojira is now fully developed as he went through 2 different stages of growth and change. Being born of nuclear fission as he walks out all the nuclear fission and a developing stage is now fully developed what he will now be from this point on. Shin Gojira lets out a gigantic cry and echoes across the sky. The military and the scientists realize they cannot stop this monster as he is now full strength and fully developed into the most powerful incarnation of Godzilla to date.

The question is how are they going to stop this monster? Dr. Ishiro Honda has study paleontology and radiology and realize this is a gigantic dinosaur like monster that is fully irradiated. The key is the radiation! The question is can they irradiate this monster to the point of meltdown or would it change him into a different monster. They try to come up all kinds of ideals, but they always seem to have an adverse ideal effects that would not simply work. Or they simply wouldn’t take a chance on it. Shin Gojira proceeds to continually destroy Tokyo as the entire city is now in a flame. There is not much left of Tokyo as Godzilla lays waste to the entire city he is now heading outside of the city to Fukuoka. In Fukuoka there is a gigantic warehouse that the government has been hiding from the people and it has something very secret as it has time machine hidden within this gigantic warehouse. This warehouse is heavily guarded and it is over 400 feet tall and about 1000 feet long. It is the biggest building in Japan.

Shin Gojira starts destroying everything in his path as he has towards Fukuoka. The scientist in the military follow Shin Gojira as he makes his path towards the city they had towards Fukuoka and then when just in front of the warehouse where it is heavily guarded by the military. They in turn talk to the people in charge of this warehouse and Dr. Honda proceeds to explain that there is a gigantic monster they call Shin Gojira he is heading towards your warehouse. You must set something inside this building. Dr. Honda asked them what is in this building. They hesitate to answer that they eventually answer because they need to stop this monster.

They tell them is a time machine that can transport just about anything they have been working on for the last 20 years. Dr. Honda comes up with the idea of possibly luring Shin Gojira into the warehouse and possibly transporting him to a different time and place. They gather all the resources. They agree and then the doctor and the military into the warehouse as a walk-in they see a gigantic teleport. The answer is would Shin Gojira be able to be lured onto the pad. They are not sure of this ideal is actually going to work.

Suddenly the routes are shaken as they realized Shin Gojira is heading toward the warehouse he crashes through the gate as he makes it to the concrete area where he comes crashing down with the gigantic feet crushing everything on his feet. Shin Gojira looks at the gigantic warehouse and suddenly the doors open up and Shin Gojira is curious as he walks towards the doors. This monster is curious as to see what’s inside and everyone inside realizes that when Shin Gojira walks inside he is absolutely massive. He looks at all the people and then looks at the teleport. He walks towards the teleport. And as easy as it seems he literally steps up on top of the teleport and the scientist look at each other as if to say that was easy. They fire up the teleport and suddenly Shin Gojira lets out a gigantic cry and suddenly from the feet straight up to his head slowly disappears into a different time zone or so they think.

They monitor his progress and realize he was teleported back to 1954. However this is another story to be continued�

The End


Return 1984: The Legend is Back!



  • Your favorite fire-breathing monster… Like you’ve never seen him before!
  • The Legend Is Reborn.

Origins of Godzilla 1984


The return of Godzilla was released in Japan as Godzilla (ゴジラ Gojira?), and it is a Japanese science fiction Kaiju film produced by the Toho Company. Directed by Koji Hashimoto, with special effects by Teruyoshi Nakano, the film starred Ken Tanaka, Yasuko Sawaguchi, and Yosuke Natsuki. This would be the 16th film in the collection of the Toho Company’s Godzilla series. It also marks the beginning of an entirely new reboot of the Godzilla films ignoring all of the Showa Series films that began in 1955 to 1975.

The film acts as a direct sequel to the original 1954 Godzilla: King of the Monsters. This particular film would actually celebrate Godzilla’s 30th anniversary and it would mark the return of the darker themes that you see in Godzilla: King of the monsters that came out in 1954. He would return to his destructive antagonistic roots.

The return of Godzilla 1984 would race the United States the very next year and will be released as “Godzilla 1985” by New World Pictures. However this particular movie was heavily reedited and it did include some new footage exclusively just for the United States release of the film. It featured a Canadian actor Raymond Burr who is reprising his character Steve Martin, from the film Godzilla: King of the Monsters that came out in 1954 it would be 30 years later he would reprise his role.



Three months after a volcanic eruption on Daikoku Island, the Yahata-Maru Japanese fishing vessel is caught in strong currents off its shores. As the boat drifts into shore, the island begins to erupt, and a giant monster lifts itself out of the volcano. A few days later, reporter Goro Maki is sailing in the area and finds the vessel intact but deserted. As he explores the vessel, he finds all the crew dead except for one young man called Hiroshi Okumura, who has been badly wounded. Suddenly a giant Shockirus sea louse attacks but is eventually killed with some difficulty.

In Tokyo, Okumura realizes by looking at pictures that the monster he saw was a new Godzilla. However the news of Godzilla’s return is kept secret to avoid panic until Godzilla attacks a second time and destroys a Soviet submarine. The Soviets believe the attack was done by the Americans, and a diplomatic crisis ensues, which threatens to escalate into war. The Japanese intervene and finally announce that Godzilla was behind the attack. The Japanese arrange a meeting with the Soviet and American ambassadors and, after some debate over the issue, Prime Minister Mitamura decides nuclear weapons will not be used on Godzilla even if it were to attack the Japanese mainland. The Japanese Self-Defense Forces are put on alert and search for Godzilla.

Soon, Godzilla appears on an island off the coast of Japan, determined to feed off a nuclear power plant there. When Godzilla attacks the facility and feeds off the reactor, he is distracted by a flock of birds, and leaves the facility almost as quickly as he arrived. Okumura and his friends realize that Godzilla reacts to the same signal as birds, and Professor Hayashida decides to use this method to lure Godzilla away from Tokyo. Meanwhile, the Soviets have their own plans to counter the threat posed by Godzilla, and a Soviet control ship disguised as a freighter in Tokyo Harbor prepares to launch a nuclear missile from one of their orbiting satellites should Godzilla attack.

Godzilla is later sighted at Tokyo Bay at dawn heading towards Tokyo, forcing mass evacuations out of the city throughout the day as a state of emergency is declared. Later in the evening, Godzilla abruptly appears in front of a patrol helicopter and roars as The JASDF attacks Godzilla with Mitsubishi F-1 fighter jets, but their missiles are useless against him and he shoots two of them down with his thermonuclear ray. Godzilla then proceeds to the coast, where the waiting army, equipped with tanks, rocket launchers and soldiers armed with Howa Type 64 assault rifles, proceeds to fire on Godzilla, but they are quickly subdued by a long blast of his atomic ray. At the same time, the Soviet ship hits the harbor and damages the ship and it’s circuitry, leaving the missile countdown on a timer that must be manually deactivated. The crew captain is the last member on the ship and attempts to stop the missile from launching. However, he is killed by an explosion due to an equipment malfunction. Godzilla then climbs out of the docks and proceeds towards Tokyo’s business district, wreaking havoc along the way. There, he is confronted by four laser-armed trucks known as Hyper Laser Cannons which lure him away from Professor Hayashida’s laboratory, and then the Super X, a piloted VTOL craft constructed in secret to defend Tokyo in case of emergency, in particular a nuclear attack.

Because Godzilla’s heart is similar to a nuclear reactor, the cadmium shells that are fired into his mouth by the Super X seal and slow down his heart. Unfortunately, during the fight, the city is faced with a greater threat when the countdown ends and the Soviet missile is launched from the satellite, leaving the Japanese government and people helpless to stop it. After unleashing his atomic breath on the Super X, Godzilla falls down unconscious. As the missile is predicted to hit Tokyo in 30 minutes, the Americans intervene and fire a counter missile at the Soviet missile. Professor Hayashida and Okumura are extracted from Tokyo via helicopter and taken to Mt. Mihara on Oshima island to set up the bird call device before the two missiles collide above Tokyo. The American counter missile soon hits the Russian missile and Tokyo is saved. Unfortunately, the atmospheric nuclear blast creates an electrical storm and an EMP, which revives Godzilla once more and temporarily disables the Super X.

Godzilla has a final battle with the Super X, eventually damaging the aircraft and forcing it to make an emergency landing where he destroys it by toppling a building on it. Godzilla continues his rampage, until Professor Hayashida is successful with his invention and uses the bird call device to distract him. Godzilla leaves Tokyo and swims across the Japanese sea to volcanic Mt. Mihara, where he notices the signal device. As he walks towards it, he falls into the mouth of the volcano where he is surrounded by detonators, which are activated by Okumura, creating a controlled volcanic eruption that traps Godzilla for good, at least for the time being.


84Goji, ShodaiShokkigoji

  • Height: 80 meters
  • Mass: 50,000 tons
  • Powers/Weapons: Atomic Ray; super regenerative power; can absorb radiation; Nuclear Pulse
  • First Appearance: The Return of Godzilla (1984)
  • Other Appearances: Godzilla vs. Biollante; Godzilla vs. King Ghidorah; Godzilla vs. SpaceGodzilla (stock footage); Godzilla vs. Destoroyah (stock footage); Godzilla: Final Wars (stock footage)

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.


Other Information Based on The Return of Godzilla 1984

  • The screenplay was first written in 1980, but as an entirely different film. Godzilla was to fight a shape-shifting monster named Bagan, and the Super X played a much smaller role. Among the SDF weapons in this script that made it to the big screen were the Water Beetle (an underwater mech) and the Giant Basu (which is equipped with a giant arm to capture submarines).[citation needed] Elements of the original screenplay were translated to the 1995 Super Nintendo game known as Super Godzilla.

  • Producer Tomoyuki Tanaka offered Ishirō Honda a chance to direct this film, but he strongly rejected the offer, because of what came of Godzilla in the 1970s, and his belief that Godzilla should have been permanently laid to rest after Eiji Tsuburaya’s death.[citation needed] Also, at this time, he was busy assisting his friend Akira Kurosawa with films he was directing, such as Kagemusha and Ran.

  • Veteran Godzilla actor Akihiko Hirata, who appeared in several past Godzilla films (best known of his role of Doctor Serizawa from Godzilla) was slated to play Professor Hayashida; however, he had died from throat cancer before production began. Yosuke Natsuki, another veteran, took the role instead. Stuntman Kenpachiro Satsuma (who previously played Hedorah and Gigan in the original Godzilla films) played Godzilla for the first time, as a replacement for another stuntman who backed out at the last minute.

  • Aside from being heavy, the suit was very dangerous (it was not only built from the outside in, but not made to fit him), and Satsuma lost a lot of weight during filming. This mildly mirrored what Haruo Nakajima went through when he played Godzilla in the original 1954 film. Subsequent Godzilla suits worn by Satsuma were much safer and more comfortable, as they were custom-made to fit him (even though the suits still had some dangers of their own).

  • The lifelike animatronic Godzilla prop used in close-up shots is the 20-foot (6.1 m) “Cybot Godzilla.” It was heavily touted in the publicity department at the time, even though it was not used in the film as extensively as promoted. A full-size replica of Godzilla’s foot was also built, albeit all of the scenes in which it is used were removed from the American version (the sole exception being a shot of the foot crushing a row of parked cars during the attack on the nuclear power plant).

  • Prior to New World Pictures’ release of the film, Toho had the film dubbed in Hong Kong. This “Toho international version”, titled The Return of Godzilla is uncut and was released in the United Kingdom in the 1990s. So far, this version has not been made available in the United States.


Trivia and Interesting facts about The Return of Godzilla 1984

  • The Return of Godzilla was a reasonable success in Japan, with attendance figures at approximately 3,200,000 and the box office gross being approximately $11 million (the film’s budget was $6.25 million).

  • When Godzilla 1985 failed at the box office, it was the last Godzilla film produced by Toho to receive any major release in North American theaters until Godzilla 2000 fifteen years later.

  • After almost a decade of failed film proposals to revive the Godzilla character (including “Resurrection of Godzilla,” “Godzilla Vs. Gargantua,” etc.), Toho finally made this film after the Godzilla-mania of 1983, when Toho held an incredibly popular film festival, featuring all previous Godzilla films, as well as all other Toho sci-fi and monster classics. (Actor Akihiko Hirata attended the festival dressed as his Dr. Serizawa character from the original Godzilla (1954).) The mania even resulted in a new wave of merchandise and other events (including Bandai obtaining the license to do Godzilla toys in Japan, and Akira Ifukube conducting a popular “Godzilla Fantasia”), as well as creating a new generation of fans. Because of this resurgence in Godzilla’s popularity, Toho figured it was time to bring back the character in earnest.

  • This film was based partly on a 1980 story treatment by Tomoyuki Tanaka and Akira Murao called “The Resurrection of Godzilla” (“Gojira no Fukkatsu”). Conceived as a direct sequel to Godzilla (1954), a new Godzilla, identical to the one from 1954, was reawakened by illegal nuclear waste dumping by a freighter in the Pacific Ocean. The protagonists include Shinpei Muraki (the young director of the Information Science Center), Professor Inamura, his daughter Akikuko Inamura (Muraki’s love interest), and American scientist Dr. Radner. The story was also the introduction of what is considered Toho’s greatest “lost” monster, Bagan, which Godzilla fought in the story. Bagan, a guardian spirit, has four forms in this film: the Dragon Spirit Beast (Doragon Reijû), the Ape Spirit Beast (Enjin Reijû), the Water Spirit Beast (Sui Reijû), and ultimately, a totem-like amalgam of the three forms. Godzilla savagely fights and kills the monster after the middle of the film. Another adversary for the radioactive terror is a JSDF armored super-vehicle, the Super-Beetle (which was ultimately reworked into the Super-X). The film’s climax has the protagonists attempting to destroy Godzilla on Beonase Atoll, with a trap containing Dr. Inamura’s nuclear invention, Reiconium. When the device malfunctions, Dr. Radner makes a Serizawa-like sacrifice and reactivates the weapon, engulfing Godzilla in lethal radioactive blue flames, apparently killing the monster, and taking Radner’s life in the process. The story ends with Godzilla’s lifeless body washing ashore a beach on the West Coast of the United States, with a nuclear power plant nearby; a narration stated, “As long as nuclear energy exists, Godzilla will live,” as Godzilla’s eyes open and the monster stirs to life with a mighty roar. Although the script was never produced, many of its elements nonetheless remained in the film, including the Shokkiras (the radioactive sea louse), and Godzilla attacking a nuclear power plant (and absorbing energy from the core reactor).

  • As of November 2012, this film is the only Godzilla movie not officially released on DVD in the United States, until the rights of the film will expire in 2016 which will give a official R1 U.S DVD.

  • Actor Akihiko Hirata, who portrayed Dr. Serizawa in the first Godzilla feature was supposed to have a role in the new update. Unfortunately he had succumbed to throat cancer just before filming.

  • Raymond Burr reprised his character as the journalist Steve Martin for the American version of this film. However, since Steve Martin was the name of a popular comedian, he is referred to on screen as “Steve” or “Mr. Martin.”

  • Executive producer Tomoyuki Tanaka strongly considered two Godzilla series veterans, director Ishirô Honda and composer Akira Ifukube, to work on this film, but despite Tanaka’s pleas, both men declined for professional and personal reasons. They were both still greatly affected by the passing of special effects wizard Eiji Tsuburaya in 1970, and felt that “Godzilla died when Eiji Tsuburaya died.” Additionally, when Ifukube heard about the changes made to Godzilla, such as his increased size from 50 meters to 80 meters, he reportedly said, “I do not write music for 80 meter monsters.”

  • Kenpachirô Satsuma had suffered grueling injuries while playing Godzilla, including a sharp wire in the suit’s leg chewing on his thigh (and thus shouting for help inside the suit as a scene was to be shot), and sharp staples from pyrotechnic explosives trickling into his suit and down his feet when the back was left open (Satsuma was very angry with the SPFX crew about this, having warned them to “Wait until I am fully sealed in the suit!” The crew was more careful at this point). After production, Satsuma lost a lot of weight (similar to how Haruo Nakajima lost 20 pounds after he first played Godzilla).

  • godzilla_1984_02

  • When Godzilla blasts a news helicopter in Shinjuku with his radioactive breath ray, look carefully in the background for a billboard with the Ghostbusters (1984) logo (albeit backwards) as the copter falls from the sky just before hitting the ground.

  • This was not only the last Godzilla film produced during the Showa Era in Japan (the reign of Emperor Hirohito (1921-1989), but also the first film in a new series (later called the “Versus Series” in Japan), a direct sequel to the original film, Godzilla (1954). The next film, _Gojira vs. 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 is the first film in the series since the original Godzilla (1954) in which Godzilla doesn’t do battle with another monster.

  • Stuntman Kenpachirô Satsuma played Godzilla for the first time in this movie, and continued to play the role for the remainder of the VS Series. However, the Godzilla suits used in this film (constructed from the outside in) were not originally made to fit him, but for another stuntman who left production at the last minute.

  • Godzilla was brought to life using several different techniques: Two prosthetic “suitmation” costumes (one for land scenes, and the other for water), a full-sized “dummy” (for the scenes where Godzilla pops out of the water), a 3-foot model (the concept maquette), various appendages in a variety of sizes (including a tail prop, and a full-size Godzilla foot prop), and the one most expensive effect for the monster in the film, the 20-foot tall animatronic “Cybot Godzilla,” which was manipulated by computers. Toho had heavily promoted the Cybot Godzilla in the press, and had hoped that this would be the ultimate technique to use for the film. But it could not be used to create full shots of Godzilla walking (since the prop was plugged onto a set of fixed legs/tail), so Toho compromised by using the classic “suitmation” technique, especially for nostalgic reasons.

  • This was the last Godzilla film for special effects art director Yasuyuki Inoue. He had originally been loaned to Toho to work on the original “Gojira” (1954).

  • The first Godzilla film, in its Japanese version, with closing credits.

  • First Godzilla movie in Korea to actually be dubbed in Korean. Before then, most of the Godzilla movies in Korea were still in Japanese with Korean subtitles.

  • This was the last Godzilla film, in its original Japanese version, to end with a “The End” title (in the case of this film, at the end of the credits).

  • The first Godzilla film shot in the 1.85:1 aspect ratio (VistaVision). All Godzilla films (in the VS/Heisei Series) up to Godzilla vs. Destoroyah (1995) were shot in this ratio.

  • Justin Gocke is uncredited in the US version of “Godzilla 1985”. He played “Grandson Kyle”. The first name is not used in the American version. He does not appear in the Japanese version.

  • Actress Yasuko Sawaguchi was picked to play Naoko Okumura (the film’s heroine) on the basis of being chosen as the then-new Toho Cinderella earlier the same year (immediately after which she had already made her debut in Karate Cop III: Song of the Sea (1984)). So for Godzilla’s big comeback film, it made sense for Toho to cast Sawaguchi as the female lead, since she was Toho’s hottest new actress at the time.

  • The picture was nominated for Worst Picture at the Hastings Bad Cinema Society’s 8th Stinkers Bad Movie Awards in 1985.

  • In early 1985 the trade papers re-ported that Toho was asking several million dollars for the North American distribution rights, and that discussions had taken place w it MGM/United Artists and other studios. At one point, a Toho spokesman complained that the best offer ponied up (by an unnamed Hollywood studio) was in the $2 million range. It’s doubtful that he was telling the truth, for the bidding war, such as it was, didn’t last long, and Toho wound up getting far less money. By May, the new Godzilla movie had been passed over by the majors and fallen instead into the hands of New World Pictures, the modern-day equivalent of the kind of low-budget, exploitation movie producers and distributors that gobbled up Godzilla movies.



  • Godzilla changes sizes many times over the course of the movie.

  • When Godzilla picks up the train car he lifts it up to his eye so he can look inside. When the camera cuts back to a full body view, he is holding it at waist level (US version only).

  • When Godzilla enters the Japanese harbor he uses his atomic breath to blow up all of the resistance along the shore. When he starts using it he turns to the left, facing the camera, but the breath still goes to the right on the shore.

  • In the scene where Godzilla plummets into the crater of Mt. Mihara, the shadow of his tail does not match the position it’s really in.

Crew or equipment visible

  • As Dr. Hayashida’s sonic oscillator starts luring Godzilla out of Tokyo to the volcano, there’s a POV shot from Goro and Naoko’s perspective that clearly shows the wire controlling Godzilla’s tail. This almost appears to be an unintentional homage to the scene in the original Godzilla, where Godzilla’s tail appears outside the window of a partially demolished building (the one in which Raymond Burr’s character was reporting from in the American version), and the wire is similarly visible.

Plot holes

  • In the American version, the American general and his peers keep talking about giving support to the Japanese, but the only real visible thing they “help” with is the stopping of the Russian nuclear missile.


Quotes From The Movie

[US version]

  • Steve Martin: Nature has a way sometimes of reminding Man of just how small he is. She occasionally throws up terrible offspring’s of our pride and carelessness to remind us of how puny we really are in the face of a tornado, an earthquake, or a Godzilla. The reckless ambitions of Man are often dwarfed by their dangerous consequences. For now, Godzilla – that strangely innocent and tragic monster – has gone to earth. Whether he returns or not, or is never again seen by human eyes, the things he has taught us remain…

  • General Goodhoe: Seeing as how you seem to be the only person who seems to know anything about whatever it is we’re dealing with, what can we do?

  • Steve Martin: I was the only American to have survived that catastrophy. If you men had seen what I saw, you’d realize that fire power of any kind or magnitude is not the answer.

  • General Goodhoe: Well if the Japanese were able to stop him 30 years ago, why can’t we now?

  • Steve Martin: General, Godzilla’s like a hurricane or a tidal wave. We must approach him as we would a force of nature. We must understand him. Deal with him. Perhaps, even, try to communicate with him. And, just for the record, 30 years ago they never found any corpse.

[US version]

  • Bum: Run for your lives! Let’s do lunch sometime!

[US Version]

  • Goro Maki: When the bomb triggers a real volcanic eruption, Godzilla will be burned alive. What a horrible death.

  • Dr. Hayashida: It won’t kill him. Couldn’t.

  • [Goro looks on skeptically]

  • Hiroshi Okumura: What do you mean? It’s gotta’ kill him, Professor!

  • Dr. Hayashida: The other night at the reactor… Didn’t you sense it? The beast has a purpose. 30 years ago, Godzilla appeared for the first time. Before that, he was only a legend. Godzilla is a warning. A warning to every one of us. When mankind falls into conflict with nature, monsters are born. I’m just trying to… send him home.

[Japanese version]

  • [to Godzilla, who’s outside the window of the building]

  • Bum: What are you doing here? You have the rest of Shinjuku to play with!

  • Prime Minister Mitamura: [US version] Godzilla… I was hoping I would never hear that name again.

  • Goro Maki: Professor. They say Godzilla’s a mutation. A monster made by intense radioactivity. Professor, is that true?

  • Dr. Hayashida: He’s a product of civilization. Men are the only real monsters. Godzilla’s more like a nuclear weapon.

  • Goro Maki: Nuclear weapon?

  • Dr. Hayashida: A living nuclear weapon destined to walk the Earth forever. Indestructible. A victim of the modern nuclear age.

Mothra’s Legacy


Mothra ( Mosura) is a kaiju, a type of fictional monster who first appeared in the novel The Luminous Fairies and Mothra by Takehiko Fukunaga. Since her film début in the 1961 film Mothra, she has appeared in several Toho tokusatsu films.

Generally regarded as female by English-speaking audiences, she is a giant lepidopteran with characteristics both of butterflies and of moths. The name “Mothra” is the suffixation of “-ra” (a common last syllable in kaiju names) to “moth”; since the Japanese language does not have dental fricatives, it is approximated “Mosura” in Japanese. In the American dubbing of Mothra vs. Godzilla, Mothra is also referred to as the Thing. She is occasionally an ally to Godzilla but more often than not engages in conflict with the King of Monsters due to the potential threat he represents to Earth and its people.

Since her first film, Mothra has been depicted in various stages of the lepidopteran life cycle: Mothra’s mammoth egg is decoratively colored in blue and yellow waves. The egg hatches into her larva, a massive brown, segmented caterpillar (resembling a silkworm) with glowing blue—sometimes red—eyes. In rare circumstances, twins may emerge from the egg. The caterpillar eventually spins a silken cocoon around itself (the pupa stage), and from this cocoon the imago (adult) Mothra emerges, a gigantic moth-like creature with brightly-colored wings. Mothra’s life cycle—particularly the tendency of an imago’s death to coincide with its larvae hatching—echoes that of the Phoenix, resembling resurrection and suggesting divinity. Despite having wrought destruction worthy of any Toho daikaiju, she is almost always portrayed as a kind and benevolent creature, causing destruction only when acting as protector to her worshippers on Infant Island or to her egg, or as collateral damage while protecting Earth from a greater threat.

armormothra gif

Mothra has proven a formidable adversary in combat: in larval form she may use her silken spray to wrap and immobilize an opponent, and has a knack for biting and clinging to foes’ tails. In imago form her powers vary widely from film to film, including very animalistic scratching and dragging, incorporating several bolt and beam weapons in the Heisei era, and often concluding with a poisonous yellow powder (or “scales”) —her last defense.

Mothra is one of the most powerful psychics in the Toho universe. She has had the ability to use this power benevolently, to communicate with humans, or defensively, to destroy her enemies. As suggested earlier, Mothra is assumed to be divine and draws many parallels to the Phoenix, which makes her one of the more powerful kaiju of the Toho universe.

Mothra has become one of Godzilla’s most challenging opponents, having achieved the greatest success rate in battle: She has once overcome Godzilla in imago form, and twice Godzilla has fought her to her death only later to be bested by her newborn larvae. It should be mentioned that Mothra has never beaten Godzilla alone (in her Imago Form). The only victory by an insect(s) over Godzilla were the Mothra twin-larvae in Mothra vs Godzilla in the Showa Era, Imago Mothra and Imago Battra in Godzilla and Mothra: The Battle for Earth, in the Heisei series and the twin-larvae and Kiryu (MechaGodzilla) in the Shinsei (aka Millennium) Series.

In the Heisei Era (1984-1995), Mothra gained her own series of films dubbed in America as the “Rebirth of Mothra” series. These movies were not called “Rebirth of” in Japan, but just simply “Mothra” 1, 2 or 3 with a byline title, such as Adventure Under the Sea or Advent of King Ghidorah. These series are not connected to the Showa, Heisei or Shinsei Godzilla movies and are standalone films. The movies start off as the elder and last of her line puts the last of her energy into a new egg. From this egg hatches Mothra Leo.

Mothra Leo is supposedly male, as opposed to the pure female Mothras before (though the English dubbing is inconsistent, going back and forth between “she/her” to “he/him”, even “it”, and therefore its gender is left ambiguous). It also has “ever-increasing energy” which allows it to absorb energy from other sources to become stronger. The 10,000 year-old tree in Rebirth of Mothra allowed Mothra Leo to change into its imago form as “Mothra Leo”, thought to be the most powerful Mothra of all time. Mothra Leo gains several forms throughout the Rebirth trilogy, such as Rainbow Mothra, Aqua Mothra, Armor Mothra, and Eternal Mothra.

In this series Mothra battled three opponents: Death Ghidorah, a flora-destroying horned beast with three heads; Dagahra, a toxic dragon-like sea creature; and finally the infamous King Ghidorah, in both Cretaceous and modern forms who is the fauna-destroying beast.

Crime of the Century

Written by Barney Buckley

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On March 17, 1992, as pre- production work was under way on Godzilla V5. Mothra, someone sneaked into Toho’s special effects department and stole one of the two Bio-Goji Godzilla suits that was used in both Biollante and King Ghidorah, and which was slated to be used in the new film as well. A “Godzilla hunt was launched for the stolen costume, valued at about $371,000, and it ended when an elderly woman found it in a bamboo patch in the suburbs about a week later (reported in The Hollywood Reporter, March 26,1992).

While the costume was AWOL, Koichi Kawakita’s staff began work on a new one, cast from the same molds as the Bio-Goji suits. The new costume, called Batto-Goji, is less muscular than the last one but does not deviate much from the standard Kawakita-era Godzilla designs: small head, large body, double rows of teeth, and pronounced dorsal fins cast in heavy plastic (a separate set of dorsal plates, with electric lights installed inside, is used to enhance the glowing of the fins when Godzilla emits his atomic breath). The new suit also has more pronounced fangs jutting from the front corners of its mouth, and as for technological advancements, it was the first suit ever to have the ability to tilt its head backward and forward.

An Understanding of Mothra

Written by Barney Buckley


Mothra,is a giant, radiation-engendered moth. She is portrayed as a good, but dangerous, moth. It looks innocent as a gigantic egg. But its unseen powers are so great that its worshippers beg The Thing’s indulgence in self-abasing ceremonies.

Mothra is the  Goddess of Infant Island; a small island located in the South Pacific.  She is also the Protector of the Earth as well as the entire Cosmos.  On Infant Island her followers worship and dance to her. Threats like Godzilla and King Ghidora are  usually a pretty common thing for Mothra having to protect the earth from.

Many times, among most modern Earth humans, Mothra is quite unknown, and even more unappreciated.  Although humans may be grateful when Mothra appears to fight off a deadly enemy, they hardly realize the true role the Goddess plays.

Mothra can create windstorms that knock over buildings with her wings, and also has a poison powder that it can release. In Japan, it is called Mosura (pronounced mosura). According to Destroy All Monsters . by 1999, Mothra will have been confined with all his monster friends on the Ogasawara islands.

There are also many caves, steep rocks, and rivers on Infant Island.  Inside the caves and sometimes on the rocks, one can see paintings and carvings depicting symbols and deities.  The long-extinct natives of the island made them, and many refer to their Goddess.  In one cave there is even the religious symbol that represents Mothra chiseled straight through a rock wall so that the light shines in.  This was probably once a powerful holy place.

Mothra Statistics

Written by Barney Buckley


Mothra / Mosura


Length: 60 meters (197 feet)
Wingspan: 250 meters (820 feet)
Mass: 20,000 metric tons (22,000 tons)
Powers/weapons: Flight at Mach 3, hurricane winds from wings, poisonous powder
First appearance: Mothra (1961)

Godzilla Series First Version

Length: 65 meters
Wingspan: 135 meters
Mass: 15,000 tons

Powers/Weapons: Flight at mach 3; hurricane winds from wings; can release a poisonous powder; reproduces asexually

First Appearance: Mothra vs. Godzilla (1964)
Other Appearances: Ebirah, Horror of the Deep

Mothra Leo (first Imago form)

Length: 24 meters
Wingspan: 38 meters
Mass: 5900 metric tons
Powers/Weapons: Fires beams from antenna, lighting shocks fire from wings, capable of separating into many little Mothra’s. Changes into Rainbow Mothra.
First Appearance: Rebirth of Mothra (1996)

Mothra Leo Larva

Length: 25 meters
Mass: 3000 metric tons
Powers/Weapons: Web Attack with stinging after shock, Chest Blast, Invisibility
First Appearance: Rebirth of Mothra (1996)

Rainbow Mothra

Wingspan: 53 meters(168 ft)
Mass: 10,500 tons
Powers/weapons: Beam pulser, Cross heat laser rainbow, sparkling pile load rainbow, rainbow buster, can transform into Aqua Mothra
Classification: Deity (God-like Kaiju)
First Appearance: Mothra 2
Number of movies starred in: 2
Fight Record: Not Available

Light Speed Mothra

Length: 25 meters
Wingspan: 30 meters
Mass: 5,900 metric tons
Powers/Weapons: Flight, can travel through time, can change into Aqua Mothra, or back to Rainbow Mothra.
First Appearance: Rebirth of Mothra 3 (1998)

Armor Mothra

Height: N/A
Wingspan: 50 meters
Mass: 59,000 tons
Powers/Weapons: Flight at Mach 15.5 (max), Armor cross heat laser, Armor wing cutter, Excel Dash Buster
First Appearance: Mosura 3 (Mothra III)
Battle Record: N/A

Armor Mothra came out of the time capsule created by prehistoric Mothras. This newly reformed Rainbow Mothra donned its armor to battle the regenerated King Ghidora. After Armor Mothra easily chopped Ghidora to bits with the Armor Wing Cutter, she removed the armor to become the final Mothra Leo.

Aqua Mothra

Height: N/A
Body length: 24 meters
Mass: 3, 500 tons
Powers/Weapons: Beam Pulser, Swim up to 200 knots, Illusion Mirage, Sparking Pile load

Rainbow Mothra transformed into Aqua Mothra to go into the sea and battle Dagarla. Aqua Mothra used the Illusion Mirage to transform into millions of tiny versions of itself that went into Dagarla’s body and destroyed his organs, including those that made the Belam. They then swam out to become Rainbow Mothra once again.

Prehistoric Mothra Larvas

Length: 25 meters(82 ft)
Mass: 5,000 tons
Powers/weapons: Silk spit *some other weapons but I don’t know them*
Classification: Deity (God-like Kaiju)
First Appearance: Mothra 3 (1999)
Number of movies starred in: 1
Fight Record: Not Available

Final Form Mothra

Length: 25 meters
Wingspan: 50 meters
Mass: 5,900 metric tons
Powers/Weapons: Flight, can change into Armor Mothra
First Appearance: Rebirth of Mothra 3 (1998

Kanekos Mothra

Length: 75 meters (243 ft)
Wingspan: unknown
Weight: 15,000 tons
Powers/weapons: Flight at Mach 3, hurricane winds, stinger
Larva Length: unknown
Larva Weight: unknown
Larva powers/weapons: unknown
Classification: Deity (God-Like) Kaiju
First Appearance: Godzilla, Mothra, King Ghidorah: Big Kaiju Battle (2001)
Number of movies starred in: 1 (so far)
Fight Record: N/A

Millennium Mothra

Length: 36 meters
Wingspan: 108 meters
Mass: 12,000 tons

Powers/Weapons: Flight at mach 3; hurricane winds from wings; can release scales from wings that will reflect energy attacks and explosions back on their source; reproduces asexually
Weakness: Scale attack accelerates the decay of her wings

First Appearance: Godzilla: Tokyo S.O.S. (2003)

Mothra’s Enemies Statistics

Written by Barney Buckley


Godzilla 1964

  • Films: Godzilla vs the Thing (1964) and Ghidrah the Three Headed Monster (1964)
  • Height: 50 Meters (164 feet)
  • Mass: 20,000 metric tons (22,000 tons)
  • Powers/Weapons: atomic Ray, super regenerative power (Godzilla can be wounded, but his G cells heal very rapidly.
  • Trivia: Godzilla’s original statistics remains the same numbers 15 films. His appearance is the one thing that seemed to change. Notably the loss of the year like appendages on his head and having three toes rather than for those earning one.
  • Wins 18, Losses 3, Ties 7

This suit has been called the best G-suit of them all. It is among the favorite of G-fans. This suit is truly most likely the best suit made. It is very dark and scary. It looks like a reptile (something the 80’s & 90’s didn’t accomplish). Although one rather annoying aspect of this suit is the fact that the front of the mouth shacks from side to side when he opens it to growl or let out his atomic breath.

Several versions of the origin for the name ‘Gojira’ (pronounced GO-dzee-la) have been told, but according to [Tomoyuki] Tanaka himself, the name was brought to his attention by his friend Ichiro Sato. In the course of their conversation, Sato mentioned a burly man on the Toho lot whose physical presence was so imposing that he was likened to a gorilla and whale. The staff had given the man the nickname ‘Gojira’–a combination of the words ‘gorilla’ and ‘kujira’ (whale). Tanaka took a liking to the name and decided to use it for his monster.

Widely regarded as the best Godzilla suit of all time, the Mosugoji was as different from the Kingoji as the Kingoji was from its two predecessors. The body of the Mosugoji was sleek and bell-shaped with a pronounced breast bone and knees. The hands featured slender, sharp claws with the fingers held apart, which looked like they could tear the nicest high-rise OC apartments to ribbons. The dorsal plates were nearly identical to those of the Kingoji. The head was well proportioned to the body and the facial features were chillingly defind, with pronounced brows and splendidly evil eyes. For Ghidrah the Three Headed Monster, the Mosugoji costume was given different facial features. Movable eyes were inserted, the upper lip and teeth were reduced and the tongue elongated, going past the lower row of teeth. This modified costume is also called the SanDaiKaiju (Three Giant Monsters)-Godzilla. The Mosugoji costume was “disguised” and named Gomes for Ultra-Q episode #1, Gomes o Taose (“Defeat Games”) in 1966. All of the armour plating and claws added to the Mosugoji suit to create Gomes were later removed with minor damage. Later in 1966, the Mosugoji was fitted with the head of the Daisenso-Godzilla (see next entry), repainted, equipped with an elaborate frill and named Jiras for Ultraman episode #10, “Secret of the Dinosaur Base” (see John Rocco Roberto’s “The Lost Godzilla Episodes,” for more details on Godzilla’s adventures on the small screen).

Godzilla 1966

  • Films: Monster Zero (1965) and Godzilla vs the Sea Monster (1966)
  • Height: 50 Meters (164 feet)
  • Mass: 20,000 metric tons (22,000 tons)
  • Powers/Weapons: atomic Ray, super regenerative power (Godzilla can be wounded, but his G cells heal very rapidly.
  • Trivia: Godzilla’s original statistics remains the same numbers 15 films. His appearance is the one thing that seemed to change. Notably the loss of the year like appendages on his head and having three toes rather than for those earning one.
  • Wins 18, Losses 3, Ties 7

This suit is called Mosugoji2 because it is the same suit that was used in Godzilla vs. Mothra, but the head had been slightly modified to fit Godzilla’s metamorphosis from evil to good. Mosugoji2 is every bit as good as it’s original version, Mosugoji. Because of its commercial success from King Kong vs. Godzilla, Toho decided to release another Godzilla film in 1964, Ghidrah, the Three Headed Monster. The Mosugoji suit, though, needed to go through some repairs. During the filming of Godzilla vs. Mothra, the mouth had become wobbly and would not work properly. The head had also caught on fire, which didn’t help the suit much. So the head of the Mosugoji suit was replaced by a more sturdier design. “Mosugoji II,” as some fans refer to the repaired suit as, also had more mobility than the original Mosugoji.

Several versions of the origin for the name ‘Gojira’ (pronounced GO-dzee-la) have been told, but according to [Tomoyuki] Tanaka himself, the name was brought to his attention by his friend Ichiro Sato. In the course of their conversation, Sato mentioned a burly man on the Toho lot whose physical presence was so imposing that he was likened to a gorilla and whale. The staff had given the man the nickname ‘Gojira’–a combination of the words ‘gorilla’ and ‘kujira’ (whale). Tanaka took a liking to the name and decided to use it for his monster.

Not as popular as its two predecessors, the Daisenso-Godzilla featured a head slightly larger than that of the Mosugoji, with a round face and jaws. The body was thin and had no defined shape, appearing sack-like and unnatural. The fingers were not held apart like the Mosugoji but were grouped together, with the claws becoming less menacing; all following Godzilla suits until the 84 Godzilla would have this feature. On the plus side, the dorsal plates and the tail of the Daisenso-Godzilla were nicely detailed and the eyes were movable. The Daisenso-Godzilla was employed again for Godzilla vs the Sea Monster. The decapitated head (having previously been grafted to the Mosugoji) was given minor repairs and movable eyelids and was refitted to the original Daisenso-Godzilla body. This suit is also called the Nankai (South Seas)-Godzilla. Though the restored Daisenso-Godzilla was officially retired after Godzjlla vs the Sea Monster, the costume received a good workout as late as 1971, being employed for water shots in Son of Godzilla, Destroy All Monsters and in Godzilla vs the Smog Monster. In the latter film, the suit was also used for the scene when Hedorah traps Godzilla in a ravine and tries to bury him with sludge.

Godzilla 1992

  • Films: Godzilla vs. Mothra (1992)
  • Height: 100 m (328 feet)
  • Mass: 60,000 metric tons (66,000 tons)
  • Power/Weapons: Atomic Ray, super regenerative powers (Godzilla can be wounded, but his G cells heal very rapidly), nuclear pulse.
  • Wins 6, Losses 4, Ties 4

Once again the suit stayed the same, and again the face was changed ever so slightly. The fins stayed the same and he was not as massive as before.

The build of the 1992 Godzilla suit was thinner than the 1989/1991 suits, which gave this costume a sleek, sturdy but less powerful image than the previous ’90’s vintage Godzilla suits. For the 1992 Godzilla, the arrangement of the dorsal plates was changed and the largest plate was located in the middle of the back. The legs were very well-detailed, though less bulky than the legs of the 1989/1991 costumes. The arms were jointed with more flexibility at the biceps, but unfortunately this made the suit appear unnatural from certain angles. The face was essentially the same as the 1989/1991 costumes, though the 1992 suit featured new attributes: a smaller, flat forehead, golden eyes and a thick neck with pronounced ribbing. The golden eyes made the face of the 1992 Godzilla look more expressive than the 1989/1991 costumes, yet also compromised the more realistic, animal-like expression of the latter suits. The size of the teeth also appeared smaller than the 1989/1991 costumes. The 1992 Godzilla suit also included a new feature; by means of an electronic device the head could tilt up or down independently of the body.

A three-quarter suit, Sea 1992 Godzilla, was constructed from the remains of previous ‘90’s vintage Godzilla costumes and was used for the fight with Mothra and Battra in the Philippine Sea. This suit, which had brown eyes though the main suit had golden eyes, would later appear for water scenes in Godzilla vs. Mecha-Godzilla. Since the Sea 1992 Godzilla suit and the 1991 Godzilla B suit were used extensively in Godzilla vs. Mothra, the 1992 Godzilla suit only appears in the precredit sequence, during close shots in the sea battle with Mothra and Battra, and from when Godzilla destroys the powerlines at Mt. Fuji to the finale.

The 1992 Godzilla suit was also used in Godzilla vs. Mecha-Godzilla, specifically for the battle with Rodan at Adonoa Island (though several close-ups of the 1993 Godzilla suit were intercut during this sequence), for several scenes of Godzilla’s initial rampage through Japan, and when Godzilla wades into the ocean at the finale.

Additionally, the 1992 Godzilla suit was employed for water scenes in Godzilla vs. Space Godzilla (1994). Since this costume would only be seen from the waist up, the legs were cut off at the knees and the tail was removed. The tail was manipulated underwater by means of a lever-like device, which was a good but not always convincing effect.

Godzilla 2003

  • Films: Godzilla Against MechaGodzilla (2002) and Godzilla: Tokyo S.O.S. (2003)
  • Height: 179 feet
  • Mass: 24,000 tons
  • Powers/Weapons: Atomic Ray: super regenerative powers (Godzilla can be wounded, but his G cells heal very rapidly), nuclear pulse.
  • Wins 5, Losses 0, Ties 3

Toho decided to stray away from Shusuke Kaneko’s Godzilla design and go back to the Mire/Gira Goji designs. This was due to the fact that the GMK suit being the tallest of all the suits they would have to make a new Kiryu suit and it was not in their budget. However, the suit underwent some obvious changes. .The head was reduced in size from the Miregoji suit. The eyes contained pupils, again, which the previous suit, GMK-Goji, did not have. The suit also contained the two fangs and the pair of little ears that existed in only a few of the Godzilla suits.

In the terminology of Daikaiju eiga the Mireniamu (Millennium) Era refers not to the actual millennium but to all Godzilla films made between 1999 and the present day starting with Godzilla 2000: Millennium and continuing through Godzilla: Final Wars (upcoming) , which is supposedly the last movie in the series, or at least the beginning of a ten to fifteen year hiatus for Godzilla.

Unlike the Heisei era or, to a lesser extent, the Showa era the movies are not part of a single timeline. Godzilla: Tokyo SOS is a direct sequel to Godzilla Against Mechagodzilla; other than that the films only reference the original 1954 Gojira, but not all Mireniamu era movies even acknowledge the full course of events of that movie.

For the film Godzilla against MechaGodzilla, Toho decided to stray away from Shusuke Kaneko’s Godzilla design and go back to the look of the MireGoji/GiraGoji design. This new version, dubbed KiryuGoji, did however go under some pretty obvious changes from those two previous designs. The head was completely changed and made smaller to sort of represent the head of the Heisei series Godzilla. The dorsal plates were reduced a bit and lost their purplish hue, deciding to keep the classic bone-white color, but still remained jagged like the MireGoji/GiraGoji`s dorsal plates. Godzilla’s skin also returned from the MireGoji/GiraGoji green to the old charcoal black, Godzilla’s traditional color.

The following year for the film Godzilla: Tokyo S.O.S., the sequel to Godzilla against MechaGodzilla, Godzilla’s appearance remained basically the same. The KiryuGoji suit was repaired and used again, but this time had a new, large scar on the chest of the suit.

Godzilla 2004

  • Films: Godzilla Final Wars (2004)
  • Height: 100 m (328 feet)
  • Mass: 50,000 metric tons (55,000 tons)
  • Powers/Weapons: Atomic Ray: super regenerative powers (Godzilla can be wounded, but his G cells heal very rapidly), nuclear pulse, spiral beam.
  • Wins 7, Losses 0, Ties 1

For Godzilla’s 50th Anniversary film in 2004, Godzilla: Final Wars, director Ryuhei Kitamura wanted Godzilla to take on a leaner, meaner look while combining the looks of the previous three eras of Godzilla films. They seem to have succeeded in doing this. The arms and legs are slimmer than usual, allowing the actor’s arms, fingers, and legs to fit perfectly into the suit. Godzilla’s thighs are also one size smaller and the tail from the KiryuGoji suit used in the previous two films was reused. This suit also has much more noticeable ears than previous suits, which sets this suit apart from the others.

To create this leaner, more flexible suit, the suit makers at Toho used less urethane foam and rubber, instead adding a special material resulting in a lighter suit. They also made the dorsal plates smaller, making them look much like the dorsal plates of the Showa era with a single prominent row with smaller surrounding plates. Toho managed to reduce the weight of the suit by almost 44 pounds, allowing the actor inside much more movement and flexibility, and making this one of the most realistic-looking suits ever.

Godzilla 2019 (Possibly fighting him not sure yet)

  • Height of Godzilla for This Movie: 108.2 m or 355 feet tall
  • Length of Godzilla for This Movie: 167.7 m or 550 feet that includes a tail length
  • Mass and Weight of Godzilla: 81 646.6266 metric tons or 90,000 tons
  • Lifespan of Godzilla: 2000 Years

Mass: Godzilla would weigh 164,000 tons, according to our keen analysis of the 2014 Godzilla toy and a formula developed by paleontologists to work out the mass of bipedal dinosaurs.* We found out he would surpass the theoretical weight limit for land animals—110 to 1100 tons. The heaviest dinosaur, the 100-ton Argentinosaurus, stood 70 feet tall, was 115 feet long, and had four limbs to distribute its enormous heft.

Power/Weapons: At rest, Godzilla’s metabolism would generate 1.4 megawatts, or about as much power as that of a large wind turbine. On a rampage—smashing helicopters, knocking over buildings, fighting Mothra—he’d generate about 37 megawatts. That’s enough energy to fuel a town of 3000 people.

Bone Structure: The force on Godzilla’s bones is roughly 20 times greater than the force on a T. rex’s, so his bones would need to be phenomenally strong—about twice as tough as some titanium alloys. Normal bone has a tensile strength of 150 megapascals, but Godzilla’s bones can handle 3000 MPa—the same pressure found at the base of earth’s lithosphere, 60 miles below the surface. Godzilla’s cartilage would be about 12 times stronger than a human’s, preventing his knees from exploding like overripe tomatoes—and making him the envy of basketball players everywhere.

Skin Texture: Godzilla’s exterior is tough. (Soldiers with rifles, really?) His crocodile-like hide would be embedded with osteoderms, or bony deposits akin to chain mail. Protruding osteoderms on his back and tail vent excess heat.


Even for his size Godzilla has always been supreme in the strength department and this Godzilla is no different. Unlike most versions of Godzilla, however, this Godzilla’s strength feat is displayed more than just Godzilla throwing monsters around, it shows in the environment.

Godzilla swimming to Hawaii, at full speed, managed to create a tsunami around 12 meters in height that carried for miles all the way to the airport and he effected the entire Golden Gate Bridge’s movement by merely tugging on the cables with one hand. Combined with his thick hide this Godzilla moved through buildings with ease, like a human being walking through snow; easily breaking the Golden Gate Bridge by walking through it and taking buildings more than twice his size down with a single tail whip.

Godzilla is also much stronger than either Muto, easily pushing the gigantic female Muto despite her struggle using all of her arms and strength, and being able to kill the male with a single tail swipe.


Had the military’s plan to kill all three monsters with a megaton nuke actually worked, they would be very disappointed to find Godzilla still standing. The whole “megatons not kilotons” statement made in the film is massively incorrect in all the right ways.

Most, if not all, the military tests in the Pacific back in the 1950s-1960s had powerful amounts of megatons in yield behind them but the most infamous one that is the most worthy to point out for Godzilla’s durability is the Castle Bravo Hydrogen bomb. This bomb is the most powerful nuke ever activated by the U.S., around the Bikini Atoll islands and was measured near 15 megatons in yield, it was the bomb shown in the opening of the film that set off in 1954.

Not one nuke, but several were launched at Godzilla in attempts to kill him and not only have none of them been successful in the slightest but Godzilla shows no visible scars from taking that many repeated acts of impact and force; which could possibly hint at his healing factor as well. In addition to surviving nukes, any emotion Godzilla displays when being pelted by missiles and projectiles is that of sheer annoyance and nothing more. It’s also important to point out how, in the Awakening graphic novel, Godzilla managed to survive and adapt to the massive asteroid that changed Earth’s climate to what it is today.

The only real force in this film that manages to hurt him are the Mutos, creatures assumed to have similar strength and durability to Godzilla himself. And even after taking, assumingly life-threatening injuries, Godzilla fell lifeless only to retain his breath after a few hours (a possible feat for his healing factor). In conclusion, it’s safe to say that after swimming 24/7 in hunt for the Mutos, partaking in an hour long battle with the male Muto, being hit critically by both Mutos constantly for more than a minute, having a building twice his size land on him, and still having the energy to finish off the female Muto only to awaken a few hours later, that this Godzilla is one of the toughest ones yet.

(Also, considering the original concept of the discovery of Godzilla involved finding him in an iceberg and Godzilla must absorb radiation from the Earth’s core beneath the ocean – where heat is at horrifyingly high rates – it appears this version of the king has little-to-no problem with extreme temperatures)


If this Godzilla was real he’d be one of the most intelligent creatures on the planet. This Godzilla thinks and strategizes in mid-combat with massive payoff. He is able to calculate the exact position of the male Muto’s location to get him with a direct final blow tail strike,  and uses some fighting techniques created by human beings (knee striking, pinning down the female Muto with his foot, etc). Godzilla is also able to express massive amounts of emotion which very few animals are able to do: he can appear exhausted, angry, determined, etc. Finally, Godzilla managed to adapt massively to our nowadays ecosystem almost immediately after the destruction and massive climate change of the world he called normal. This Godzilla thinks and behaves like some of the most intelligent creatures in real life, as if his size and power weren’t enough now the guy is an animal Einstein.


Legendary’s Godzilla is no man in a suit, this Godzilla moves as fluently and fast as you would hope he would. Faster in movement and fighting than any other version, allows this Godzilla to quickly react and maneuver to scary levels. However, Godzilla’s walking speed is nothing compared to that of his swimming skills. This Godzilla is capable of outrunning a fleet of battleships and can travel almost 2400 miles from Hawaii to San Francisco in less than 36 hours. A speed demon? No. A fast Godzilla? You bet.


Don’t expect any tail slides or body slams from this Godzilla, but boy can he fight. This Godzilla is not afraid to get brutal, using his mouth for most of his attacks this Godzilla is a savage one. Gareth has described how Komodo dragons and bears were studied to understand how real animals fight, and this Godzilla definitely shows resemblance in that regard, but has far more technique and purpose behind his attack intentions. Godzilla uses his fingers/hands for grabbing, slashing, pushing, and of course, opening Mutos jaws. And unlike most of Toho’s variations of Godzilla, this one has no hesitation or pauses in battle unless he’s thinking of a new battle strategy.

A more specific fighting skill feat that comes to mind is the fact that Godzilla was never bested by the super-sized female Muto in any 1v1 battle. Only when the male cut in did the female Muto ever get a chance to take a slap at Godzilla and even then it had to be when the male Muto was distracting him. As for the male Muto, he definitely gets an advantage with his flying, constantly moving around Godzilla and escaping but never showed superior skill in combat. Godzilla is easily the best fighter out of the 3 monsters in the film.

Like previously mentioned, this Godzilla uses much of his own intelligence in combat: being fully aware his atomic breath would destroy the female Muto’s vital insides, using his legs to knee strike and pin the female Muto down with his feet, and tossing the male Muto with his mouth etc.

Additionally the new Godzilla, like some of the most dangerous versions of Godzilla in the past, also utilizes his atomic breath in mixture with his combat. Mixing his intelligence with his raw power and animal instinct, Legendary’s Godzilla’s fighting style is dangerous and unpredictable with no punches pulled for fear of collateral damage; the worst kind you want on a 355ft tall monster. This Godzilla was born to fight.


These abilities deserve their own category because Godzilla’s senses and aging are absolutely phenomenal on their own. Even though the Nautilus nuclear submarine awoke Godzilla in 1954 for the setting we know as our 2014 film, according to the Awakening graphic novel, he’s been wandering around the Earth for millions of years ever since the asteroid that changed the Earth’s climate, popping up on land every few centuries or so; paintings, scrolls, etc. that dated as far back as 30,000 B.C. all contain imagery of Godzilla. It appears that, as long as Godzilla is healthy on his radiation intake, he is essentially immortal.

As for his senses, it is very unclear as to which senses of Godzilla are the most powerful but assumingly all of his senses are powerful. Strong eyesight to see clearly in the pitch black world of the deep sea, great detection of sound considering he could hear the mating calls of the Muto from the deep depths (a possible way he tracks them down), and probably the most interesting sense that we’re not sure about – his radiation sense. It appears this is the sense that allows Godzilla to find any and all locations of radiation, the sense he uses to either find the Mutos and/or detect the best location in the ocean to receive radiation input. Regardless of how he does it, the sense is omni-directional in that he can essentially detect radiation all over the planet or in just enough wide mileage to detect it; either way it’s impressive.


Short, but nonetheless important, Godzilla’s instinctual patterns are similar and different to that of other animals. Godzilla leaves the comfort of his ocean to actively hunt down the Mutos, but not for the purpose of food, but to keep his status as an “alpha predator” in check. Godzilla only seems to leave the comfort of the ocean to hunt down enemies, unlike other versions of Godzilla this one won’t seem to actively seek to destroy cities or exterminate mankind. It is unclear if Godzilla is a form of species or is the only one in his species, but it’s clear if there was more than one Godzilla they would surely survive the same as him; considering only Godzilla responded to the Mutos it’s easy to assume Godzilla is alone. With that knowledge in mind it’s easy to assume Godzilla won’t have any need for a mating call or desire for sexual reproduction; poor guy. His roar, if anything, is a warning call to natural enemies. This is the most realistic, animal-like Godzilla to date.


As if an indestructible hide, massive intellect, and raw power are bad enough Godzilla has another secret weapon that makes every other attack weak in comparison – his iconic atomic breath. This version of Godzilla charges atomic breath similar to that of a Tesla coil slowly charging up with his blue light getting higher up his tail all the way to his neck until he fires (as opposed to classic Godzilla films where all his spikes light up at once). The breath resembles more of a flame-like appearance while the classic Godzilla representations have a more beam-like atomic breath.

As for the power and use of the breath itself, Godzilla uses it mostly mid-range distance and also in mid-combat. Whether or not Godzilla can use it in long-range is unknown but according to descriptions on the merchandising Godzilla gets his breath by focusing his stored radiation into a beam-like ray, so using it could weaken Godzilla to a certain degree while it also means having more radiation storage could give a more powerful beam; so it’s debatable if the atomic breath at the end of the film was a weaker version than what his breath is capable of from days of hunting the Mutos and fighting without any radiation absorption in between.

What is known about the power of the breath, however, is it was devastating enough to cripple the female Muto temporarily with two concentrated blasts (around 4-6 seconds each), and completely tear her neck and insides apart when he focused it inside her mouth. Although the effects of the breath are unknown on creatures other than the Muto or even the environment (like buildings or landscape), it is horrific and catastrophic enough to be worthy of the title of Godzilla’s signature move. It is by far an impressive weapon, but compared to other Godzilla Atomic Breath is is not the most power.


The suit is the very suit that is completely cgi, so it is not a real suit like the suitmation Godzilla’s of the past. This Godzilla has bear like features within his face as well as in his movements. This was Gareth Edwards intentions to make Godzilla seem like a real live movie animal sort of speak. This by far is the biggest of all the Godzilla’s standing at a whopping 350 feet tall. Some people think Godzilla is taller but according to Gareth Edwards it is confirmed at 110 meters (350 Feet Tall). His atomic breath has finally made a return since Godzilla 1998 did have this ability and that is because Godzilla 1998 was interpreted as an animal and not a monster.

The atomic breath in the Godzilla is in fact a last resort because in this movie Godzilla is the one being hunted like an animal for birthing purposes for the Mutos. (I do not agree with this. Godzilla should be interpreted as a destructive monster and not some carcass to use for injecting babies into his body because of the radiation within him they will thrive hmmmm). Anyway his atomic breath is very life like. It looks like a blowtorch effect and not like the past Godzilla’s where his breath is like radiation when it hits the body it explodes this new atomic breath does not do that its more like burning the flesh. Very cool effect. One more thing about this Godzilla he does not seem to be a as strong as the past Godzilla’s have been he does struggle with the female Muto because of her size she is bigger than Godzilla and he has a tough time with her. Though this is not one of my favorite Godzilla suit designs I jsut cant seem to connect with this Godzilla not like its Japanese counterparts in the past. That character, Kiryu).

Garu – Garu

Height: 20 centimeters
Length: 55 centimeters
Wingspan: 30 centimeters
Mass: 59 kilograms

Powers/Weapons: Flight at 1000 kilometers per hour; can fire a beam from its mouth

First Appearance: Rebirth of Mothra  1,2,3(1996,1997 ,1998)


This is a creature that is the chariot for Belvera to ride in the movie The Return of Mothra 1,2,3. Garu – Garu has gone through different changes in all the movies. He has transported Belvera to such places as the birth place of Desghidorah, but Fairy Mothra blasted Garu-Garu from the air. Revealing to the twin sisters of light, that the animal was a robot, nothing more than a machine. Belvera continued to tinker with her winged dragon in the last movie, casting a more machine like appearance on the beast while fitting its face with an eyesight of precise accuracy.


Mothra fights Death Ghidorah but falls at its power, as she was already at the end of her life cycle and was weakened from having laid an egg. Her offspring, Mothra Leo, who was unable to help its mother defeat Death Ghidorah while it was still a caterpillar, cocoons itself at the base of a magical tree and metamorphoses into Mothra Leo. Then, at full strength, Leo confronts and easily defeats Death Ghidorah. After the defeat of the evil space demon, Mothra replaces Death Ghidorahs seal, then uses its magic to restore the destroyed forest.

The ancient monster Dagarla awakens to ravage the environment with poisonous starfish. Created by the people of N’lai K’nai(a part of the mythical continent of Mu) as a method of garbage cleaning gone awry, only Mothra can stop it, though it will need the help of the lost castle of N’lai K’nai itself and the mysterious treasure within.

King Ghidorah returns to earth to feed off of the children. Mothra attempts to fight against him but is not strong enough, to stop him Mothra goes back in time to defeat King Ghidorah the first time he came to feed, which resulted in the extinction of dinosaurs.

Dagarla / Dagahra

Body Length: 73 meters
Mass: 17,700 tons
First Appearance: Mosura II


Dagarla showed up in Japan, terrorizing the waters as it glided over the seas, dropping tons of toxic belam pollution over the ocean. It fought an epic battle with Aqua Mothra until he projected himself into millions of tiny versions of himself, flew into Dagarla and destroyed its Belam making abilities, killing it.


When a young girl, Shiori, is chased into the forest by a pair of bullies, she encounters a strange, furry creature known as a Gorgo. Other children her age might have taken one look at it and run away (which she does, at first), but Shiori is no ordinary girl. She has been chosen by Gorgo for the courageous spirit which she has yet to realize is within her.

Just as Shiori and those same bullies that had chased her into the forest, whom have now become fast friends, are getting to know Gorgo, they are suddenly attacked by the twisted fairy known as Belvera, claiming that all her dreams will come true once she possesses the Gorgo. But before Belvera can reach it, she is intercepted by her two sisters, the benevolent pair of Moll and Lora, known together as the Alias.

After they escape together, the Alias befriend the children, who learn that Gorgo comes from an ancient civilization known as Mu, which sunk into the ocean over ten-thousand years ago. They are Gorgo’s only hope to stop Belvera when she awakens the destructive giant monster called Dagarla.

Determined to help the furry creature, Shiori leads the others on a quest to find the lost city in hopes of finding the secret treasure that can defeat Dagarla and return peace to the world.

But when Dagarla attacks the ancient city, while the children are trapped inside, the Alias have no hope but to summon Mothra to engage Dagarla in battle.

Their confrontation is fierce, rocking the battlefield with incredible attacks that are slung back and forth, but in the end, Dagarla proves too much for Mothra to handle on her own. Shiori knows that, if she and her friends don’t find the secret treasure soon, Mothra will be destroyed, and perhaps their entire world along with her. Little does she know that the treasure is waiting for her to find it.

Cruteuos King Ghidorah

Height: 40 meters (131 ft)
Wingspan: 60 meters (197 ft)
Weight: 25,000 tons
Powers/Weapons: Plasma beams, regeneration, teeth, flight at mach 3
Classification: Space Kaiju
First Appearance: Mothra 3 (1999)
Number of movies starred in: 1
Fight Record: Not Available

Hyper-Grand King Ghidorah

Height: 60 meters

Wingspan: 80 meters

Mass: 500,000 metric tons

Debut Film: Mothra 3: King Ghidorah Attacks

Death Ghidorah / Desi-Ghidorah

Body Length: 100 meters
Mass: 75,000 tons

Wingspan: 80 meters

Powers/Weapons: Energy bolts, Breath fire, can absorb energy

Weaknesses: Doesn’t seem to like water very much and cant seem to stand up to Mothra’s weapons either.

First appearance: Mosura (1996)

In Rebirth of Mothra, a monster called Desghidorah appears and is a black, quadrapedal three headed dragon who could create fire and open fissures into the Earth as well as absorb energy from the planet it was destroying. Mothra defeated it and sealed it away, making the world safe from its evil.

Gigan (Millennium) 2004

  • Height: 120 meters (394 feet)
  • Weight: 60,000 tons
  • Powers/Weapons (Original): Cluster beam from eye, flight at mach speed, hammer-claw hands/feet, buzz saw in abdomen, sharp tooth-lined beak, able to fire cables from wrists that grab opponents, tail can grab opponents, spikes on elbows and knees
  • Powers/Weapons (Upgraded): Cluster beam from eye, flight at mach speed, dual chainsaws on each hand, hammer-claw feet, buzzsaw in abdomen, sharp tooth-lined beak, can fire razor-sharp disks from shoulders, tail can grab opponents, spikes on elbows and knees
  • First Appearance: Godzilla: Final Wars (2004)
  • Fight Record: Wins 1, Losses 2

Gigan in Godzilla: Final Wars

Gigan returned in Godzilla: Final Wars, were he was first seen as a mummified monster from his battle with Mothra. He was awoken by the Xiliens to help them conquer the Earth. He chased the Gotengo to Antarctica to stop them from awakening Godzilla. He nearly destroyed the ship, but he was blasted by one of Godzilla’s nuclear beams. Be battled Godzilla until he got his head destroyed by his beam. However, the Xiliens repaired him and released him to fight alongside Monster X.

Modified Gigan in Godzilla: Final Wars

Modified Gigan was Gigan’s second form in Godzilla: Final Wars, where he is rebuilt with a different head and chainsaws instead of hooks. He was released to battle Mothra, and temporarily defeated her. He attempted to help Monster X in his battle with Godzilla, but he was attacked by Mothra. He shot his blades at Mothra, but they flew past her. He nearly killed Mothra with his beam, but his blades flew at him and cut his head off. Mothra slammed into him, causing him to explode and die.

Battra 1992

Larval Stage

  • Larva length: 90 meters (295 feet)
  • Larva mass: 20,000 metric tons (22,000 tons)

Battra Adult

  • Length: 73 meters (239 feet)
  • Wingspan: 180 meters (590 feet)
  • Mass: 30,000 metric tons (33,000 tons)
  • First appearance: Godzilla vs. Mothra (1992)
  • Notable G-Series credits: 19
  • Fight record: Wins 1, Losses 1, Ties 1
  • Powers/weapons: Prism beams from eyes, Larva powers/weapons: Prism beams from horn and eyes,
  • Weaknesses: Battra turns out to be a loyal ally, apparently sacrificing himself to defeat Godzilla. Battra was a dark spirit dawned by the life force of the planet Earth. The darkness had already begun to take a hold on Earth, and Earth, in response to the will of the darkness, had created the monster Battra.


Battra first appears as an energy-spewing, armored caterpillar that breaks out of its resting place under the polar ice caps. Eventually, it transforms into a deadly fighting form- a dark twin to Mothra. Battra fights against environmental threats .In the end of Godzilla vs Mothra, Battra and Mothra form a team to fight Godzilla. .Battra travels by swimming through the ocean and by tunneling through the Earth. In this immature form, Battra unable to fully control its deadly Prism Beams, the rays arching wildly from its eyes and horn.

Mothra and Battra fought fiercely.  Mothra won, and Battra was trapped deep in the Earth.  It was only thousands of years later that a jarring of the Earth’s energy, caused by a meteorite, allowed him to escape his prison.  Again, Mothra defended her planet from the dark spirit, and again, she won.   Battra lay powerless at the bottom of the sea and until another flux in energy happens, he will remain there. That is the basic understanding of how Battra came to be.

Battra (Batora) is a fictional giant, black moth appearing in Godzilla_vs_Mothra. He has a wingspan of 180m and weighs 30,000 tons. Like Mothra, Battra has both larval and adult forms.

Battra was created by Earth’s vital force millions of years ago to destroy the human race. But Mothra, defender of mankind, fought a fierce battle with Battra, and emerged victorious.

Millions of years later, Battra was awoken by a meteorite. Upon metamorphosing from his larval form, he flew to Tokyo to exact his revenge on Mothra. In the heat of the two monsters’ battle, Godzilla appeared. Mothra and Battra temporarily teamed up to combat Godzilla together.

Once Godzilla was defeated in battle, Battra and Mothra carried him out to sea in order to dispose of him once and for all. This was unsuccessful, however, as a still-conscious Godzilla killed Battra while he was being transported.


A meteor falls down to earth, this causes a collapse for the ecological balance of earth. Godzilla is awakened and the twin moths Battra and Mothra, too. Meanwhile, a thief is won for an expedition with his ex-wife to find Mothra’s eggs. They only discover the Cosmo wins (they are still singing after all this time). They tell that Battra is responsible for the balance. The egg and the Cosmos are brought back to Tokyo, but Godzilla attacks the ship. Suddenly Battra appears and fights against Godzilla, meanwhile Mothra escapes. An underwater eruption spills Godzilla and Battra. The two kidnapped twins call Mothra for help. And she’s there very soon. As a larva, she “walks” through Tokyo to free the Cosmo.

Military is fighting against her, but Mothra webs herself into a cocoon. In the meantime Godzilla reappears at Mount Fuji auf and tramples through Tokyo. Battra heads out of the sea, too and flies to Mothra to destroy her. Godzilla’s there, too and a great battle starts. Now we learn that Mothra and Battra are the light and dark side of earth power (humh?). The two moths build a team, they carry the injured Godzilla to the sea and Battra falls into the same ditch as Godzilla. Mothra builds an energy field over the ditch to keep Battra and Godzilla trapped forever. After that she flies back into space leaving a golden shower behind.

Battra was originally meant to be an evil twin of Mothra called “Gigamoth” whose abilities somewhat resemble Hedorah’s in the scrapped Godzilla vs. Gigamoth.

Battra’s name most likely comes from the common Japanese practice of shortening two words to make one; in this case the combination of the Japanese spelling of Battle Mothra (バトルモスラ?, Batoru Mosura), as described in the Super Godzilla video game manual. It was also said to be “Black Mothra”, as described in Godzilla vs. Mothra.

Like Mothra, Battra has both larva and imago forms. Battra’s imago form has a predominately black body with very large wings that have patterns of red, black and yellow. He also has yellow horns in his head, six legs, and red eyes which glow purple when firing his beam, as well as a red line which runs down his body’s sides.

His larval form is mostly black but with a lot of yellow and a dark red underside. He also has a giant horn, similar to Destoroyah’s, which is yellow and glows when he uses his beam, and two tusks on each cheek. Battra’s larval form also has bigger, more powerful legs than Mothra’s larval form which are yellow and horn-like. Much like his imago form, his eyes are red. Battra’s larval form is also physically much larger than Mothra’s, being almost as large as Godzilla himself.

Battra Larva in Godzilla vs. Mothra

Twelve thousand years ago, the spirit of Earth created Battra. Battra was created to destroy a device built by an ancient civilization to control Earth’s climate. Battra began to do his job well beyond his purpose and Mothra was forced to intervene. There was a huge battle between Mothra and Battra. When Mothra finally won, Battra was laid to rest in the North Sea, while Mothra survived in the mountains with the Cosmos. Unlike his benevolent twin Mothra, Battra sees humanity as a blight on Earth, and won’t stop until humanity is removed from the planet. It’s because of this that Battra came into conflict with Mothra, who seems intent on protecting humanity.

Thousands of years later, Battra was awoken by a meteorite in Siberia. Battra swam to the coast of Japan and burrowed, reappearing and attacking Nagoya. The JSDF fought Battra but were no match, and Battra left a wrecked city behind as he burrowed again. Battra appeared in the waters off the archipelago of the Philippines, where Godzilla and Mothra were battling. Battra engaged Godzilla, who was the bigger threat. The two monsters battled down to the sea floor in the Philippine Trench, where a volcanic eruption supposedly killed them. But Battra and Godzilla lived on, appearing near Mount Fuji, with Godzilla exiting an erupting volcano and Battra emerging from the ocean’s depths.

Upon metamorphosing from his larval form, he flew to Tokyo to exact his revenge on Mothra. The sinister moth seemed to have an upper hand against his less violent counterpart, but soon, in the heat of the battle, Godzilla appeared. Mothra and Battra teamed up to combat Godzilla together in defense of both Earth and humankind. Once Godzilla was defeated, Battra and Mothra carried him out to sea. However, Godzilla, still conscious, killed Battra by attacking him with an atomic ray at point-blank range while he was being transported. Godzilla and Battra dropped into the ocean below. For giving Battra a final farewell, Mothra flew around in a circle, creating a glyph of friendship to her beloved companion.

Battra in Godzilla Island

In its larval form, Battra was a horribly brutal opponent who was relentless and remorseless in its attack. In this form, he wielded a massive yellow horn which could be put to use as a battering ram or bludgeoning weapon. From the horn, he was also capable of firing off furious electrical blasts of an orange-yellow color. He could fire similar electrical blasts of a purple color from his crimson eyes. However, these beams would often fly wildly about, Battra not appearing to have precise control over their direction. The titanic larva could also create energy pulses from his massive horn as another form of attack.

In its imago form, Battra had lost the ability to burrow or swim, but attained flight at mach 3 with its new wings, allowing for easier and more efficient travel for further destruction. The once prominent horn had disappeared and had been replaced with three smaller horns. These horns were incapable of releasing energy anymore, but Battra had developed more powerful optic beams, known as “Prism” beams. Unlike the beams used in his larval form, adult Battra had complete control over the Prism Beams, which also are far more powerful in this form.

He also had developed three pairs of legs and would utilize them for grasping objects. The imago form of Battra could also release an “energy shock” from its feet in order to subdue foes while in close combat. However, in the manga adaptation of Godzilla vs. Mothra, the dark insect can unleash damaging energy spheres from his horn, discharge energy through the stinger-like attachment on his tail, and instantly form his cocoon which also acts as a defensive shield.

In Godzilla Island episode 166 “Baby Mothra Awakes,” Battra can also emit powder from his wings just like Mothra except that the powder is red instead of yellow like Mothra’s.

Development Hell: Mothra vs Gigamoth

Written by Barney Buckley



While Godzilla vs. King Ghidorah was in post-production, the decision was made to use Mothra as Godzilla’s next foe. One of the original concepts for this match up was submitted under the title Godzilla vs. Gigamoth (see Toho SF Special Effects Movie Series Vol. J). Written by SFX director Koichi Kawakita, SFX designer Minoru Yoshida, and Marie Teranuma, and containing a heavy dose of far-out fantasy, psychic powers, and the introduction of an evil Mothra, this story contained a few ideas which survived into Omori’s screenplay for Godzilla vs Mothra. Much like the film which was to succeed it, the story concentrates on Mothra and her “enemy,” with Godzilla playing second fiddle, mostly serving as the focal point for the two adversaries to join forces at the conclusion. The impetus for the story comes from two of Tomoyuki Tanaka’s favorite themes, radiation and pollution, as radioactive waste contaminates the jungle on a South Sea island, causing various mutations to occur.

With the jungle stripped away by profiteers, a typhoon causes serious erosion that uncovers a gigantic egg which tumbles into the sea. While investigating this disaster, a scientist encounters a tiny woman named Mana, merely 20 centimeters tall, who warns him of the disasters that may occur if Mothra hatches from the egg near civilization. When Mothra hatches, not only does the benign caterpillar emerge, but also a hideous mutation Gigamoth, spawned by radioactive exposure. Kawakita’s story gives Godzilla short shrift as far as an entrance scene -the Big G merely senses Gigamoth and shows up spoiling for a fight. Pushing the audience’s suspension of disbelief to the brink, the story has Mana’s psychic and teleportation powers allowing her to teleport inside the insect monsters and direct their actions to a degree. She helps Gigamoth defeat Godzilla, preventing him from attacking a nuclear power plant, but Gigamoth instead absorbs the radiation from the facility, helping fuel its metamorphosis into its grotesque adult form. Borrowing Biollante’s plot device of anti-radiation genetic material, the story has the scientist develop radiation-separation bacteria in hopes of eliminating the mutation foisted upon Gigamoth’s genes by nuclear energy (and curiously unemphasized, to take away Godzilla’s powers as well).

The weapon is fired at Godzilla and Gigamoth during their rematch, and while Godzilla is not affected, Gigamoth falters badly. Mana directs Mothra into the conflict, but Mothra is dealt a fatal blow by Godzilla’s atomic breath. Falling atop Gigamoth’s body, Mothra and Gigamoth merge to form the true Mothra, free of radioactive mutation. The battle between Mothra and Godzilla ends with the typical uncreative resolution monsters fall into the sea and disappear without a trace. But as if this unsatisfactory conclusion were not  enough, the human drama takes a ridiculous turn: the scientist reveals he has fallen in love with Mana. She turns down his advance, telling him that his destiny lies elsewhere. Sure enough, months later the depressed scientist meets a woman who looks like Mana …they fall in love, and Mana’s prophecy is fulfilled. Godzilla VS. Gigamoth provides ample evidence that SFX technicians are much better at visualizing the written word rather than writing themselves.

Lost Project: Concept Mothra vs Bagan

Written by Barney Buckley


In and around the 1980s there would have marked the return of Godzilla was something completely different than what we saw. Tomoyuki Tanaka having allowed Godzilla to become a humanized kiddie hero he wanted to correct that fatal mistake and bring Godzilla back to a no-nonsense atomic monster once again since 1954. In 1980 Tomoyuki Tanaka had commissioned a brand-new story from the writer Akira Muroa he would talk to Akira and explained his situation and what he wanted to do with Godzilla. He wants to bring him back to irrational sense and bring him back as the King of monsters. Tomoyuki Tanaka had said “Godzilla is a world-famous character, on a par in terms of notoriety with Superman and Star Wars,” Tanaka had said. He had also said “unfortunately, we had to close down the Godzilla film series wants, because ideas have become so weak and the costs were too much. Despite this… Godzilla is love by several generations, so I think it is a good idea to bring him back for a new film to celebrate Toho Company’s 50th anniversary… Since we had a problem in making Godzilla just for younger ages, we now think I Godzilla must be for a general audience, both older and younger people.

The tentative title for the movie and for his return is called “The Return of Godzilla” is curiously based on the premise that Godzilla himself was not sufficient to carry the story this was the ideal first. This is where we bring on a new enemy for Godzilla and it was called “Bagan” this is a name that seems to continuously resurface and several story proposals through the 1980s and 1990s. This particular Kaiju was created to challenge Godzilla. It is said that they again is a three stage monster similar to that of Destroyah in the Marine Godzilla versus Destroyah 1995 there he was a three stage monster as well. This was the ideal that they originally wanted to go with however the costs and the budget itself did concern Tanaka. They was one of those monsters that was a shape-shifter that adopting unique visage on land, in the water, and in the sky. It is said that they could not win Godzilla completely from his 1970s personality. Our Sheila wrote the actual first act to have Godzilla planet of Bagan before getting down to business providing mankind when the nuclear-fueled nemesis. Our curative use a bevy of super weaponry, but it was Bagan rather than Godzilla that is attacked, ineffectively, of course Godzilla’s battle with Bagan are mostly one-sided, with Godzilla inflicting damage time after time, and Bagan regenerating itself by assuming a new form. Only after Godzilla’s renewed his strength by destroying a nuclear power plant and absorbing is for radioactive output does he defeat Bagan. The scenario without monster versus monster portion and the next act became a not too subtle rehashing of the original Godzilla.

The new story for this particular movie it starts with a scientist who has discovered a new element called ”Reiconium,” which possesses super nuclear energy. This particular source of energy is far more powerful than that of nuclear energy. And it was way more conventional. It is said that the scientist refused to allow it to me is against Godzilla. Only after witnessing Godzilla’s aftermath, and with further pleas from his daughter, though the man finally relent, only to sacrifice himself to detonate the device which defeats Godzilla. Radiation seems to be omnipresent in this story. This was a way to more Godzilla by using this type of radiation they use it as bait to more Godzilla to his demise. And it is apparent that this seemingly super nuclear energy weapon of mass industrial Godzilla.

The whole message of this film is replaced by a new and more contemporary theme, some not in the final lines of the story after Godzilla was lifeless body washes ashore near a nuclear power plant months later, and suddenly realize: “as long as nuclear energy exists, Godzilla will live.” In other words whatever its purpose, nuclear energy will always present a catastrophic danger.

This definitely was a different twist for the original inception of Godzilla’s return it probably would’ve been interesting to say the least. Honestly I like the original weight is now it just marked the return of Godzilla in the proper way however I would have been curious to see what the approach of this new monster would have been and how the fight scenes would have been. I would have been also curious as to see how they would have created Bagan which to me seems to have a lot of connection with Godzilla versus Destroyah 1995. I have to believe possibly that they can is a concept of Destroyah they created Destroyah using the banking concept possibly. Anyway I hope you found this a little bit interesting because I did. Not as interesting as a logon I want to see this but it was a different take on it.

Hedorah Rockzzz


Why do I like Hedorah the Smog Monster?


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.

“Don’t lose your courage. One place where there is no pollutions in our hearts. Come on now. All of us. Our message is loud and strong. We’re going to send it up higher.”

By Yukio, the use of movement leader, in AIP’s release of Godzilla versus the smog monster


  • Director: Yoshimitsu Banno
  • Producer: Tomoyuki Tanaka
  • Japanese Release Date: July 24, 1971, released by the Toho Motion Picture Company. Running Time 85 minutes.
  • US Release Date: July 1972, released by American International Pictures. Running Time 85 minutes.
  • Taglines: “Don’t lose your courage. One place where there is no pollutions in our hearts. Come on now. All of us. Our message is loud and strong. We’re going to send it up higher.” “Our Environment Is Doomed!”
  • Alternative Titles: Godzilla versus the Smog Monster, Godzilla versus Hedorah


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?

What I like about the Movie Godzilla Versus the Smog Monster

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.

The Vital Statistics of Hedorah the Smog Monster


Water Form

  • Length: 0.1 millimeters-20 meters
  • Mass: Unknown
  • Powers/Weapons: Can fire acidic mud; adept swimmer; body has a corrosive effect; extraordinary jumper; increases in toxicity as it consumes more pollution; able to join with other Hedorahs to change its form and size; immune to radiation and the effects of Godzilla’s Atomic Ray
  • First Appearance: Godzilla vs. Hedorah (1971)

Land Form

  • Height: 30 meters
  • Mass: Unknown
  • Powers/Weapons: Flight; can fire acidic mud; adept swimmer; body has a corrosive effect; extraordinary jumper; increases in toxicity as it consumes more pollution; able to join with other Hedorahs to change its form and size; immune to radiation and the effects of Godzilla’s Atomic Ray
  • First Appearance: Godzilla vs. Hedorah (1971)

Flying Form

  • Length: 40 meters
  • Mass: Unknown
  • Powers/Weapons: Flight at mach 1; can fire Crimson energy beams from the top of its eyes that will create toxic smoke after hitting their target; releases sulfuric acid mist when it flies; body has a corrosive effect; increases in toxicity as it consumes more pollution; able to join with other Hedorahs to change its form and size; immune to radiation and the effects of Godzilla’s Atomic Ray; can change back and forth from final for
  • First Appearance: Godzilla vs. Hedorah (1971)

Final Form

  • Height: 60 meters
  • Mass: 52,800 tons
  • Powers/Weapons: Can fire Crimson energy beams from the top of its eyes that will create toxic smoke after hitting their target; body has a corrosive effect; extraordinary jumper; able to discharge vast quantities of sludge; increases in toxicity as it consumes more pollution; able to join with other Hedorahs to change its form and size; immune to radiation and the effects of Godzilla’s Atomic Ray; can change back and forth from flying form
    Weakness: Can die from dehydration
  • First Appearance: Godzilla vs. Hedorah (1971)

Hedorah Millennium Form

  • Height: 394 Feet Tall
  • Weight: 70,000 Tons
  • Powers: None
  • First Appearance: Godzilla Final Wars (2004)
  • Fight Record: Wins 0, Losses 1, Ties 0


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

The Origins of Hedorah the Smog Monster

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.”

The Hedorah monster with its cartoonish orange eyes is too absurd to be taken seriously. Although some of the wild images of it sitting atop chimneys sucking up carbon fumes; or with it like a giant flying oyster, riding on jets, crisping people and buildings beneath it with its acid mist; it dive-bombing and sitting atop cars in a traffic jam with its orange eyes balefully staring, have their moments. The American version has thrown in a series of animation scenes, which illustrate the action but have absolutely nothing to do with the rest of the plot.


Trivia based on Hedorah the Smog Monster

  • A sequel, set in Africa, was planned. However, G-series producer Tomoyuki Tanaka, who had been hospitalized during the film’s production, was enraged by the film once he saw it, telling director Yoshimitsu Banno that he had ruined the Godzilla series. Tanaka immediately ordered the filming of a more conventional Godzilla movie (Chikyu kogeki meirei: Gojira tai Gaigan (1972)). Thus, the “Smog” sequel was never made.
  • This is the first film in the series since Mosura tai Gojira (1964) to have a strong social message attached to it.
  • This is the only movie in which Godzilla demonstrates his ability to fly by firing his atomic breath towards the ground and propelling himself backwards
  • This is the only movie in which Godzilla demonstrates his ability to fly by firing his atomic breath towards the ground and propelling himself backwards.
  • When Godzilla chases down Hedorah near the end of the film, the director originally shot two different scenes. One had Godzilla chasing Hedorah on foot, the other had Godzilla flying after him. The flying scene was the one used in the final cut of the film, because the director thought a comical scene was needed to lighten up an otherwise dark film.
  • This was the last Godzilla film to be released by American International Pictures (AIP) and dubbed by Titra Productions. The remaining Godzilla films from this decade were released by Downtown Distribution and/or Cinema Shares, and simply used edited versions of Toho’s international English prints.
  • This was the first film that featured Kenpachiro Satsuma to wear the Smog Monster suit. Though small in stature, Satsuma was quite strong for his size, and was the only one capable of supporting the 300 pound suit for long periods of time. (Though there were some wire works to help support.) Satsuma then went on to wear the Gigan costume for the next two films. After a break of over 10 years, he would be asked to wear the Godzilla costume for Godzilla 1985, and would continue to wear it through the Heisei series, and retired after Godzilla vs. Destroyah in 1995.
  • In the scene where a piece of Hedora comes down the stairs of the club during Godzilla and Hedora’s first battle, there is a picture of Martin Luther King hanging on the wall behind it.
  • One of the films included in “The Fifty Worst Films of All Time (and how they got that way)” by Harry Medved and Randy Lowell.

The Godzilla Power Hour


The Godzilla Power Hour was a 60-minute Saturday morning animated series co-produced between Hanna-Barbera Productions and Toho in 1978 and aired on NBC in the US and TV Tokyo in Japan.

The series was an animated adaptation of the Japanese Godzilla films produced by Toho. The “Power Hour” aspect of the title consisted of half-hour episodes of Godzilla and Jana of the Jungle (not to be confused with the similarly-named Marvel Comics character Jann of the Jungle). The series continued to air until 1981, for a time airing in its own half-hour timeslot as simply Godzilla, until its cancellation.

The series followed the adventures of a team of scientists on the research vessel called the Calico which was headed by Captain Carl Majors. The rest of the crew included Dr. Quinn Darien (a female scientist), Brock (her African-American assistant and Carl’s first mate) and her teenaged nephew Pete. Also along for the ride was Godzooky, the nephew of Godzilla and Pete’s best friend who had a light-hearted role in the show. He could fly using his small wings under his arms, though his uncle Godzilla was unable to fly. The reason probably being that his mother also had this ability because his father is most likely Godzilla’s younger sibling as Godzilla can’t fly. Godzooky was voiced by Don Messick.

The group would often call upon Godzilla by using a special communicator when in peril, such as attacks by other giant monsters. If the communicator was not present (or lost), Godzooky would use a special “howl” to summon him. Godzilla’s size in the animated series shifted radically, sometimes within a single episode or even one scene. (For instance, Godzilla’s claw will wrap around a large ship, and only minutes later the team of scientists fit rather neatly on Godzilla’s palm.) In addition, Godzilla’s trademark atomic breath was altered so he breathed simple fire. He could also produce laser blasts from his eyes much like Superman’s heat vision.

Hanna-Barbera were unable to use Godzilla’s trademark roar so they cast Ted Cassidy to voice the character, similar to his role in the live-action series The Incredible Hulk. In Japan, Godzilla’s trademark roar was added and replaced the Ted Cassidy sound effects that Hanna-Barbera used.

The basic formula of a scientific team and research vessel in league with Godzilla investigating strange phenomena was revived in another cartoon, Godzilla: The Series.



Godzilla is a 30-minute animated series co-produced between Hanna-Barbera Productions and Toho in 1978 and aired on NBC in the United States and TV Tokyo in Japan.

The series is an animated adaptation of the Japanese Godzilla films produced by Toho. The series continued to air until 1981, for a time airing in its own half-hour timeslot until its cancellation.

The series follows the adventures of a team of scientists on the research vessel called the Calico, which is headed by Captain Carl Majors. The rest of the crew include scientist Dr. Quinn Darien, her nephew Pete, her research assistant Brock, and the ship’s first mate, Carl. Also along for the ride is Godzooky, the “cowardly cousin” of Godzilla and Pete’s best friend, who has a lighthearted role in the show. Godzooky can attempt to fly using the small wings under his arms. Whenever Godzooky tries to breathe fire, he usually just coughs up smoke.

The group often call upon Godzilla by using a special communicator when in peril, such as attacks by other giant monsters. Godzooky is also able to howl to summon Godzilla. Godzilla’s size in the animated series shifts radically, sometimes within a single episode or even one scene.

For instance, Godzilla’s claw can wrap around a large ship, and only minutes later the team of scientists fit rather neatly on Godzilla’s palm. In addition, Godzilla’s trademark atomic breath is altered so he breathes simple fire. He can also shoot laser beams from his eyes much like Superman’s heat vision.

Hanna-Barbera was unable to use Godzilla’s trademark roar, so they cast Ted Cassidy to voice the character, similar to his role in the live-action series The Incredible Hulk. The basic formula of a scientific team and research vessel in league with Godzilla investigating strange phenomena was revived in another cartoon, Godzilla: The Series, which acts as an animated sequel to the 1998 Godzilla film.



All the episodes of both seasons of the series are covered just below, many of which have comments afterwards, where I considered them to be warranted.


As a long dormant volcano in Alaska suddenly erupts, the crew of the Calico decides to investigate the phenomena. Suddenly, an enormous winged creature called the Firebird, since she literally thrives in super-heated lava and breathes fire, emerges from her resting place in the volcano (there is actually a legendary avian creature by that name in Russian mythology, though this fact is not alluded to in the show).

The Firebird flies across the frozen Arctic Sea to find a place to spawn, the heat from her body causing huge floods as her very proximity melts glaciers. Godzilla is called to the rescue by his human friends, and after a fierce battle, he defeats the Firebird by trapping her in an undersea cave.


San Francisco is threatened as a bizarre, quadrapedal multi-colored subterranean monster appears underneath the city. The creature is called the Eartheater, since it lives by devouring huge amounts of rock, soil, and steel, wreaking much havoc in the process by causing buildings and other man-made structures to collapse; the Eartheater also projects waves of sonic force from two antennae on top of its head to help it dig, but which can also be utilized as a formidable weapon in battle.

As the crew of the Calico travel into the underground tunnels created by the Eartheater to investigate, they’re trapped by the creature. Calling on Godzilla for assistance, the Big G rescues the Calico crew and drives the Eartheater above ground during the ensuing battle. As the earth-devouring monster climbs the Golden Gate Bridge to escape, Godzilla knocks the creature off of the structure with his laser beams. Landing in the water, the Eartheater discovers his fatal weakness as he dissolves into mud.


After discovering the ancient hidden pyramid of Ra-Mal in Egypt, an archeologist named Jarvis is suddenly besieged by two giant, quadrapedal sphinx-like monsters made of stone, who attack the hapless scientist with waves of freezing winds from their mouths.

As the crew of the Calico docks in a small town near the Nile River, they come across the severely frostbitten Jarvis, whom they nurse back to health. Jarvis then describes his ordeal to the crew, explaining that the Stone Creatures are mystical guardians of the pyramid who will attack anyone or anything that dares approach it. Naturally, the Calico crew decides to investigate, and they fly their mini-copter to the area, only to be attacked by the Stone Creatures themselves.

They call upon Godzilla, who engages the rocky beasts in battle, at one point being frozen solid by the combined might of both the creatures’ cold blasts. Godzilla finally defeats the Stone Creatures when the two rocky monsters charge him simultaneously, and the Kaiju King side-steps, resulting in a head-on collision that shatters the twin granite kaiju into rubble, thus ending their threat to the citizens of Egypt.


As the Calico investigates a strange electromagnetic power source beneath the sea near the Bali Trench, an oil tanker is sunk by what appears to be a bolt of lightening that originates underwater.

As Dr. Darian, Brock, and Godzooky travel underwater in the bathysphere, they are attacked by the source of the lightening bolt, the Megavolt Monster, an aquatic kaiju that resembles a giant electric eel. The monster severs the bathysphere’s umbilical cord, and the craft ends up landing on an underwater desert that’s protected by an air bubble. There the trio discovers an entire colony of Megavolt Monsters who acquire their electrical power by feeding off an electrolyzed outcropping of stone, which appears to be the mysterious power source that the crew first investigated.

After battling the first Megavolt Monster to a standstill to save the Calico, Godzilla arrives at the underwater desert to save the bathysphere crew, and he penetrates the air bubble, causing the sea to rush in and destroy the rocky power source, thereby rendering the Megavolt Monster colony powerless.


While diving in the sea near the West Indies, Dr. Darian and Brock are startled when they are attacked by a bizarre mutant life form…a creature composed entirely of seaweed, which continues to grow increasingly larger as the plant beast merges with more and more seaweed. The two divers barely escape the plant creature’s two huge tendrils as they frantically swim back to the Calico.

There they call upon Godzilla to deal with the creature, and while the Seaweed Monster is no match for Godzilla, the Kaiju King can’t seem to severely injure the plant creature’s physical substance. As the Seaweed Monster menaces a nearby inhabited island, Dr. Darian notices that a severed piece of the creature completely dried up after excessive exposure to sunlight. Thus, she directs Godzilla to drag the Seaweed Monster onto land, where the searing tropical sunlight eventually causes the plant creature to wither and die.


After a meteor falls to Earth, an investigating man finds nothing there but a mysteriously glowing tree. After he leaves, the ‘tree’ reverts to its true form, an alien beast that resembles a giant centipede.

Requiring large amounts of energy to survive, the Energy Beast attacks the Mesa City Dam, absorbing energy from its hydroelectric turbines, and growing much larger in the process. Since the Calico crew is (conveniently) in Mesa City at the time, they summon Godzilla, who drives off the alien Energy Beast, but the former appears to have been injured in the process.

A short time later, a mysteriously glowing Godzilla attacks an electrical power plant, and fails to respond to either the crew’s signal, or Godzooky’s call. This leads the crew to suspect that Godzilla either went mad after his encounter with the Energy Beast and became such a creature himself, or that there is somehow more than one Godzilla (actually, any 6 year old with half a brain immediately figured out what was really going on). Godzooky puts out a call for the real Godzilla, who shows up and battles his double. After Godzilla subdues his doppelganger in a full nelson hold, the bogus Godzilla transforms back into the centipede-like form of the Energy Beast, who, after returning to his original size, escapes from Godzilla’s grasp.

The alien beast scampers back to the meteor, which turns out to be a spherical spacecraft. Godzilla hurls the craft back into outer space, thereby removing the threat of the Energy Beast from Earth.



As the result of a violent undersea earthquake, the long-lost city of Atlantis reappears on the surface of the Atlantic Ocean. As the traveling Calico encounters the futuristic city, which appears devoid of all human life, they are captured by a tractor beam. Although they summon Godzilla to save them, the Kaiju King fails to do so and is abducted by a teleportation beam.

The Calico is quickly destroyed after being taken into the city, but the crew escapes and explores the fantastic metroplex. They soon find the inhabitants of Atlantis, who are all in a form of suspended animation in a stasis chamber. Discovering a time travel device, Capt. Majors, Dr. Darian, and Brock are accidentally transported back in time thousands of years, just prior to the sinking of the great city. To escape death, they go into stasis with the rest of the population, and are discovered there by Pete and Godzooky in the present.

The youthful duo then discover the cause of the city’s technology attacking them for no apparent reason: a giant, ultra-sophisticated robot called the Colossus, who was designed to protect Atlantis from invading forces. The robot malfunctioned in the Atlanteans’ absence, taking over the operations of the city and automatically treating any visitors as enemies.

After Pete and Godzooky locate Godzilla, who is kept in an enormous stasis chamber, they manage to awaken him, and the Big G engages in a fierce battle with the Colossus. Although the robot comes close to defeating the Kaiju King with its vast technological might, Godzilla, after much effort, ultimately prevails, and hurls the giant robot into the sea.

As the Atlanteans are finally awakened from stasis, they return the Calico to the crew via a time travel trick, and after parting on friendly terms, the peaceful Atlanteans reveal their great city to be a huge spaceship, and they return to their home among the stars.


A long time ago, a friendly alien race deposited a gigantic Cyclops on an uninhabited island for unknown reasons (the creature actually resembled a one-eyed cross between a human being and a crustacean, rather than the much more humanoid Cyclopes of Greco-Roman mythology), but they constructed a force field around the entire island to protect the people of Earth from the creature.

However, the force field is accidentally de-activated during a freak magnetic storm, and the Calico docks on the island to repair damages that occurred during the storm. The force field soon re-activates, and the crew find themselves trapped on the island and menaced by the Cyclops. Although they call Godzilla, the King of the Monsters is unable to penetrate the force field to come to the crew’s rescue. Dr. Darian discovers a stone monolith on the island that controls the force field, and she de-activates it, thus allowing Godzilla to enter the island and battle the Cyclops.

Although the one-eyed kaiju initially befuddles Godzilla with its ability to turn invisible, after the crew drops large amounts of paint on the Cyclops from the mini-copter, rendering the beast partially visible, Godzilla easily defeats his foe, and using a timer she created, Dr. Darian re-activates the force field after they all escape, trapping the Cyclops on the island once more.


After an ancient Greek island re-appears in the Earth dimension after 1,000 years, Capt. Majors is hypnotically induced to bring the Calico there by a mysteriously beautiful singing. Upon arriving, the crew discover that the island is the home of the Sirens, three deadly sisters from Greek mythology who entrance male sailors with their hypnotic singing, luring them to the island where they meet their doom. Although the leader of the Sirens, Morphea, initially seems to welcome the crew, they soon learn that they are to be kept on the island after it disappears at sunset by being turned to stone (an idea the Sirens possibly stole from another trio of deadly sisters from Greek mythology, the Gorgons).

After the crew open the doors to a chamber against the warnings of Morphea, they release a Chimera, a gigantic fire-breathing mythological monster that is a three-way cross between a lion, a goat, and a serpent. After Morphea exclaims that not even the Sirens can control the Chimera, the crew summons Godzilla, who easily defeats the Chimera by shoving her back into her chamber.

However, the Sirens then combine their power to send Godzilla into an hypnotically induced slumber, and then likewise trap the adult crew members in stone. Only Pete and Godzooky escape, and to re-capture them, Morphea brings a 12 foot statue of the Minotaur to seemingly organic life, and she sends the vicious creature after the escapees. Pete and Godzooky manage to outwit the Minotaur, however, and succeed in freeing Godzilla and the other crew members.

Determined to make the crew stay on the island, Morphea engages in an elaborate plan to gain control of the Chimera: physically merging herself and her two sisters into one giant being, Morphea then merges them with the Chimera, finally gaining control of the fire-spitting beast and causing her to grow larger than Godzilla. As Godzilla and the Chimera/Siren hybrid grapple with each other, the Kaiju King manages to make the mythological beast fall off of a huge cliff into the water below, and the crew escapes with seconds to spare as the island disappears for another 1,000 years.


A drilling outpost in Antarctica is attacked by an enormous amphibious sea creature that resembles a giant sea turtle who rises from the depths of the Antarctic Ocean, and the monster absorbs the energy from the facility’s oil pump. The creature is dubbed the Magnetic Monster, since it has the power to generate waves of magnetic force from its beak that can either attract or repel objects, and it needs to feed on magnetic sources of energy to survive.

As the crew of the Calico investigate the creature, they call upon Godzilla to counter the Magnetic Monster’s next target, and he easily drives the creature away. However, it’s discovered that the aquatic kaiju is growing increasingly larger as it absorbs more magnetic energy, and the beast uses its power of polarized attraction to swallow the mini-sub containing Capt. Majors and Brock, trapping them within the beast itself.

Upon Dr. Darian’s suggestion, Godzilla chases the Magnetic Monster to the South Pole, where she believes the beast will absorb too much magnetic energy to survive. As the monster arrives there, it becomes so large that it makes Godzilla look miniature by comparison, and it takes on a bipedal stance. The monster even unsuccessfully tries to swallow Godzilla with its magnetic waves of attraction.

Ultimately, Dr. Darian’s theory proves correct, and the Magnetic Monster absorbs so much magnetic energy from the South magnetic pole that it explodes, freeing Capt. Majors and Brock from entrapment within its body.


As a result of the pollution caused by a nearby oil spill in Chesapeake Bay, a huge gelatinous monster is spawned (perhaps inspired by Hedorah) that survives by feeding upon various metals. The ameoba-like kaiju, referred to as the Breeder Beast, begins heading towards the U.S. Mint for its stores of gold, silver, and platinum.

Godzilla is called by the Calico crew to stop the beast, but the creature’s jelly-like substance appears invulnerable to Godzilla’s physical attacks. Dr. Darian believes that the Breeder Beast’s glowing nucleus may potentially turn it into a living nuclear bomb due to all of the gases and metals the creature has fed upon, so she urges Godzilla and the National Guard not to attack it. However, when Godzilla disobeys and blasts the monster with his laser beams, the beast doesn’t explode, and Dr. Darian now believes that the creature has learned to control its rampant energies. Thus, she directs Godzilla to project his laser beams into the Breeder Beast’s nucleus, which crystallizes it, causing the protoplasmic monster to shrink in size and to be rendered harmless.


The crew of the Calico journey into the Himalayan Mountains with a scientific expedition led by Dr. Darian’s old friend and colleague, Dr. Rourke, in search of a reputed source of geothermal energy.

After approaching an area near a dormant volcano, which they believe to contain the energy source, a gigantic abominable snowman at the top of the nearby mountain range attempts to crush the intrepid crew by setting off an avalanche. Godzilla is called and arrives just in time to shield the group from the falling snow with his own body.

Entering the volcano, the Calico crew discovers a sophisticated village ruled by a race of very intelligent human-sized hominids covered with white fur who call themselves the Watchuka. The Watchuka were obviously the source of the legends of the abominable snowmen reported by the people of Tibet for ages, and their village is powered by a remarkable steam engine that turns out to be the origin of the geothermal energy source the party was searching for.

As it turns out, the Watchuka resent the human race who dominate the world, and they plan to conquer the surface by releasing an army of larger, warrior snowmen who have been kept in frozen storage until war is declared [obviously, the Watchuka haven’t done their research on the human civilizations adequately enough, or they would realize that even their army of snowmen warriors would be quickly shot down by the surface world nations’ tremendous military might]. The crew obviously oppose the Watchuka’s plan, and when they summon the village’s guardian, the gigantic Great Watchuka, to squelch the humans, Godzilla is summoned.

After grappling with the Great Watchuka, Godzilla ultimately saves the crew from an oncoming volcanic eruption and seals the volcano shut with a huge rock, thereby denying the Watchuka further access to the surface world.


When the Calico is about to be struck by a falling satellite, Godzilla is called to the rescue. Although the Big G saves the crew by catching the satellite, energy emissions from the device create a freak time warp that sends Godzilla and the Calico back one million years in the past.

There they are soon attacked by a Diplodocus, who the much larger Godzilla easily drives away with a few spurts of his fiery breath [actually, the Diplodocus, a prehistoric herbivore which resembled the Apatatosaurus in body form but was lighter and much longer in length with a somewhat elongated head, was a peaceful creature and shouldn’t have attacked the crew; for that matter, dinosaurs of that type became extinct before the end of the Jurassic Period, over 100 million years ago, and shouldn’t have co-existed with either the Tyrannosaurus or the cavemen seen later in this episode].

While exploring the prehistoric terrain, the crew meet and befriend a tribe of cavemen who they teach to defend themselves against the dinosaurs by building a catapult [since Dr. Darian, a scientist, isn’t surprised by the dinosaurs and cavemen co-existing, as any 5th grader from our reality would be, it can be presumed that the prehistoric history of the animated Godzilla’s reality is much different from that of our own history; further, the cavemen speak perfect English, including a contemporary dialect, yet another blatant indication that the writers were more interested in telling an entertaining story than providing the viewers with historic accuracy, despite the realistic depictions of the cavemen drawing events in their lives on the walls of the caves, as Cro-Magnon man actually did…it appears that this episode couldn’t decide whether to educate or mislead the viewers].


When the crew and the cavemen are later attacked by a vicious Tyrannosaur-like dinosaur equal to the Big G in height, Godzilla is called upon once more, and he engages the giant carnosaur in battle [yet another example of an historic inaccuracy provided for the purposes of dramatic entertainment; no real-life carnosaur was anywhere near as large as Godzilla’s 160 foot height, not even the dreaded “super-predator” from Jurassic Park 3 known as the Spinosaurus, but as I said before, this is an alternate reality here, so I digress].

As the two monsters continue their fight, a sudden earthquake opens a fissure in the earth that releases a large pocket of liquid uranium. Curious, Godzilla picks the substance up, and the energy from the uranium somehow reverses the time warping effect around the Big G and returns him to the present. Now in danger once more, but formulating a plan, Dr. Darian directs the cavemen to fire a huge gob of the uranium at the carnosaur, who catches it, activating the time warping effects once more, this time whisking both the Calico crew and the carnosaur himself back to the present, a few moments before they were originally sent back in time (for some reason, they didn’t encounter temporal duplicates of themselves, obviously a story error).

Godzilla and his carnosaurian adversary then continue their battle in the present, when the crew notices the satellite falling. In order to avoid being sent back in time again, and to get rid of the carnosaur, the crew has Godzooky communicate to Godzilla not to catch the satellite this time, but merely to push it away. He does so, and this time the carnosaur catches it instead of Godzilla, and the time warp carries the bloodthirsty dinosaur back into the past.


An archeological expedition in India is attacked by a giant golden animated Oriental statue, and this incident prompts an investigation by the Calico crew.

Arriving in the Indian city of Kali-Noor, the crew discover that several giant golden guardian statues are being animated and controlled by a xenophobic Indian high priest utilizing a supernatural power object called the dreamstone, who is determined to scare away any outsiders to the sub-continent, whom he believes will covet the city’s ancient treasures.

Godzilla is called upon to battle one of the Golden Guardians, only to be immobilized by mystical beams of energy from the living statue’s eyes, which encase the King of the Monsters in a shell of gold, thereby placing him in suspended animation.

Although the Calico crew manages to shatter the dreamstone, this doesn’t simply cause the Golden Guardians to become immobile once more, but instead results in the statues running amok. When the crew realize that the energy beams from the statue’s eyes have the exact opposite frequency of Godzilla’s occular laser beams, Brock comes up with the plan to project the Calico’s communications laser at the insensate kaiju with the aforementioned reverse frequency. When this is done, Godzilla is freed from the gold encasement, and the King then utilizes his fiery breath to melt each of the Golden Guardians into liquid slag.


When the Calico is sent on a top secret mission to a government controlled oil field, the crew is captured by an evil scientist called Votrang [why the government sent the Calico crew instead of the CIA or the Navy SEALS is beyond me, as is the fact that they would take Pete and Godzooky on such a dangerous mission in the first place, considering society’s current attitude against youth as helpless innocents; this made about as much sense as all of those token women characters added into period film adaptations of various novels written in the 19th and very early 20th centuries simply to allow for romantic tension with the male characters in the script, including the several film versions of The Lost World produced through the decades; then again, this series was geared towards younger audiences, which may explain this conundrum].

Votrang utilized his scientific genius to create sentient but subservient clones of the entire crew, including Godzooky, to replace the real crew in the hopes of learning the location of the oil field. Upon discovering Votrang’s plans and escaping, the crew covertly switch places with their clones and are placed aboard the Calico, and they quickly head for the oil field.

Uncovering the counter-deception, Votrang sends his pet giant squid after the Calico, who summon Godzilla to battle the huge cephalopod. Godzilla swiftly defeats the squid by cruelly tying its tentacles into knots, and for his trouble Votrang is captured by the U.S. Navy.


As the Calico sails through a strange pink mist, a tiny fly is affected by the mysterious cloud and begins growing larger. When Godzilla is called to their aid, he drives the giant fly away but is also exposed to the mist himself in the process. Godzilla begins to grow smaller and smaller, and the crew also realize that wherever the fly is, it must be growing increasingly larger.

To save Godzilla from shrinking into oblivion, and to protect themselves from the repeated attacks of the giant fly, Dr. Darian struggles to come up with an antidote by analyzing small samples of the pink mist. Godzilla eventually shrinks to the point that he is attacked by a mouse aboard the ship (how did it get aboard, and didn’t the Calico crew ever see it before?), and as he continues shrinking even further, the crew loses track of his whereabouts.

Later, the miniaturized Kaiju King is forced to battle a spider who ultimately webs him up (this arachnid, unlike Spiega, accurately spins its web from its posterior region, something the animators should be commended for not skimping on, though I strongly doubt a real spider can use its webbing in so versatile a fashion!). Luckily, the now extremely small Godzilla is found by Pete, who saves him from becoming the spider’s next meal.

Godzilla is placed in a beaker of fluid after shrinking to microscopic size as Dr. Darian continues to look for an antidote, only to be menaced by the bacteria that is also in the water, thus requiring the Big G to battle for his life against the hostile microorganisms.

Finally, after applying an electrical charge to her antidote serum, Dr. Darian concocts a reversed version of the gas that returns Godzilla to his original height. This happened just in time, as the giant fly, now larger than ever, launches another attack on the Calico. Godzilla battles and subdues the fly long enough for Dr. Darian to expose it to her antidote, and the insect immediately shrinks back to its normal tiny size.


While sailing the Pacific, the Calico crew discover what appears to be a World War I submarine encased in ice, and they summon Godzilla, who frees the old vessel by means of his fiery breath.

The crew of the submarine is discovered to be alive and in suspended animation, and after 60 years on ice, they are awakened by the Calico crew. The submarine crewmen incorrectly believe that the war is still going on, causing them to inadvertently release a torpedo, which heads towards the Calico. Godzilla intercepts the torpedo and brings it underwater, but it explodes before he can safely dispose of it, stunning the King of the Monsters in the process. The resulting shock waves disturb a giant octopus, which comes to the surface and grabs the submarine in its tentacles. Godzooky manages to revive Godzilla, who grapples with the octopus and returns it to its underwater cavern, and then sealing it inside with his laser beam vision.

Finally, the submarine crew is taken back to civilization to be assimilated into the modern time period.


When the Calico is accidentally beached on an atoll called Storm Island, Capt. Majors, Dr. Darian, and Brock fall under the hypnotic control of the gigantic bipedal cobra-like kaiju called Axor, who uses this power to dominate the entire human population of the island. Axor acquires this ability from power enhancing vapors generated from within the interior of the monster’s mountainous lair, and because of this power, Godzilla is unable to defeat Axor, and also falls under the beast’s hypnotic thrall.

Pete and Godzooky manage to escape from Axor, and flee to the monster’s lair, where they too are exposed to the vapors, and it enhances their physical abilities to extraordinary levels. Utilizing these new abilities, they escape from entrapment in the pit where the vapors issue forth, and the newly empowered Godzooky finds that he is powerful enough to hold his own in battle with Axor (the Little G is finally able to breathe real fire rather than settle for mere puffs of smoke).

However, the power gain proves temporary, and the youthful duo are forced to acquire Godzilla’s assistance once more. Engaged in fierce battle with Axor, and constantly having to avoid his enemy’s hypnotic beams, Godzilla turns part of a mountain into glass with his fiery breath, and when Axor accidentally strikes this large reflective surface with his beams, the energy is deflected back at the evil kaiju. As a result, Axor is destroyed, and both the island populace and the Calico crew are freed from their hypnotically induced enslavement.



While searching for the headwaters of the Mitibu River, a group of workers are suddenly attacked by a colony of giant ants that appear out of a crevice in a nearby mountainside, forcing the men to flee.

Investigating the incident, the Calico crew journey within the crevice and discover a hidden valley where giant insects dominate, and an inconvenient earthquake seals the fissure and traps the crew within. Dr. Darian discovers that when sunlight is filtered through the strange clouds that surround the valley, a chemical reaction occurs in the insects that vastly increases their size.

Menaced by the valley’s giant ants and bees, Godzilla is called, and he quickly dispatches the bees. After hurling away a tank-sized beetle that attacked the crew, Godzilla finds himself in battle with the king of the valley’s population of giant insects, an enormous spider (spiders are actually arachnids, not insects, but the two are nevertheless close relatives). Godzilla is defeated when he is bitten by the spider and poisoned by its venom, and the paralyzed Kaiju King is webbed up.

When the crew is attacked by the giant spider and Godzooky is also webbed up, causing him to cry for help, Godzilla hears and forcefully metabolizes the venom. Freeing himself from the web cocoon with his laser beams, Godzilla rushes to the crew’s rescue and saves Godzooky.

However, the spider is then exposed to more sunlight, causing it to grow even larger than Godzilla. During the ensuing battle with the monster arachnid, Godzilla tricks it into biting itself, thus causing the spider to be paralyzed by its own venom [but wouldn’t the spider be naturally immune to the effects of its own poison? I guess we weren’t supposed to think about that]. Godzilla then smashes his way through the rocks trapping the crew in the valley, freeing his friends and then sealing the entrance again, trapping the giant insects permanently within.


A robotic whale has been developed by unknown parties working for the government for the purpose of undersea plankton mining, and Brock and Pete are aboard doing a test drive (the whale is not truly a cyborg as the title of the episode proclaims, but is actually a robot; see the comments below).

However, when the Cyborg Whale is struck by lightening during an unexpected thunderstorm, the robot’s computers are damaged, and the device runs amok, heading on a deadly collision course with Honolulu. Although Godzilla is called to the rescue, he is unable to use his full power against the Cyborg Whale for fear of harming Brock and Pete, who are trapped inside, and the robotic cetacean’s built-in weaponry fends off the Big G’s attempts to halt it without damaging it.

Finally, Brock and Pete manage to open the robot’s porthole and are flown to safety by Godzooky. Thus, just before it reaches the coast of Hawaii, Godzilla is able to bring his full power to bear on the robot, and as a result of the Big G bending the whale’s rear rudder fin, the robot swims in circles endlessly until it runs out of fuel. Then, the Cyborg Whale is able to be safely boarded and repaired.


A freak cyclonic storm sucks both the Calico and Godzilla, the latter of whom unsuccessfully attempted to rescue the hapless ship from the vortex, into an amazing futuristic city that floats above the clouds, unseen by the surface world.

The human looking cloud dwellers befriend the Calico crew, but the latter soon learns that the cloud city is repeatedly menaced by a giant, electricity spewing flying monster they call the Power Dragon. Godzilla defends the city, sending the Power Dragon fleeing back to the clouds.

Awed by Godzilla, and realizing that the Kaiju King can protect the cloud city from the Power Dragon, the leader of the floating metropolis attempts to steal the signal device from Capt. Majors. Taking the Calico crew captive, the leader offers to return them to the surface in exchange for Godzilla’s permanent servitude to the sky city, but they refuse.

Later, the Power Dragon attacks the city again, and Godzilla battles the winged kaiju once more, this time sending the monster falling into the cyclonic rift, thus ending its threat to the cloud city for good. The crew succeeded in escaping during the melee, and by diverting the city’s power generators that control the vortex, they manage to send themselves, the Calico, and Godzilla back to the surface world, and the sky dwellers back to their floating city forever.


As the result of an undersea volcanic eruption, an unknown type of subterranean super food source is released into the ocean depths, and after being eaten by various types of tropical sea life (who inexplicably changed their usual diets to consume the super food), it causes the fish to grow to tremendous size. The large number of giant fish are obviously a hazard to ocean going vessels and normal sea life, particularly a giant manta ray who proves to be a vicious menace [in actuality, real manta rays are gentle creatures; presumably, its disposition was somehow altered by the super food].

Godzilla is called to battle the giant manta ray as Capt. Majors and Brock utilize their mini-sub to corral the rest of the giant fish into a huge coral enclosure.

In the meantime, Dr. Darian deduces that ice water would reverse and inhibit the growth process, so Godzilla travels to the Antarctic Sea to acquire an iceberg. The Kaiju King shoves the ice into the coral enclosure containing the giant fish, and the cooler waters succeed in reducing the sea life back to their normal size.


A lunar eclipse causes a violent moonquake [although how this happens is beyond me, since unlike the Earth, the moon is geologically dead and doesn’t have quakes], which releases a hibernating, energized monster that lands on the Earth in the Pacific Ocean. Utilizing his gravitational powers, the moon monster creates a giant whirlpool that imperils the Calico and its crew.

Calling on Godzilla, the Big G battles the moon monster and ultimately hurls the creature back into space, where he’s recaptured by the moon’s gravity (that was one hell of a feat, even for Godzilla!).


A series of violent undersea earthquakes are causing large amounts of underwater volcanoes to appear in the Pacific Ocean depths, and this prompts the Calico to investigate.

Traveling inside one of the volcanoes, the crew is menaced by a herd of large fire-breathing reptiles who appear to thrive on the molten lava within. Godzilla is called to free the crew from the volcano, but another earthquake opens a fissure in the Earth that traps the Kaiju King deep within the planet’s crust undersea.

Meanwhile, the crew manages to evade the fire lizards and discover the source of the earthquakes, a fallen Jupiter Probe rocket, which has become imbedded within two coastal tectonic plates. Going aboard the rocket, the crew attempts to utilize it to return to the surface, but are unable to activate its damaged engines.

Godzilla finally bursts free from the earth’s crust and enters the volcano in time to save Godzooky from the fire lizards. The Big G then brings the rocket containing the Calico crew back to the surface, ending the earthquakes and sealing off the volcano in the process.


An evil paramilitary organization calling itself COBRA has acquired a series of ICBM missiles, and threatens to launch them on all the major cities in the world unless the United Nations accedes to their demands for world domination.

The Calico crew discovers the secret island base of COBRA, and are taken prisoner by the organization. They still manage to summon Godzilla to the island, and upon arriving, the Kaiju King battles and defeats the organization’s large military arsenal. Upon reaching COBRA’s nuclear reactor, Godzilla destroys it, thereby ending the organization’s threat, and after rescuing his human allies, they see to it that the villains are arrested by a United Nations Task Force.


Temperatures across the Earth begin dropping to unusually low levels, and the Calico crew travel to the North Pole to investigate a UFO sighting, which they suspect to be connected to the temperature aberrations in some way.

The crew then discovers that numerous icebergs are present, and the water levels are dropping at an alarming rate due to the freezing of the oceans. The source of the problem is also discovered hidden in one of the icebergs, which turns out to be a spaceship containing an advanced race of cold temperature dwelling, semi-humanoid fascistic aliens referred to as the Ice People, who hail from the frigid asteroid Frios.

By using their ultra-sophisticated magnetic wave generators, the Ice People declare to the Calico crew their intentions to direct Frios to Earth, thereby causing the planet to enter a new Ice Age so as to make the world more palatable to the aliens for future conquest [actually, bringing such a large asteroid near the Earth would cause far more damage than a temperature reduction, as the conflicting gravitational forces would tear both celestial bodies apart; the aliens need to improve their scientific research, and also need to explain why they can’t simply find another asteroid to colonize, as there must be literally millions of suitable floating rocks in the galaxy].

Although the crew is taken captive, Godzooky calls Godzilla, who confronts the aliens’ super weaponry. Unfortunately, the Ice People use their cold generating technology to encase Godzilla in ice, sending him into suspended animation.

Escaping from the aliens and returning to the Calico, the crew has Brock and Pete melt the ice surrounding Godzilla via the heated exhaust from their mini-sub, and the Kaiju King is then instructed to perform the (rather ludicrous) feat of turning the Ice Peoples’ spaceship upside-down, a feat that reverses the magnetic polarity of the vessel and sends Frios away from the Earth, thereby negating the temperature reduction.

Intimidated by the power of Earth’s guardian kaiju, the Ice People summarily call off their plans of conquest and retreat back into outer space (and probably realized they should have just found one of the millions of other suitable asteroids floating about in the void of outer space in the first place, rather than going through all of the elaborate trouble of reducing the temperature of an entire inhabited planet, and subjugating its sizable populace on top of it all).


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Godzilla Theme
(from the Hanna-Barbera cartoon series):

Up from the depths
Thirty stories high
Breathing fire
His head in the sky

And Godzookie….

Haruo Nakajima

The Man in the Suit

Written by Barney Buckley

Email Address- bbuckley@triad.rr.com


Mr. Haruo Nakajima was born on January 1, 1929 and he is a Japanese actor/suit actor best known for portraying the suit actor for the Godzilla films from 1954 to 1972. He was in fact Godzilla for 12 movies straight. Haruo Nakajima was born in Sekita City a very small town located in the Yamagata Prefecture in Japan and he is considered by many fans and actors to be one of the best actors of Japan’s time. There are others actors that have portrayed Godzilla through the years. However this particular article is about Haruo Nakajima.

Mr. Nakajima had decided in 1972 after the completion of the movie Godzilla versus Gigan to retire from the suit acting business. It was during the 1970s when the company that he worked for (The Toho Motion Picture Company) decided to split the company into several subsidiaries Haruo Nakajima was in fact still an employee of the company for several years after that. He was in fact transfer to a job located at the bowling alley within the company which is located on the studio lot, but now has since been shut down.

While on retirements Haruo Nakajima in the late 1990s made several personal appearances in Chicago during what is called G-Fest and this convention has been going on since 1995. Is also made appearances in New York City, New Jersey as well as Hollywood in 2000. These are various Japanese monster themed conventions. In California Burbank to be exact on April 8 in 2011 he did attend what is called Monsterpalooza.

Haruo Nakajima in his life as also had an actual book based on his autobiography and it is simply called (Monster Life: Haruo Nakajima, The Original Godzilla Actor) and this is published by Yosensha and it was released on July 17, 2010.

As we all know he has been an actor since 1952 starring in such films as Sword for Hire, The Woman Who Touched the Legs (1952), Eagle of the Pacific (1953), Farewell Rabaul (1954), and Godzilla films from 1954 to 1972. As well as other movies in general. Below is a list all the movies that he has been in.

  • 1952 – Sword For Hire
  • 1952 – The Woman Who Touched the Legs
  • 1953 – Eagle of the Pacific
  • 1954 – Farewell Rabaul
  • 1954 – Seven Samurai
  • 1954 – Godzilla (Godzilla, Newspaper Writer)
  • 1954 – Tomei Ningen (Invisible Man)
  • 1955 – Meoto zenzai
  • 1955 – Godzilla Raids Again (Godzilla)
  • 1956 – Madame Whitesnake
  • 1956 – Rodan (Rodan, Meganulon, JSDF Officer)
  • 1957 – The Mysterians (Mogera, JDSF Officer)
  • 1958 – Varan the Unbelievable (Varan)
  • 1958 – The H-Man (The H-Man, Fishing Boat Crew)
  • 1958 – The Hidden Fortress
  • 1959 – Boss of the Underworld
  • 1959 – Submarine I-57 Will Not Surrender
  • 1959 – Desperado Outpost
  • 1959 – The Last Gunfight
  • 1960 – Secret of the Telegian
  • 1960 – Storm Over the Pacific
  • 1960 – Westward Desperado
  • 1960 – The Human Vapor
  • 1961 – Yojimbo
  • 1961 – Daredevil in the Castle
  • 1961 – Mothra (Mothra)
  • 1961 – The Last War
  • 1961 – The Story of Osaka Castle[2]
  • 1962 – King Kong vs. Godzilla (Godzilla)
  • 1962 – Chushingura: Hana no Maki, Yuki no Maki
  • 1963 – Wings Over the Pacific
  • 1963 – Sengoku Yaro
  • 1963 – Matango (Matango)
  • 1963 – Atragon
  • 1964 – Mothra vs. Godzilla (Godzilla)
  • 1964 – Dogora, the Space Monster
  • 1964 – Ghidorah, the Three-Headed Monster (Godzilla)
  • 1965 – Retreat from Kiska
  • 1965 – Frankenstein vs. Baragon (Baragon)
  • 1965 – Invasion of the Astro-Monster (Godzilla)
  • 1966 – The War of the Gargantuas (Gaira)
  • 1966 – What’s Up, Tiger Lily[citation needed] (footage from Kokusai himitsu keisatsu: Kagi no kagi 1965)
  • 1966 – Godzilla vs. the Sea Monster (Godzilla)
  • 1967 – Son of Godzilla (Godzilla; water scenes only)
  • 1967 – King Kong Escapes (King Kong)
  • 1968 – Destroy All Monsters (Godzilla, Military Adviser)
  • 1969 – Latitude Zero (Gryphon, Manbat, Giant Rat, Lion)
  • 1969 – All Monsters Attack (Godzilla)
  • 1970 – Space Amoeba (Gezora, Ganime)
  • 1971 – Godzilla vs. Hedorah (Godzilla)
  • 1972 – Godzilla vs. Gigan (Godzilla, Comic Book Publisher, Defense Forces Officer)
  • 1973 – Japan Sinks (Prime Minister’s Chauffeur)
  • TV
  • 1966 – Ultra Q (Gomess, Pagos)
  • 1966, 1967 – Ultraman (Neronga, Gabora, Jirass, Kiyla)
  • 1967, 1968 – Ultra Seven (U-Tom)

I will say that no one deserves more credit for Godzilla enduring international popularity than this man. It is said that Haruo Nakajima was Toho’s main guy for the Godzilla suits. He has also gone and wore suits like Rodan, Varan the Unbievable, and yes believe it or not he was also Baragon from the movie Frankenstein Conquers the World came in 1965. Haruo Nakajima also was the actual robot Moguera in the 1957 movie The Mysterians. As you can see the man has done some quite popular suit acting through the years.

With the new movie Kong Skull Island coming out in a couple of days I will mention that he did wear the suit for King Kong in the movie King Kong Escapes which came out in 1967 and he also wore the suit for the green gargantuan Gaira. If that wasn’t enough he has gone on to do start choreography for the company Tsuburaya Productions which was owned by Eiji Tsuburaya was a special effects director for The Toho Motion Picture Company. He did an episode of Ultra Q and because he does the Godzilla suits so well he did the actual suit with the very first episode which had a Godzilla like creature called Gomess.

Haruo Nakajima when he was a child began working at a very early age actually fetching seaweed of the ocean right after school. Now here is a crazy thing when he was 14 years old he actually joined the Japanese Imperial Navy during World War II as a pilot trainee. As soon as the war was over he would go on to be a truck driver at an occupational forces camp before finally enrolling at the International Film Acting School located in Tokyo Japan, and he would do this in 1949. There he would be an instructor was an actual contract player for the Toho Motion Picture Company.

During his stint in the company Mr. Nakajima was in fact assigned as a stunt actor he would go on to do minor pictures and he would have the opportunity to work with major directors Akira Kurosawa who by the way incidentally Ishiro Honda was also an assistant director under this director. You also have the opportunity to work under the direction of Hiroshi Inagaki.

How he got started with the whole Godzilla suit acting and he does mention that he does not remember exactly how or why he was picked to play Godzilla. What he does remember one day in 1954 when he was approached by the head of the actors division at the Toho Motion Picture Company, told him about an unusual new project at the studio that he might be “suited” for.

He does in fact remember when he was first assigned to play Godzilla and this is what he had to say “at first I was told there was this new science-fiction film – it was called “Project G” and it was dorm preproduction, since they have not yet revealed the monster’s name yet. I was introduced to Mr. Eiji Tsuburaya who was in charge of the special effects department.

He goes on to say he does have an incredible memory of when he first put on Godzilla suit for the very first time. He says it was the very first suit ever constructed of Godzilla and it was located on Stage 3 of the studio lot itself. I and the other suit actor and a lot of people don’t know there were actually two suit actors for the film “Godzilla King of the Monsters” which came out in 1954 also had a suit actor by the name of Katsumi Tezuka who in fact tried on the suit right in front of Mr. Ishiro Honda, Mr.Tsuburaya, and the producer Tomoyuki Tanaka, as well as other members of the staff.

However they come to realize that the suit in fact was much too heavy and way too stiff. Mr. Haruo Nakajima also put on the suit and the best he could do was walk 10 m, but for Mr. Tezuka he can only walk mere 3 m in the suit. Then he suddenly fell down and the first thought that came to Haruo Nakajima’s mind was “This Is Going to Be Impossible.”

As time progressed Haruo Nakajima skills as a monster man did in fact grow through the years. It was so good at it during most of the films that Eiji Tsuburaya gave him the freehand to actually choreograph the actual monster battles himself.

Haruo Nakajima has mentioned that he has some admirers not only Godzilla fans but Hollywood types as well. Haruo Nakajima says that during the filming of King Kong versus Godzilla which came out in 1962 it was in fact approached by an American producer (this could possibly be John Beck) and invited him back to Hollywood to work for a four-year but ultimately our Nakajima declined the offer. This is something I did not know as well.

Haruo Nakajima did mention to the special effects director Eiji Tsuburaya about the offer that was made to him and he mentions to him that he could not possibly make any Godzilla homes without him. This was a very nice gesture as he is well connected to Mr. Tsuburaya.

Now we come to some questions that was asked all Haruo Nakajima and the first question that obviously was asked to him which of his monster roles was in fact his favorite and he responded with “both the original Godzilla and War of the Gargantuas which came out in 1966. When he played Gaira he said it was a very different monster compared to Godzilla and any of the other creatures that he suited up for. This particular Kaiju is a Fleet-footed humanoid and he also said because of the costume the face in itself was much more expressive however he did succeed in giving the creature a thorough demonic, quality look that was very chilling in nature.

It would be every Godzilla fan or Kaiju friends dream to actually put on the suit and tear down those miniatures. Haruo Nakajima is also mention that where the suits does have its problems. They are very thick very little air circulation and the heat from the studio lights very down on them especially in the thick rubber scan you eventually can lose a tremendous amount of weight in these costumes just like he did in 1954. He managed to lose 20 pounds during the production of Godzilla 1954.

Also were in the suits can be quite risky Haruo Nakajima does mention that he does not like to complain about the intense discomfort and injuries that are created while wearing the suits. Does mention that he was hurt one time while filming the movie Varan the Unbelievable he has mentioned that he was inside the suits and a truck that was loaded with explosives did in fact crashed into him and that my friends was his “important spot” was in fact burn from the explosives.

When Eiji Tsuburaya passed away in 1970 Haruo Nakajima lost the will to continue doing Godzilla films. He was in fact persuaded by Teisho Arikawa and Teruyoshi Nakano to keep moving on and he would eventually wear the suit for Gezora the giant squid like Kaiju from the movie “Yog: Monster from Space” this movie came out in 1970. He would also go on to store into more movies that were based on Godzilla and then he would finally retire from the business.

There is also another reason why Haruo Nakajima left the business and pretty much retired and was in fact because of the Japanese movie industry was in fact in terrible condition. The Toho Motion Picture Company had a total of 350 actors under the contract and because of the massive budgetary problems in order to save money here and there and this would be happening around 1972 they in fact released all 350 actors all at once.

Haruo Nakajima what on as he was offered a job to work in the bowling alley he was around 43 years of age when he did this and it wasn’t because of his age. He was physically fit. It was just one of those things that the Toho Motion Picture Company offered him at the time. He does mention that ever since he retired other Godzilla suit actors have fill in his place bought the actual character has never been the same and he knows it.

During the Heisei Series these of the films ever made after Godzilla 1985 even though Godzilla 1985 is part of the Heisei Series it was made during the Showa Series. A new suit actor would step in and do all other Godzilla suit acting from 1984 to 1995 and his name is Kenpachiro Satsuma.

There is an interesting side note that Haruo Nakajima also has a very small parts in some pretty dramatic segments of several monster movies. Was in fact a military officer at the strategy center in the movie “Destroy All Monsters” which came out in 1968? He was also the Prime Minister chauffeur in the movie “Tidal Wave” this is a non-Godzilla movie. It is also rumored that in the movie Godzilla King of Monsters Haruo Nakajima was the power plant worker throws the switch that ineffectively electrocute the monster, but this is incorrect.

Now to end the story of all stories in recent years Haruo Nakajima has helped to further the cause of the Godzilla fandom abroad. In 1996, 1997, and 1998 along with fellow monster suit actor Kenipachiro Satsuma travel to the United States of America to attend Godzilla conventions in Chicago and in New York. As I mentioned earlier. With all that he has done for this fandom he has retained in enthusiasm and a certain amount of pride for the fandom and the monster itself as many friends fall in love with him because of this very aspect.

Kaiju Tales: A Chronicles of Short Kaiju Stories


book cover

Hello and welcome to my mini page based on my novel. I was inspired to do movie scripts because I was bored with my website and I needed to do something a little bit different and the fact that my website is fully loaded with all kinds of technical information, synopsis, statistics on the monsters, and so much more when it comes to writing. In case you’re wondering what I’m talking about I have a website it is called “Daikaijumania” this website is fully loaded with all kinds of Kaiju information and it ranges from the Japanese Godzilla, the American Godzilla, Legendary’s Godzilla, Hanna-Barbera’s Godzilla, all other Kaiju’s, such as King Kong, Gamera, Mothra, and I also have a sci-fi website with other monsters as well as an American patriotic website this site is full of all kinds of websites.

I have spent a better part of 15 years creating over 50 to 60 websites based on certain things that interest me and I applaud him occasionally and I have the majority of them up there now and they are on the website called “Daikaijumania” so check them out and enjoy the websites because there are a lot of them it will keep you busy. Anyway back to the book because of all the from this amount of writing that I’ve done on all my websites I have come to feel and have been inspired to do movie scripts so I decided to do one of which is gonna do one movie scripts but the way the movie laid out in my mind I needed to stretch it so I created three movie scripts based on Godzilla and it is a trilogy pack. I also did a fan fiction version of the trilogy pack you will find it on my website that is called “The Voice of a Writer” that is also on the website called “Daikaijumania” and I also set up this link below all you have to do is click on the link and you can read my first online novel.

I was inspired to do more writing and I was very curious about how to write novels and come to find out when I was faced with the novel it was only 80 pages, so I said to myself how my gonna stretch this to a normal sized book which is about 250 pages to 1000 pages maximum. I thought about it and the only way I can actually stretch a Godzilla type book is to create short stories within the book and that is what the “Kaiju Tales” is all about. It is about short stories based on Godzilla and it also has my story “Daikaiju: Moon Wars” and other stories based on Kaiju’s so download the PDF and enjoy the stories and if you want to those writers who know how to write please send me an e-mail and give me some tips on how to write the perfect book or if I’ve done anything wrong please e-mail me and let me know at bbuckley@triad.rr.com again thank you for your time. To access this PDF simply click on the image below and it should open up and allow you to download the PDF version of “Kaiju Tales”.

Sincerely Barney Buckley

Kaiju Tale Novel

Godzilla King of the monsters 1954 trivia and facts


  • Contrary to popular belief, Godzilla is 50 meters (164 feet) tall, not 400 feet, as stated in Godzilla: King of the Monsters (1956.
    Also contrary to popular belief, Godzilla is charcoal gray, not green.
  • Eiji Tsuburaya, the film’s special effects director, originally envisioned Godzilla (Gojira) as a giant octopus before settling for a more dinosaur-like creature.
  • The idea for Gojira (aka Godzilla) was spawned after producer Tomoyuki Tanaka was forced to cancel a planned Japan-Indonesia co-production called Eiko kage-ni (Behind the Glory). The story was inspired by a real-life nuclear accident in which a Japanese fishing boat ventured too close to an American nuclear test and was contaminated.
  • Tomoyuki Tanaka originally wanted Godzilla to be a giant fire-breathing ape.
  • The name Gojira is a combination of the Japanese words for gorilla (gorira) and whale (kujira). It was originally a nickname given to an immense man who worked as a press agent for Toho.
  • Haruo Nakajima could walk about thirty feet in the original costume, which weighed over 200 pounds (91 kilograms). Later costumes were a little lighter but all of the costumes were very heavy. It was also very hot inside the costume. All of the costumes after the first one were easy to work with, as they were made to fit Nakajima, whereas the one that had been built for Godzilla had not been made for his body size.
  • There were three cables coming out of the back of the costume. Two were for the operation of the eyes, and one was for the operation of the mouth. Eizo Kaimai was responsible for the movement of the eyes and the mouth. Batteries were installed in the Godzilla costume that was made for the second Godzilla movie. They were for the operation of the eyes and the mouth. The batteries made the costume even heavier than the one that had been constructed for the first Godzilla film.
  • The sound department tried numerous animal roars for Godzilla but felt they were unsuitable for an animal of such immense size. Akira Ifukube came up with Godzilla’s roars by rubbing a coarse, resin-coated leather glove up and down the strings of a contrabass (double bass), and reverberated the recorded sound. Also, Godzilla’s thunderous footsteps were made by beating a kettle drum with a knotted rope.
  • The electrical towers that Godzilla melts with his radioactive breath were actually made of wax. The special effects crew melted them by blowing hot air on them, as well as shining hot studio lights on them for the white-hot effects.
  • Director Cameo: [Ishirô Honda] The man in the electric room who pulls the switch, activating the 300,000-volt tower lines to electrocute Godzilla.
  • In 2004, Rialto Pictures released the original Japanese version of “Gojira” in the U.S. for the first time. The release included a new print in the original Japanese with new English subtitles.
  • The scenes of the troops going to the coast to face Gojira were actual Japanese Defense Force troops. They were on maneuvers when Honda shot the footage of them.
  • Revealing mistakes: You can see the wires leading from the planes as they attack Gojira.
  • Factual errors: When Professor Yemane is addressing the Diet on Gojira, he says that Gojira was a creature of the Jurassic Age and is over two million years old. The Jurassic Age was 50 million years ago meaning that there was no way the dinosaurs were around two million years earlier.
  • The name of the first two ships destroyed by Gojira were the Nankai-Maru and the Bingo-Maru.
  • Originally when Gojira (Godzilla) makes his first appearance, there was supposed to be a bloody cow in his mouth. However, director Ishiro Honda didn’t like how it looked so he decided to refilm the sequence without the cow.
  • There were supposed to be more scenes filmed on Odo Island. One was to have Emiko and Ogata visit the graves of those that died during the typhoon when Gojira (Godzilla) came ashore. Another scene was to have been filmed on the beach and in that one Emiko and Ogata become frightened when the get their first glimpse of Gojira (Godzilla) as they see his tail splashing in the water.
  • Godzilla (Gojira) is a giant, amphibious, dinosaur-like fictional creature first seen in the Japanese-produced 1954 tokusatsu (kaiju specifically) film Gojira produced by Toho Film Company Ltd… In total, 28 films have been made by the Toho Film Company and a further two made unofficially (not related to the Toho Film Company). The most notable unofficial movie is the 1998 film Godzilla, directed by Roland Emmerich. Despite being the highest grossing film of the year factoring in overseas profits, the film has been widely panned by cult followers of the Godzilla franchise, critics on both sides of the Pacific, and movie-goers in general and has since been dubbed GINO (Godzilla In Name Only). Ironically, the Americanized Godzilla featured in Godzilla: Final Wars (2004) was killed by the “true” Godzilla from a hit to the tail, and its radioactive breath. In this film, the American Godzilla appeared simply as “Zilla”. Godzilla has three primary abilities: regeneration, amphibious mobility, and an atomic fire beam.
  • Godzilla is also extremely durable and can resist almost all physical assaults. The atomic fire beam is Godzilla’s trademark skill. Although much of Godzilla’s significance as an anti-war symbol has been lost in the transition to pop culture, the nuclear breath remains as a visual vestige of the creature’s early Cold War politics
  • Born on the coastal regions of Oto Island (located near the Bikini Atoll, where he was affected by nuclear tests), Godzilla became a modern god, feared by the fishing villagers on that island, and ultimately, all of Japan. Standing at a towering 50 meters (164 feet), he is a powerful demon of destruction.
  • Among his popular characteristics: His iconic design (a charcoal-colored dinosaur-like figure with small pointed ears, rough bumpy scales, powerful tail, and bony white dorsal fins shaped like maple leaves).
  • He is virtually indestructible, impervious to all modern weaponry.
  • He can release a powerful atomic energy beam, usually blue but in some films red, from his mouth (which is ominously signaled when his dorsal fins glow/flash in the same color as the atomic beam).
  • The name “Gojira” is a combination of “gorilla” and kujira, which means “whale” in Japanese. The name was allegedly originally a nickname of a large worker at Toho Studios. But since Gojira was neither a gorilla nor a whale, the name “Gojira” was devised in a different way for the film’s story; Gojira’s name was “originally” spelled in kanji, but for sound only. The combined characters, oddly enough, mean “give you net”!
  • Gojira was first released in the United States in 1955 in Japanese-American communities only, under Toho’s international title,Godzilla, King of the Monsters!. In 1956, it was adapted by an American company into Godzilla, King of the Monsters (based on Toho’s international title), edited and with added, principal scenes featuring Raymond Burr, and this version became an international success. As a result, the monster came to be known as “Godzilla” also in Japan.
  • While it has been a misconception that the American distributors were responsible for the name “Godzilla” in America, it was Toho who came up with the name for international markets to begin with.
  • Godzilla was originally an allegory for the effects of the hydrogen bomb, and the unintended consequences that such weapons might have on Earth. The Shinsei series have largely continued this concept. Some have pointed out the parallels, conscious or unconscious, between Godzilla’s relationship to Japan and that of the United States; first a terrible enemy who causes enormous destruction, but then becoming a good friend and defender in times of peril.
  • Films have been made over the last five decades, each reflecting the social and political climate in Japan. All but one of the 29 films were produced by Toho; a version was made in 1998 by Columbia Pictures and set in the United States by the directors of Independence Day (ID4) and is somewhat despised by Godzilla fans, many of whom refer to it as GINO (Godzilla In Name Only), a term that would refer to all monsters modeled after Godzilla. Toho immediately followed it with Godzilla 2000: Millennium, which began the current series of films, known informally as the Mireniamu or Millennium series.
  • Much of Godzilla’s popularity in the United States can be credited with TV broadcasts of the Toho Studios monster movies during the 1960s and 1970s. The American company UPA contracted with Toho to distribute its monster movies of the time, and UPA continues to hold the license today for the Godzilla films of the 1960s and 1970s. Sony currently holds some of those rights, as well as the rights to every Godzilla film produced from 1991 onward. The Blue Öyster Cult song “Godzilla” also contributed to the popularity of the movies. Also made an appearance in the Nike commercial where Godzilla went one-on-one with NBA star Charles Barkley.
  • The Japanese version of Godzilla was greatly inspired by the commercial success of King Kong, and the 1953 success of The Beast from 20,000 Fathoms. Godzilla would go on to inspire Gorgo, Gamera, and many others. The American version is just an iguana-turned -dinosaur.
  • In 1996, after his then-final appearance in Godzilla vs. Destoroyah, Godzilla received an award for Lifetime Achievement at the MTV Movie Awards. Creator and producer Tomoyuki Tanaka accepted on his behalf via satellite but was joined by “Godzilla” himself.
  • On his 50th (Japanese) birthday, on 29 November 2004, Godzilla got a star on the Hollywood Walk of Fame.

This website is for noncommercial use only and is not affiliated with, or authorized or endorsed by Toho Co. Ltd. Toho is the owner of all copyrights and trademarks in its respective films and characters, and all of its rights are expressly reserved. © 1943-2014 Toho Co. Ltd. and its related entities. All rights reserved. Godzilla, Gojira, the character designs and King of the Monsters are trademarks of Toho Co., Ltd. All rights reserved. Any reproduction, duplication or distribution of these materials is expressly prohibited.

Copyright © 2014  Gojira 1954 Inc. All rights reserved.

Shodaigoji Godzilla Suit statistics


Films: Godzilla King of the Monsters (1954)

Height: 50 Meters ( 164 feet)

Mass: 20,000 metric tons (22,000 tons)

Powers/Weapons: atomic Ray, super regenerative power (Godzilla can be wounded, but his G cells heal very rapidly.

Trivia: Godzilla’s original statistics remains the same numbers 15 films. His appearance is the one thing that seemed to change. Notably the loss of the year like appendages on his head and having three toes rather than for those earning one.

Wins 18, Losses 3, Ties 7

Box Office Sales: 1954-$9,610,000

The creators of the suit were Ryosaku Takayama and Iwao Mori, and they would properly named the suit Shodaigoji. Weighing in at a extremely heavy 220 lbs. This suit was the very first suit used in a Godzilla film. It is also one of the largest and bulkiest in that film. The actor wearing this would faint because of the intense heat it would hold inside; and could only take around 5 minutes inside this huge suit. Also there was two latex suits made for this movie. Both having four toes little ears behind his head.

This suit also had a inner lining of cloth like substance with bamboo for the durability of the suit. The suit was painted a brown color different from all the rest. They were grey or green in color. The only exception to the suits was its color.

Several versions of the origin for the name ‘Gojira’ (pronounced GO-dzee-la) have been told, but according to [Tomoyuki] Tanaka himself, the name was brought to his attention by his friend Ichiro Sato. In the course of their conversation, Sato mentioned a burly man on the Toho lot whose physical presence was so imposing that he was likened to a gorilla and whale. The staff had given the man the nickname ‘Gojira’–a combination of the words ‘gorilla’ and ‘kujira’ (whale). Tanaka took a liking to the name and decided to use it for his monster.

The Shodai-Godzilla is popular with fans who prefer the first, serious tone Godzilla film. This suit featured a heavy lower body, small arms and a large, round head. The face had pronounced brows while the eyes were completely round with tiny pupils, a feature unique to this costume. The suit also included several features particular to itself and to the Gyakushu-Godzilla: fangs, four toes, a rough underside for the tail and pointed tail tip, and staggered rows of dorsal plates (these features would reappear with the “second” series of Godzilla films from 1984 to present). The dorsal plates for both the Shodai-Godzilla and the Gyakushu- Godzilla were dynamic in design and unique to the two costumes. During filming, a separate pair of Godzilla legs were used for close-up shots of Godzilla’s feet.

Godzilla: King of the Monsters 1954 Synopsis (Raymond Burr Version)


Godzilla, King of the Monsters! Is a 1956 Japanese American science fiction kaiju film. It is an American production incorporating most of the footage of the Japanese film Godzilla, which had previously been shown subtitled in the United States in Japanese community theaters only, and was not known in Europe. For the American production, the original Japanese footage was dubbed into the English language and new footage was shot with actor Raymond Burr.

Although a handful of independent, low-budget films had previously been filmed in Japan after World War II by American companies and featuring Japanese players in the cast, Godzilla represented the first to present Japanese in principal, heroic roles or as sympathetic victims of the destruction of Tokyo (albeit by a fictional giant monster) to the American public in a commercial release given A-picture status and bookings.

It was this version of the original Godzilla film that introduced most audiences outside of Japan to Godzilla and labeled the character as “King of the Monsters”.
The revised story begins at a hastily established emergency hospital in an evidently devastated Tokyo, to which is brought American reporter Steve Martin (Raymond Burr), one of the wounded. In flashback, Martin tells of his stopover in Tokyo on a routine assignment to Cairo for United World News, where he finds himself confronted by the emergence of an inexplicable menace to navigation in the Sea of Japan. Something is causing ships to be destroyed without warning and sink with no time for escape. When a dying seaman finally washes up on an inhabited island, Martin flies there for the story with Tomo Iwanaga, a representative of the Japanese security forces (Frank Iwanaga, also part of the American cast), and learns of the island inhabitants’ belief in a monster god which lives beneath the sea, which they believe is causing the disasters (a claim which appears to have been borne out by the crewman before he died). Martin phones his editor at United World News, George Lawrence (Mikel Conrad, part of the American cast) and is given permission to stay and cover the story.

Martin’s involvement in the unfolding events broadens when paleontologist Dr. Yamane (Takashi Shimura, of the original film), is consulted and, returning to the island with his daughter Emiko (Momoko Kōchi) and her young naval-officer boyfriend Ogata (Akira Takarada) to investigate, sees the monster when it attacks the island village. Returning to Tokyo with clear evidence of the monster’s existence and power, Yamane becomes a leading consultant to Japan in mounting a defense, as it becomes apparent the monster is moving towards Tokyo.

The Japanese navy is unable to faze the monster with depth charges. In the dark of night, the monster attacks Tokyo, and it proves invulnerable to conventional military weaponry no matter how concentrated. Martin is one of millions injured in the attack, and here the flashback ends: Godzilla (a giant mutant dinosaur) has returned to the sea, but it is certain this is only for the moment.

Emiko reveals she may know a solution to the monster’s apparent indestructibility. She loves the young naval officer, but had until recently been engaged to a young scientist Dr. Serizawa (Akihiko Hirata), who was also Steve Martin’s friend in college. She has lost interest in him because he has become almost a recluse, to her and others. After her breaking up with him, he revealed to her the reason for his reclusiveness — over the course of his research, he had accidentally developed a formula capable of destroying all oxygen in water, in the process of which any animal coming in contact with the “Oxygen Destroyer” is stripped clean of all flesh and organs, reduced to a skeleton. His anguish over what to do with this discovery has become a constant preoccupation. She had agreed to keep her knowledge of this a secret. But with Godzilla loose, she realizes this may be the only thing capable of stopping the monster, and informs her boyfriend and father.

The scientist is only reluctantly persuaded to use his remaining sample of the oxygen destroyer to try to kill Godzilla, provided he accompanies the young officer, in a diving suit, to the sea bottom to place and release the formula more or less at the monster’s feet. After concluding this agreement, the scientist destroys all his notes and papers on the formula. Emiko, upon seeing this, breaks down in tears, as she realizes that Serizawa is sacrificing his life’s work to stop Godzilla. Once on the bottom of the sea, he sends the young officer back up to the boat, releases the destroyer, and cuts his own oxygen hose and lifeline, to ensure no one else will ever know the chemical composition of his horrid formula. The young officer joins Dr. Yamane, Emiko and Steve Martin on the ship to watch as the oxygen destroyer does its work, reducing Godzilla to a skeleton. Afterwards, Martin’s last words were, “The menace was gone, so was a great man. But the whole world could wake up and live again.”

It was Edmund Goldman who found the original Godzilla in a California Chinatown theater. He bought the international rights for $25,000, then sold them to Jewell Enterprises Inc., a small production company owned by Richard Kay and Harry Rybnick which, with backing from Terry Turner and Joseph E. Levine, successfully adapted it for American audiences. Levine paid $12,000 for his share.


The adaptation process consisted of filming numerous new scenes featuring Raymond Burr and others, and inserting them into an edited version of the Japanese original to create a new film. The new scenes, written by Al C. Ward and directed by Terry O. Morse, were photographed by Guy Roe with careful attention to matching the visual tone of the Japanese film. Burr’s character Steve Martin appeared to interact with the original Japanese cast through intricate cutting and the use of doubles for the Japanese principals, in matching dress, shot from behind in direct interaction with Burr’s character.
A documentary style was imposed on the original dramatic material through Burr’s dialogue and stentorian narration; he plays a reporter, replacing a comical reporter character in the Japanese original. More importantly, his presence as the lead character, along with trimming (though not outright deletion) of protracted dialogue regarding the arranged marriage between the Japanese heroine and a scientist (a concept unfamiliar[citation needed] to Westerners[clarification needed]), scenes evincing an active affair between her and the young naval officer–hero (a concept unlikely to be accepted by many parents of the film’s youthful target audience), and a raging debate in Japan’s Diet over the U.S. atomic bombings of Hiroshima and Nagasaki and continued nuclear testing (a concept not likely to be approved of by American veterans of the recent war), served to ease American audiences into comfortable relationships with characters, whose mere nationality might otherwise have made them pariahs. The theme of devastation of Japan by nuclear holocaust became sublimated in the editing, but was not eliminated, giving the film a subversiveness on the nuclear question that would later be consciously recognized by the youngsters at whom the film was aimed as they entered adulthood.

There is sometimes confusion about who distributed the film to the U.S. The poster for the film states only that it is “A Transworld Release”, while the poster itself bears a copyright notice for “Godzilla Releasing Corporation”. Trade reviews from its New York showing indicate that it was released by Embassy Pictures. Classic Media indicates that it was released by Jewell Enterprises, but in fact the credits only show this company as presenting the film. In fact, the film was adapted from the Japanese original by Jewell Enterprises, which took “presentation” credits on the screen and in some advertising copy, copyright by Godzilla Releasing Corporation in its adapted form, and nationally released under control of Transworld, Inc., all of which were companies owned by Rybnick and Kay. It was actually distributed in the western U.S. by Godzilla Releasing Corp. and in the eastern half by Joseph E. Levine’s Embassy Pictures Corporation, then just a Boston-based states’ rights exchange. Embassy was most frequently noted as sole distributor in reviews and trade annuals published in New York: the movie was given “A-film” promotion, and opened at Loew’s State Theatre on Broadway and 45th Street in New York City on April 27, 1956.

New York Times film critic, Bosley Crowther gave the film a bad review the following day. He dismissed it with, “‘Godzilla’ produced in a Japanese studio, is an incredibly awful film.” After complaining about the dubbing, the special effects (“a miniature of a dinosaur”), and an alleged similarity to King Kong, he concluded, “The whole thing is in the category of cheap cinematic horror-stuff, and it is too bad that a respectable theater has to lure children and gullible grown-ups with such fare.”

Crowther notwithstanding, the film was a notable success with the American public. It easily exported to Europe and South America, where the original was unknown and where it also had a major impact, and even made its way full circle back to Japan, where it was exhibited with Japanese subtitles for the American dialogue. The door was thus opened in the Americas and Europe for the import of unexpurgated Japanese science-fiction, horror, and other commercial film products; it also garnered western awareness of Toho Studios, which had retained producer credit. After its theatrical run, Godzilla, King of the Monsters! Became a television staple for decades, even into the cable years, and opened the international market for dozens of Godzilla sequels

In theatrical form and on original TV syndication, the main title is followed by a minimal credit screen reading “Starring Raymond Burr, directed by Terry Morse and I. Honda” in white lettering over a background; and following the fadeout of the final shot, the scene of the hymn being sung by the schoolchildren was reprised with fuller cast and credits, following the fadeout of which the “The End” title appeared, again white lettering on a black background, with Godzilla’s echoing footsteps eerily replacing the soulful music. However, when Viacom acquired the film for TV re-syndication and first publication on videotape around 1980, Viacom removed all cast and credit material from both the opening and the closing of the film, and re-publications made thereafter were taken from the Viacom-revised master (even the so-called “uncut” version released on DVD in 1998 by Simitar). This missing material was partially restored in 2006 on the Sony Corp.; however, the opening star-director credits remained missing, and the end cast and credits were mis-edited after the THE END credit instead of before. They were also presented in a widescreen letterbox format on what was otherwise a standard anamorphic-format film image.