fifth issue of the famed Terror of Godzilla
comic series commences with the interception of
the Soviet missile by its American counterpart,
which saves Tokyo from a nightmarish nuclear explosion.
An ionic storm from the resulting high altitude
explosion sends the world's electronic infrastructure
into complete and utter chaos, and further terror
ensues when Godzilla is ironically revived by the
energies forged in the atmospheric cauldron brewing
above the hapless metropolis. Meanwhile, Dr. Hayashida
continues to perfect his avian frequency device
as Goro and Naoko must face the challenge of escaping
a badly damaged building.
For better or ill, the absence of the homeless
man (a staple of comic relief found in the film)
should be noted. Whether or not this helps or hinders
the adaptation is best left to individual interpretation.
Dr. Hayashida's relationship with the titular monster
tends to be a bit more exaggerated here than in
Return of Godzilla (1984) . He tends to
be extremely passionate, and almost gives off a
sense of mad obsession. The captain of the Super
X, who tended to be more cool and collected in the
film, also seems to harbor a bit of the same brand
of exaggerated emotion. The love interests, Goro
and Naoko, are intertwined with a bit of a different
dynamic. Of special note should be Naoko's prominent
bitterness toward Goro for initially withholding
information about her brother following Godzilla's
initial arrival, which does lead to a far greater
shift in the relationship in the long run. Godzilla
is once more donned by the greenish hue that tends
to find itself representing the monster king in
many American artistic renditions of the character.
It does tend to clash with the film's vision of
the nuclear menace's coloration (a very dark charcoal
grey); there is, however, a certain natural quality
to the comic's particular shade of green that does
work for this adaptation.