Latest Blog - News Articles
Emerald City Comic Con granted me my first ever press pass, and it’s all because of the hardworking staff members here at Toho Kingdom. I’d also like to extend my gratitude to all our visitors. Without you, Toho Kingdom wouldn’t be the eminent website it is today.
I had a wonderful experience at this year’s Emerald City Comic Con. There’s nothing quite like walking down the streets of Seattle on a sunny afternoon only to see Thor and Captain America standing in line at a Starbucks, or a sea of impassioned cosplayers and casual fans alike interacting with each other. I hope this feeling of meeting people of similar interests never gets old, because I still remember a time before the internet when meeting, say, another Godzilla fan was the equivalent of waiting for the next leap year. Of course, now it’s different; now you can find others like you with just the click of a mouse. And while this is an important commodity—I should know, as I’ve befriended many remarkable people online—it shouldn’t deter you, not for a single moment, from meeting a fellow fan face-to-face.
Unless they disagree with you, of course. Then all hope is lost.
I should’ve planned this day better. I anticipated traffic and—get this!—I avoided squashing swarms of pedestrians like a pro. And yet I was mostly stuck in traffic for close to an hour, because all the parking garages and spots on the street were taken. With my patience dwindling, I elected to find parking across town. I took the monorail back from there, which, ironically, took less time than what I had just suffered through. I’m only bringing this up as a warning to any intrepid fans out there who will be embarking on similar pilgrimages in the not-too-distant future. Here’s a brief checklist I’ve found to be handy: Don’t just be an early bird, become one with the early bird; carpool with your best pals because it’s more affordable and there’s safety in numbers; and, arguably the most important piece of advice I can bestow, wear shorts like your life depends on it. Yes, you read that last part right. You’re going to be surrounded by thousands of warm bodies that will quickly make you feel like you’ve become Burning Godzilla. So unless you’re cosplaying, I highly advise you to go in wearing shorts even if it’s in the dead of winter.
So being the glutton for punishment that I was, I wore pants my first day. Fortunately my regrets were short-lived, because on my first stop I paid a visit to our friends over at Bluefin Distributions. It’s there I purchased Mechagodzilla (1974), hot off the S.H.MonsterArts assembly line. I’ve had my collector’s eye on this one for some time, and I left satisfied.
After exploring the exhibits, spotting all manner of iconic characters hailing from Japan, I rendezvoused with one of my best friends at the Back to the Future panel. It’s there I saw a fully decked, time-traveling DeLorean, with a flux capacitor to boot. Unfortunately they wouldn’t let me take it back in time to stop Roland Emmerich and Dean Devlin from making a horrible mistake. Oh well. As our adventures continued, I saw custom-made cosplays that blew me away; I crossed paths with the likes of Korg (Thor: Ragnarok), The Night’s King (Game of Thrones), Doctor Doom (Fantastic Four), Darth Zoidberg (Star Wars/Futurama), and about a million Deadpools. There was apparently a squad of people dressed as Jaegers from Pacific Rim. I wish I was there to see them with my own eyes. Since we’re all still alive and kicking, I think it’s safe to assume they cancelled the apocalypse.
A little later, I found the Complete Series of Ultraman Nexus and Megas XLR on DVD. I strongly recommend you, my dear reader, to hunt down the former, as it’s easily one of the most imaginative Ultraman shows I’ve ever watched. As for the latter? Well I’ve been hunting down Megas XLR for years. While the entire show may be available somewhere online, I was keen on adding Megas XLR, one of my favorite cartoons of all-time, to my personal collection. If you dig giant robots—and I have a sneaking suspicion that you do—give this phenomenal series a shot. It’s chockfull of homages to the Godzilla franchise and a plethora of other Japanese tropes that will satisfy your nostalgia.
Today, I had the distinct pleasure of meeting an extraordinary pair of Godzilla artists.
The first was Arthur Adams. One of the first comics I read as a kid was Dark Horse’s Godzilla: Color Special, which Arthur co-wrote and illustrated. Its iconic imagery, intriguing human characters, and unique creature designs changed the way I thought about giant monsters. That panel of the islanders huddling in fear with Godzilla shrieking ominously in the background is truly breathtaking; the one of Godzilla rising out of the sea for the first time still gives me goosebumps! And the very last shot that closes the story? Perfection.
Arthur was kind enough to share some insight in the making of this one-of-a-kind tale. Since Toho didn’t own the character rights to Majin, a vengeful deity that starred in a trilogy of films produced by Daiei Films, Arthur created arguably the most memorable monster from the entire Dark Horse run: Gekido-Jin. A few minutes in, I found out that Arthur once pitched a Godzilla vs. Superman series to Toho back during the ‘90s. I would have loved to have seen that. After having a pleasant chat with Arthur Adams for several minutes, we exchanged our goodbyes. I’m happy to report that he graciously signed my Godzilla: Color Special. Achievement unlocked!
A few hours later, my friend and I were wandering aimlessly down Artist Alley. We had just finished talking with Matthew Willson (Color Artist, The Mighty Thor), when I saw the Godzilla In Hell graphic novel standing proudly on a table. Like Magneto, it pulled me in with its magnetism. I gaped at what had become one of my favorite Godzilla stories in recent years. As I flipped through the pages, exclaiming all manner of hype to my uninterested friend, I soon found myself conversing directly with Buster Moody. Buster was the artist responsible for bringing Godzilla In Hell #3 to life. This was the issue which saw the King of the Monsters face off with SpaceGodzilla, with Godzilla appearing to pass on during their conflict… only to meet his celestial opponent in hell.
In a series packed with terrific artwork done by the likes of Bob Eggleton, James Stokoe, Ibrahim Moustafa, and Dave Wachter, Buster Moody’s work holds its own. As I asked him questions about the underlying nature of the story, it became apparent that Buster knew his stuff. Buster may not have been the writer of Godzilla In Hell #3, but he was undoubtedly an expert on its story and structure. He shared some interesting tidbits about its characters that made me shriek in excitement. Before parting ways, Buster Moody autographed my Godzilla In Hell paperback copy. I’ll never forget our pleasant chat.
It’s important to remember that behind every great story is a person worthy of your time. There are many people at these events worth your time, as you are worth theirs. It’s not just about interacting with artists and creators, which is something to appreciate; no, it’s mainly about celebrating what you like in the company of others and having a good time. I know I did. I’m greatly looking forward to attending next year’s Emerald City Comic Con. With Godzilla: King of the Monsters (2019) coming out in theaters right around that time, maybe we’ll be the first in line to meet some of the cast and crew?
Stay tuned.BY: Thomas FairchildGeneral // March 23, 2018
Have you ever wanted to taste Godzilla’s spines as they light up with energy, flash, and burn against the smoldering ruins of Tokyo? Have you ever thought that Godzilla’s light-up backplates were kinda-sorta like the dinner bell or the “open for business” sign at a restaurant—and you just wanted to get a taste of the flashing sign as well? I can’t speak for authenticity, folks, but your prayers (and your unorthodox stomach) have been answered with the release of the Chocolate Mini Godzilla (チョコレート ミニゴジラ) three and nine packs from Hunter Confectionary Company. (maybe… Space Hunter?)
The three pack will run you ¥600 yen and is the second-cheapest Godzilla-themed Valentine’s Day chocolate I bought at the store. The nine pack is, comparatively speaking, a steal at ¥1400 yen.
The three-pack, for the cheapskate Godzilla lover—or maybe the one on a diet.
First, let’s discuss the fancy-pants packaging—which, let’s face it, is probably the reason for most of the cost here given how little chocolate you are actually getting. Each box, both the three-pack and the nine-pack, are a shiny silver color with a military-pattern background and four-toed Godzilla footprints stomping all over them, plus “Godzilla” written in the classic cracked-rock raised font. (The silver I am assuming in this case probably indicates “money” more than anything.) The boxes are also wrapped in choco-brown ribbons with Heisei Godzillas and “Godzilla Chocolate” written in gold repeatedly, reminding you again and again that your loved one shelled out lots of extra cash to feed your nerdy appetite much more than your physical one.
The nine-pack, perhaps specifically designed for Godzilla fans who also love baseball—one for each team member.
Because, gee whiz, my G-fan friends, these choco-chomps are itty bitty! One six hundred yen box of three mini Godzillas offers you, the consumer, very little to consume. Still, they are called “mini” for a reason (and not because they look like Minilla—cuz they don’t, pardner). Let’s take a gander.
This little ‘zilla cried wee, wee, wee, wee all the way down your gullet.
The size of the choco-chomps is actually quite nice and fits the term “bite-size” so long as your muzzle ain’t as huge-mungous as Godzilla’s. And the sculpt is surprisingly detailed for being so small. Unlike the larger choco Godzilla in the Godzilla Milk Chocolate bar, this one has a more suit-accurate neck length, actual fingers, and even two feet, even while maintaining a sort of “super-deformed” aesthetic! Sure, the Godzilla Milk Chocolate bar Godzilla may be bigger, but in some ways this one is just more impressive in execution because even at this size you can see some skin texturing and a Goji-head that effectively mimics the familiar lumpy facial features of some of the Showa Goji schnozzes. Also in a novel twist, the backplates are colored with three varieties—yellow, blue, and pink. While perhaps blue is the most movie-accurate, I like to imagine that the different colors indicate the flashing of the plates right before Godzilla spits nuclear death on his unsuspecting prey. (So far none of the Godzilla chocolate figures feature actual atomic rays bursting from their toothy maws—probably because the chocolate would melt.)
Don’t worry, even with the three-pack you get all three color varieties…
A further touch of fun: the interior of the boxes showcase the monster minis with color-coded skylines—blue, yellow, and pink—as if the sky itself were flashing with the color of the monsters’ backplates. (Though unfortunately the actual Mini Godzillas are not organized in the boxes by backplate color.)
…But you only get all three skylines if you buy the nine-pack, you cheapskate!
When I saw the triple colors, I assumed that each color would have a different flavor as well—and that is where the flavor of flashing backplates finally comes to play. I figured that the blue one might be something like blueberry or maybe soda flavor, the yellow might be lemon or banana, and the pink might be peach or human flesh. However, with the first Godzilla I grabbed (I think it was the pink one), I unthinkingly popped the whole monster in my mouth and munched away—and frankly didn’t notice any particular fruity or fleshy flavor. Just mildly sweet milk chocolate goodness. I adopted a new strategy for the blue backplates, nibbling delicately with my overgrown incisors… and was rewarded with the blossoming flavor of—well, chocolate, I guess. I quick glance at the ingredients on the back lists nothing about fruity flavoring, neither natural flavors, nor unnatural flavors, nor genetically engineered flavors to combine with deceased loved ones. They all three tasted the same, no matter how fastidiously I tried to nibble.
Still, with the three different colors, I wondered if it might be possible to do a kind of stop-motion animation so that it looks like Godzilla is revving up his nuclear breath. How do you think that might look?
I guess nobody buys Godzilla chocolate for the innovative taste experience so much as the presentation, and the presentation with the Mini Godzilla Chocolates is impressive, colorful, creative, and executed well. Just bear in mind that you are mostly paying for that presentation and not the volume of the actual chocolate and you should be fine!Kaiju Kuisine // March 21, 2018
Ever since Godzilla was released in 1954, the influence it has had on the SFx/Sci-Fi/Fantasy genre has been massive. With the recent resurgence in giant monster films, due in large part to the success of and inspiration from (in the case of 2016’s Shin Godzilla) Godzilla 2014, I decided to cover the sequel to the 2013 film Pacific Rimtitled “Pacific Rim Uprising”. The original film was Guillermo Del Toro’s homage to not only Godzilla but among other things, the Tokusatusu genre. Because of this, I felt that the film deserved a little bit of coverage on the site.
Pacific Rim Uprising takes the world from the first film and expands on it and it’s quite entertaining. It’s a huge task for DeKnight to be basically given this world by Del Toro and be told “make it yours” and for the most part, he does a great job. The writing was done in a very short amount of time and I’d love to see DeKnight come back and make part 3 with more writing time allowed. The film runs at a brisk pace and visually it’s awesome. There are a few parts of the film that I felt needed tweaking and I do wish the end battle was a little more full but those are just tiny nitpicks to a very entertaining movie. Given the fact that this article goes up before the film’s release, I feel that going into the film with the freshest mind possible is the way to go. I feel confident in saying that many will leave the film feeling quite satisfied!
These exclusive interviews with Steven DeKnight, Burn Gorman, and Cailee Spaeny which are presented here were recorded on Monday, March 5th at the Universal Studios lot in Los Angeles, California. Be warned, slight spoilers. I’ve also included photos from the press screening on March 1st along with shots of the press area with suits from the movie and the common area where in between interviews, members of the press can work on their articles while grabbing a bite to eat.
Interview: Steven S. DeKnight
The file is about 9MB with a length of 10 minutes. Click to download.
Interview: Burn Gorman
The file is about 8MB with a length of 9 minutes. Click to download.
Interview: Cailee Spaeny
The file is 9MB with a length of almost 10 minutes. Click to download.
***I had to do a little bit of EQ work on the interviews and in the interview with Steven DeKnight, there’s some air conditioner noise going on. It’s noticeable but doesn’t detract. The figure pictured in each interviewee’s photo is of the kaiju Raijin, which can be purchased here.***
These photos are from the March 1st press screening.
Additionally, the photos below are from the March 5th junket in Los Angeles, California.General // March 20, 2018
I thought I should start off the reviews with one of the more unassuming-looking V-Day treats—the Godzilla Milk Chocolate from Stock Company Forusha, which—at least from the outside—just looks like an oversized Hershey bar (perhaps a… Godzilla-sized Hershey bar?). The bar, which cost 1080 yen by the way, looks rather big indeed—but then you open the thing and realize that Godzilla already took a big bite for himself and stomped all over your chocolate. And the chocolate bar itself is WAY, way smaller than the box.
If you look at the receipt I got from the Godzilla Store, this bar of chocolate is called the “Destroyed by Godzilla Slab of Chocolate,” and that is pretty accurate. I really love the design of the chocolate bar itself, even if it comes across as a bit of a rip-off. The general design of the bar follows the familiar rectangular breakable sections design of the classic Hershey’s bar, but this time with a large portion either smashed or bitten away. A chocolate version of Godzilla himself stands amongst the rubble, silhouetted in the middle of the smashed chocolate “city,” and there are even Godzilla footprints in the chocolate sections leading up to where the monster king is standing. The perspective doesn’t quite work, but the design is still brilliant.
As for Godzilla himself, he sports some pretty great details, from the textured skin to the triple rows of plates and even some teeth and his ear can be seen. The monster does not appear to have much of a neck (perhaps shortened so as to make the bar sturdier), and his arm just sort of ends in a nob, but I think he looks pretty good. If you look carefully at his spines, you can see that they are kind of irregular as well, and given the prominent ears, my guess is that this is supposed to be Shodai-Goji, or the original Godzilla from the first film designed by Wasuke Abe.
As for the chocolate itself, well, I ate the whole thing in preparation for this review… and I am NOT going to do that with the other chocolates, as my stomach Is not happy with me! I guess it was just too much choco for one afternoon. At any rate, the chocolate is pretty decent milk chocolate and definitely reminded me (again) of a Hershey’s bar. Basically, the bar did not differentiate itself in any way for me—it’s not extremely creamy or bitter or waxy or wacky, there are no nuts, no strange ingredients. Just a good, solid bar of chocolate that happens to be Godzilla-themed. (I wish they had made it dark chocolate, though).
While the chocolate itself may not be anything particularly special, and the volume of chocolate is not really, err, monster-sized, the chocolate is still good and the design of the bar is clever and should make any Godzilla fan happy. I especially appreciate that, after you open the box and remove the bar of chocolate, you will see the red background (which looks like it’s just there because red is a classic Valentine’s Day color) is actually the color of an ominous city skyline with searchlights shining out for any sign of the giant monster’s approach. If you interpret the background to mean that Godzilla has already stomped the city and the red sky is a reflection of rampant fires and destruction, then it’s actually kind of creepy. But maybe the red sky is actually, uhh, the color of love as Godzilla, acting like a giant radioactive lizard Cupid, brings couples across Japan closer. If you interpret it that way, then it’s actually pretty sweet—which is just what Godzilla chocolate should be. (Heck, I don’t want to eat radioactive chocolate. No thanks.)Kaiju Kuisine // February 21, 2018
Perhaps sporting one of the less appetizing names in the big pile of sweets that I purchased, the Godzilla Can (literally ゴジラ CAN from Hunter Confections or ハンター製菓株式会社 if you prefer) conjures up images of canned meat or maybe Godzilla on the can, or maybe even a self-actualization chant for the Big G when he is feeling down—not so much chocolates and romance. (Well, maybe Zoey from I Want to Marry Godzilla and Have His Children might fantasize about married life with Godzilla and walking in on him while he is on the john, but it’s probably best not to go there.) While it is true that Godzilla is liable to kick lots of can, and Mechagodzilla might be called a Godzilla Can if you really stretch, the real Godzilla Can is actually a fairly impressive collection of chocolates that is just itching to be set up in delicious dioramas.
So what is the real Godzilla Can (not to be confused with the canned Godzilla meat from a few years back) looks a lot like a particularly fat can of breath mints (come to think of it, breath mints might make a more natural fit for Godzilla’s image, given the monster’s well known halitosis problem). The image on the top of the can looks to be the silhouette of the Heisei Godzilla, though his tail looks too thin to my eye, and his jaw in profile at first made me think of Final Wars Goji, as well as the now-familiar “Godzilla Chocolate” text and “Godzilla Can” running in a circle around the edge. The bottom half of the can sports a kind of glittery silver camo design, perfect for military incursions into, say, a chrome jungle in the middle of a glitter storm.
What about the chocolates themselves? Inside, there are two layers of chocolates (so to speak). The first layer is Godzilla, using the same mold as the Mini Godzilla chocolates, just without the colored back ridges. At first I thought the entire “Godzilla Can” was just these chocolate Godzillas, but you can remove the plastic container and a white cushiony thingee (I had trouble with this at first, but persevere my friends) to reveal more chocolates underneath—five dark chocolate tanks and five white chocolate jets (kinda look like F-16s). Neither the tanks nor the jets are anywhere near as detailed as the Godzillas, which is at it should be. They all taste good—the milk chocolate mini Godzillas are delicious, the dark chocolate tanks are slightly bitter and harder than the Godzillas (and I love that—tanks should be hard!), and the white chocolate jets are pretty decent white chocolate (I am usually not much of a fan).
Of course, having Godzillas, tanks, and jets, it is hard to resist putting them together and making dioramas, especially given that the Mini Godzillas box provides a red city background. I experimented a little with my choco war items and monsters and put together a very simple diorama, as seen below.
But as I was trying to extract the chocolates from the can, I realized something else that was very special about the design of the packaging—it can serve double as a monster-themed fidget spinner! The plastic packaging materials sit in the can loosely enough that they are remarkably easy to spin—both the Mini Godzillas and the military hardware! I took some brief video demonstrations below:
Just imagine this is Godzilla vs. Hedorah (1971) and this represents Godzilla flying through the air. The military is at a loss as to what to do to stop Godzilla! Okay, it doesn’t work very well.
Anyway, the Godzilla Can set me back 1201 yen (weird price) and more than made up for it with the unexpected play possibilities. The chocolates themselves are fine, but add a little imagination and things really take off.Kaiju Kuisine // February 21, 2018
Many years ago, when I was in college, I did not participate nearly as much in the Godzilla fandom as I have come to do now that I am in my thirties (what the heck happened?). Back then I still was fond of Godzilla and Japanese films, anime, and video games, but I was not regularly writing about those topics (although I did write a long article for my school’s newspaper about the appreciation of old-school monster movies…). Perhaps the reason I did not express my love for all things monster-suited was because there simply weren’t enough, erm, monster-related Valentine’s Day goods available at the time. I remember my mom sending me a gift package that included a set of Godzilla-themed Valentine’s Day cards, which I will include scans of below.
These Valentine’s Day cards were cheaply made cardboard rectangles connected to one another, and featured a variety of Godzilla-monsters, a groan-worthy pun, and the same screaming girl put together to make mini mock monster movie posters. My favorite has to be the one featuring the 1970s Mechagodzilla because it has arguably the worst pun—“I like you mecha much!” I am not even sure what that means! Maybe, “I like you in a way in which I would build a robot version of you if you die” ala the unmade “Bride of Godzilla?” movie. At any rate, on the back of each card you could put your name and the name of your loved one and presumably attach the thing to a gift, though I think most of these were probably used by kids giving away small presents to classmates and the like rather than to serious love interests.
In other words, as clever and fun as the designs might be, these little cardboard pieces were unworthy of true expressions of love. And lovers around the world have long been baffled about how to show their deep romantic affection for each other WHILE AT THE SAME TIME expressing their Godzilla fandom.
Well, those desperate, loveless days have come to an end! Now, in 2018, just in time for Valentine’s Day, a whole line of Godzilla-themed chocolates have just been released—and this time I don’t mean Godzilla shilling for Snickers! These are hardcore Godzilla chocolates, with the most expensive box costing 2700 yen! That’s some giant mutated monster love right there, fellas!
So you had better believe I went to the Godzilla Store recently in Shinjuku to investigate the goodies and buy me some monster chocolate (because unfortunately folks I knew, despite the cultural expectation in Japan for women to give the men chocolates on Valentine’s Day, if I just waited around I was getting nothing, mate). The Godzilla Store was decked out for V-day with several monster models on the shelves holding up heart-shaped balloons and a sort of diorama created out of fake monster chocolates and fake cookies and candies.
They painted an Ani-Goji figure so that it looked like it was made of chocolate, and for some reason painted a Hedorah figure so that it looked like it was made from chocolate and… silver? I guess maybe they chose old Heddy because he already kinda looks like he is melting so it isn’t hard to think of him as made of fudge instead of sludge, though I am not sure about the silver/white arms and legs… maybe they are supposed to be milk to go with the chocolate?
Anyway. I also liked the little theater exclusive Ani-Goji figures cavorting amongst the other assembled (fake) cookies, snacks, and cakes, especially the semi-transparent Godzilla Filius standing atop a blue cookie-sandwich, feet deep in the icing. I always get nervous taking pictures in stores, though, and I did not take a picture of the actual Godzilla chocolates themselves… because I bought one of each.
Gosh, I felt awkward carrying that big pile of chocolates to the counter where the miserable-looking female employee was standing. Luckily, a male cashier rang up my ludicrous pile of calories, each additional box added to the pile underscoring just how very, very single I am. What came next I wasn’t really expecting, though I should have—the cashier gave me nine “Godzilla Chocolate” tote bags for my goodies, assuming that I was going to be giving these monster goodies to… nine different lovers or something. (Given that, again, it is the women who are expected to be buying and giving out chocolates, it must have been all the more strange that some obnoxious male foreigner was doing the purchasing.) I… didn’t have the heart to tell him I was buying ALL these chocolates for myself in order to review them for a website. I felt awkward enough already. (For what it’s worth, I should have known that I was going to receive lots of bags with my goodies because whenever I buy multiple boxes of omiyage (souvenirs) for my students and coworkers, I get multiple gift bags with them—even though I usually end up not using any of the gift bags due to the fact that I just distribute individual goodies and not whole boxes to my kiddos and coworkers.)
I noticed that other customers who were purchasing Godzilla chocolates were also receiving little construction paper hearts to go with their, uhh, single-box purchases. There were three different colors for the hearts, and each one with a printed Godzilla foot and the words “For you” in silver. The lady in front of me (with her kid) got the last of the third color, which was just a different shade of pink if I remember correctly. At first the cashier looked like he wasn’t going to offer me any hearts to go along with my tooth-rotting pile of chocolates, but when I glanced over at the hearts being handed out to the lady next to me, he (seemingly reluctantly) asked me which color I wanted. At the time, I was just thinking, “What the heck are these things for?” And I just figured he was going to give me one of them because I thought at the time that they were just a bonus item that comes with a purchase. So I said, “pink,” and he asked me if I wanted all of them in that color. I said “half,” and by golly, that’s what he got me—and this time he counted ten to match my choco-purchases. I guess the idea is that you tie the heart onto the bag, and maybe write a message to your loved one. (The dark brown thingees that look like hairpins are actually twist-ties.)
Anyway, as ridiculous as I feel now for buying all these chocolates, I can’t just let them go to waste (even though they will probably be going to my waist). So you can expect a bunch of Godzilla Valentine’s Day Chocolate reviews over the next few days. You’re welcome.Kaiju Kuisine // February 14, 2018
A note from staff
After hitting several unexpected roadblocks and over a year of work later, it’s finally here – a complete translation of the story draft for Mothra vs. Bagan as seen in the Japanese publication “Godzilla” Toho Special Effects Unpublished Material Archive: Producer Tomoyuki Tanaka and His Era (ISBN: 9784048544658), where it was condensed to 26 pages. Being a draft, the story is written rather erratically, so some text was altered to make for a more coherent and enjoyable read. Also, minor spoilers, but while the site’s synopsis mentions Godzilla, he was never incorporated in this draft as he was only put into consideration at the time. Just something to keep in mind! Naturally, I’d highly recommend checking the site’s page in the link above for plenty of history and trivia. A very, VERY special thanks to Ashley Southworth for her translations in the last half of this story outline, to John Ruffin of MyKaiju Godzilla for also looking into translating parts of this story, and to the incredibly talented dopepope for his recreation of the Bagan concept intended for this work. Without further ado, please enjoy Kazuki Omori and Tomoyuki Tanaka’s lost project!
~ Joshua S.
Mothra vs. Bagan Kazuki Omori
Onward to a world featuring fantastic monsters in a thrilling action-adventure movie—
Production ・Tomoyuki Tanaka
Screenplay / Director ・Kazuki Omori
Special Effects Director ・Koichi Kawakita
Producer ・Shogo Tomiyama
Masako Tezuka (26) Global Environment Conference Staff
Kenji Andoh (30) Japan Documentary Center, Director
Takuya Fujita (24) Japan Documentary Center, Photographer
Jyoji Minamigaki (40) Local Coordinator
Ryuzo Tashiro (45) A certain trading company’s Bangkok Branch Manager
Shigeki Fukazawa (50) Global Environmental Conference, Chief
Puto (9) Local boy
Somna Payak Thailand・Chulalongkorn University・Professor of Paleontology
Sūn Shì Jī Peking University・Professor of Archeology
Sajit Singh Director of Nepal National Museum
Ramada Singapore Army Commander
Thailand Secretary of Defense
Miki Saegusa (18)
1 A blue star floating in space, Earth
—Camera zooms in.
The continent of Asia comes into view, zoom in.
Various sound effects can be heard—
2 Himalayan Mountain Range
A certain mountain. Loud sounds, and an avalanche starts to occur. An intense amount of snow smashes into rocks, and tears down trees. In the snow cloud, the black shadow of something huge has started moving.
3 Japan・Tokyo・XX Hall
A “Thinking About the Earth’s Future Symposium” billboard is in front of the building.
4 Same・Inside the venue
Pictures taken from the Landsat (Resource Exploration Satellite) are reflected on the podium by slides — a huge iceberg melting away from Antarctica, a tropical rainforest where large-scale logging is happening, etc.
Masako Tezuka (26) is speaking about global warming, standing next to the podium.
Masako, who has finished her speech, talks with staff, foreigners.
A man・Kenji Andoh (30) calls out to Masako as she passes by.
Masako speaks in a delighted tone at the sight of Andoh,
Masako: “You came! I thought you weren’t in Japan anyway.”
Andoh: “I just got back yesterday from collecting data on Colombian narcotics.”
6 Andoh’s car cruising through the city at night・Inside
Andoh is driving with Masako next to him.
Masako: “Busy travelling all over the world as usual, I see.”
Andoh: “No rest for poor people. It’s the fate of subcontract production, you see. Well, I was the one who quit the TV program, so I can’t complain.”
Masako: “Do you regret it now?”
Andoh: “Stop it. You too, quitting the hospital, working on stuff like environmental problems, aren’t you the one regretting it?”
Masako: “I’m not that weak! (cutely angry)”
7 Tokyo Bay Area・Restaurant Bar
Two people eat.
Photographs are put on the table.
Photos from the Landsat — a huge white egg-like object in the back of the jungle is visible.
Masako’s voice: “I found it while investigating the deforestation’s actual condition from a space camera. The location is deep inside Borneo Island.”
Andoh looks at the photos.
Andoh: “A huge dome in the jungle.”
Masako: “No one ever talked about the natives there playing baseball.”
Andoh: “Then, it’s a UFO.”
Masako: “Come on, be serious. I think it’s an egg.”
Andoh: “You too, are you being serious? An egg this big?”
Andoh: “A dinosaur egg? No way…”
Andoh, once again, looks at the photos. His face is serious.
8 Tokyo・Global Environment Conference Headquarters・AV Room
A slide picture is projected on-screen — a bunch of cuts from the remains of the Himalayan avalanche are compiled,
Fukazawa’s voice: “How’s that possible? It’s like the mountain is gone.”
The lights in the room come on.
Shigeki Fukazawa (50) — Global Environment Conference Chief, and Masako.
Fukazawa: “(sigh) Not even in the South Pole has there ever been drifting ice this big.”
Masako: “With global warming progressing this far, you can’t say it’s just science fiction. It’s an undeniable reality.”
Fukazawa: “(stands up, walking around) The country has to think about this more seriously, too. With just this much money, we won’t be able to catch up with reality and that’ll be a terrible thing.”
Fukazawa and Masako come out from the AV room.
Masako: “Chief, about this thing from back then…”
Fukazawa: “Oh, the dinosaur egg, right?”
Masako: “About the investigation.”
Fukazawa goes to his seat. He packs up his bag with books, various documents, etc. on the table,
Fukazawa: “Sorry, but can’t it wait until I get back from Himalaya?”
Masako looks dissatisfied.
Fukazawa: “(to calm her down) A special budget, no matter where I knock, won’t come right away. Isn’t it fine, anyway? If it’s really an egg, it won’t move or anything.”
Masako: “(even so) If I find a sponsor myself, can I go?”
Fukazawa: “You’re quite stubborn, aren’t you? Fine, go ahead.”
10 Nepal・Mountain village — Night
Many houses are illuminated by the dim light of the moon.
Suddenly, they are covered by the shadow of a huge monster.
Like a unicorn, there is a big sharp horn.
A flash goes off, and at the same time the whole area is engulfed with fire and a bursting explosion.
11 Tokyo・Old building in Shinjuku
“Japan Documentary Center” can be seen on some overhanging signboards.
Andoh’s voice: “Game Soft Company is the general incorporated association, though—”
12 Japan Documentary Center・Office
Stacks of video tapes, photography equipment, editing equipment — a room that looks like a combined warehouse, office, and editing room.
Andoh and Masako arrive at the sorry-looking lounge suite.
Andoh: “When I told them that it might be a dinosaur egg, and that we could monopolize commercialization and stuff, they were sold.”
Masako: “Isn’t that good?”
Andoh: “But, that’s half the budget. If we bring the other half to the TV station, sure enough, they’ll want to see the end result first. Bargaining hard for the finished product is their tactic.”
Andoh: “No, I’ll go with however much there is, no matter what. That is my gamble.”
Masako: “(happily) I see.”
Andoh: “But, we have to limit our scale to a minimum. If we include a coordinator and staff from their side, then two people is the limit on our side.”
Masako: “Andoh-san and me?”
Andoh: “(shakes head) You can’t roll a video camera, can you?”
Andoh: “Me and someone else I know, someone who’ll be able to roll the camera and drive, someone young who can do anything. We’ve traveled around Africa before.”
Masako: “Give me a break, I’m the one who brought this up, how can you not take me along!”
Andoh: “I’ve checked the map, it’s quite deep in the jungle. A little too hard for a lady to go to.”
Masako: “I’m way tougher than what you imagine me to be. And…”
Masako: “Deep in the jungle and rivers and such, you don’t know what kind of viruses might be there. Are you planning to go to such a place with just one first aid kit? I am a doctor.”
Andoh, thinking — I guess I have no choice.
13 A temple in the outskirts of Kathmandu・Panoramic view — Late at night
A flapping noise from an open window.
A monk who seems to have awakened to the sound comes to close the window.
The monk looks out the window — !!
A black mountain is outside the window.
Monk: “Was there a mountain in such a place…?”
Suddenly, two eyes shine on the black mountain. The eyes glare at the monk.
The monk is unable to stand up or utter any cry. He runs away crawling.
The black mountain rises with a boom.
15 Giant black shadow looms over the temple
An arm from the mountain appears. Its claws gleam gently, extending to the temple.
With one nail, the temple crumbles noisily.
16 Malaysia・Certain port city of Borneo Island
17 Bar-like restaurant outskirts
Local boy Puto (9), and Jyoji Minamigaki (40) with worn out jeans, jacket, and stubble, play Shogi on the table. Puto is winning, Minamigaki’s clicking his tongue.
The door opens, and three shadows enter — Andoh, Masako, Takuya Fujita (24). All three are consolidating themselves in an outdoor style.
Minamigaki rises upon seeing Andoh.
Minamigaki: “Are you Andoh-san?”
Andoh: “Mr. Minamigaki?”
Minamigaki nods, and the two shake hands.
Minamigaki: “I couldn’t come pick you up at the airport, sorry.”
Andoh: “Likewise, the plan for 2 suddenly became 3. We’re on a budget, so pardon me for the inconvenience, (points at the 2) cameraman Fujita-kun and producer Tezuka-kun.”
Minamigaki: “Jyoji Minamigaki, the world-wandering photographer. Allow me to be the coordinator this time.”
When the greetings end, each takes a seat.
Andoh: “(to Minamigaki) The guide’s not here yet?”
Minamigaki: “He’s coming.”
3 people — ?
Minamigaki points to Puto.
Puto: “(with a smile) Nice-to-meet-you.”
Andoh: “This kid?!”
Minamigaki: “(nods) Since you brought 1 more person there, we couldn’t hire a local man.”
Andoh, as if trying to say it’s all your fault, looks at Masako.
Masako: “(ignoring Andoh, to Minamigaki) Is it okay with a kid?”
Minamigaki: “There’s no one as qualified as this one. This child was born and raised in the village closest to our destination.”
Masako: “Inside the jungle?”
Minamigaki: “(nods) After losing both his parents, he was taken care of by a priest in this town. He was also taught a little English in the church. He himself is very happy to be able to go to his village, and the church also says they don’t need money as long as they can help.”
Andoh: “(feeling better) It’s the best cast, then.”
Masako — anxious.
Minamigaki: “So, when are we heading out?”
Andoh: “As soon as possible.”
Takuya: “What about a car?”
Minamigaki: “Since we have some leftover money from the guide budget, I’ve prepared a good one. (grins)”
18 Panoramic view of Kathmandu
19 National Museum of Nepal・Panoramic view
20 Same・Conference room
Surrounding a conference table, Fukazawa, Sajit Singh (Director of Nepal National Museum), Sūn Shì Jī (Beijing University・Professor of Archeology), Somna Payak (Thailand・Chulalongkorn University・Professor of Paleontology), and others are lined up.
Fukazawa: “Well, regarding that huge avalanche, if global warming melting the ice wasn’t the cause, then…”
Somna: “Of course, there is no doubt the cause was something big, plus—”
Somna: “Something with huge power worked its way out from under the snow.”
Fukazawa: “But, what on earth…?”
Sajit: “After the big avalanche, this is what happened in my country (then, pulls out several pictures).”
Photo — a mountain village burned in Nepal, a monastery destroyed in the outskirts of Kathmandu, huge footprints left, traces of claw marks, etc.
Sajit: “A huge creature. It was asleep under the snow all this time.”
Somna: “(picks up the photo) Could it be the legendary Abominable Snowman?”
Sajit shakes his head unknowingly.
Sūn: “(speaks quietly) Bagan.”
Everyone looks at Sūn — “Bagan?!”
Sūn: “Make an empty vow, misconstrue your prayer, in other words, Bagan, it will overtake your path — it is a monster written in our ancient documents, the Wen xuan. It will appear from the mountain, dive in the water, and soar through the sky.”
Fukazawa: “Are you saying that such a monster is real?”
Sūn: “(shakes head) I don’t know, either. But when the country’s in disorder, the world is dirty, and people’s hearts are filled with evil, Bagan will appear from the depths of the earth.”
21 Borneo Island・Jungle
A piece-of-junk truck with a tarp roars its engine and runs.
22 Truck・Driver’s seat
Takuya is in the driver’s seat, while the young boy Puto gives directions in the passenger’s seat.
Takuya: “Dammit! Where is a better car, this piece of junk.”
23 Same・Luggage carrier
Next to the stack of luggage sits Masako, Andoh, and Minamigaki who has a camera hanging around his neck.
Trucks carrying logged trees pass by quickly.
Masako: “So many big trees cut down…”
Minamigaki: “It’s all being sent to Japan.”
Masako: “To Japan?”
Minamigaki: “Yes, they will be exported to noodle shops and made into disposable chopsticks.”
Minamigaki: “Me, ever since I rushed out with a camera at the time of Vietnam War, I haven’t returned to Japan at all.”
Andoh: “So, 20 years.”
Minamigaki: “(nods) During that time, I’d heard rumors of Japan here and there around the world. Japan, which was gradually growing bigger like a monster. Before I knew it, I’d become scared to return to my own country…”
The truck bounces off the road, and straight into the jungle.
Andoh: “(to the driver’s seat) What’s wrong?”
From the driver’s seat, Takuya looks back.
Takuya: “The boy knows a shortcut.”
24 Truck running through the jungle along a trackless path
— And it is piled up,
25 Night, natives emerge on the other side of the headlights
The truck arrives at Puto’s village.
26 Puto’s village — Night
Poor houses made of logs can be seen around the field.
The people come out of their houses, run up to Puto like they missed him, and are calling out to him.
Puto introduces Masako’s group to an elderly man who is like the head of the village.
27 Same・House of the village chief
The village head holds a hospitality banquet — whole roasted monkey.
Masako, Andoh are appalled.
Minamigaki and Puto eat it deliciously.
Takuya hesitantly tries it — it’s good.
Takuya: “(to Masako) It’s good. Why don’t you try eating some?”
Masako: “I’ll pass.”
Masako reaches for the vegetables and fruits instead.
After the meal —
Masako shows the photo taken from the Landsat to the village chief.
Takuya turns the video camera.
The village chief, who looks at the egg in the photograph, talks to Puto about something.
Minamigaki, who hears the conversation, tells Masako.
Minamigaki: “He seems to be saying that it is the egg of the guardian deity of the forest.”
Masako: “The guardian deity of the forest?”
The village chief nods, and speaks in a low voice.
Village chief: “Mothra.”
Masako, Andoh look at one another.
28 The next day — Morning
From the riverbank of the village, two canoes go out.
Andoh, Puto, Minamigaki are in one boat. Masako, Takuya, and the equipment and luggage are in the other.
29 Canoeing up the river
Into the depths of the jungle. The current is becoming more rapid.
Minamigaki controls the canoe with his trained arms.
Takuya’s arms are also pretty strong.
Puto reviews the surrounding landmark’s rocks.
The two canoes go deeper down the river, and deeper.
30 The canoes anchored in front of a big waterfall
The party lands and unloads their luggage.
31 The party climbing a cliff
32 Tents set up on the river beach (Base camp) — Night
Takuya makes a fire, while Masako warms a meal.
Andoh, Minamigaki, Puto return from their reconnaissance of the vicinity.
Andoh: “(to Takuya) Prepare the camera.”
Masako: “…? Is there something?”
Andoh: “It’s a cave.”
Cutting loose the ivy entwined on the entrance, the party goes inside.
While shining a flashlight, the party proceeds through the narrow tunnel.
Finally, they come out to a wide space that couldn’t have been imagined from the entrance.
Masako shines the light of the flashlight — part of a painting is illuminated.
A huge unicorn-like creature’s head.
Takuya illuminates the entire wall with a battery light.
The unicorn and many large insects with giant wings look like they’re fighting (the sizes of the unicorn and large insects can be grasped from the humans drawn together with them).
Masako: “What on earth is this…”
Andoh: “(to Takuya) Camera, roll it.”
Takuya sets up the camera.
The party stands before the mural illuminated by light.
In the dark behind them, there are ten or so shining eyes, 4 among them being small little shining eyes — and they are watching intently. Masako and the others don’t realize they’re being watched, they’re fascinated by the strange wall painting.
They’re simple lines, but the unicorn drawing shows plenty of its ferociousness.
35 India・Calcutta — Night
The Hooghly River — a giant black body appears in the large stream.
It’s Bagan — a face that looks like the devil down to its prominent horn, a back like a rocky mountain, chest like black armor, hands and legs with sharp nails that look like artificial arms.
Towards the moonlit night, it roars. It heads to the city of Calcutta.
36 Kathmandu・Hotel room
Beside a bed, a phone rings.
Fukazawa, awake, picks up the receiver.
Fukazawa: “What?! It appeared!”
Bagan proceeds to destroy the city.
It releases an intense light ray from its horn. There is an explosion, and a building burns up.
38 Helicopter point of view
As Calcutta rises up in flames, like a giant mobile black rock, Bagan advances.
39 Inside the helicopter
Fukazawa, Somna, Sūn watch overhead, their breath taken away.
Fukazawa: “That really is…”
Sūn: “It is Bagan.”
Fukazawa: “I can’t believe it.”
Somna rolls the 8mm video camera that he’s holding.
It submerges into the Bay of Bengal.
41 Borneo Island・Outback
Andoh, Masako advance, wading through tall thickets of grass that reaches above their backs.
The party eventually comes out of the thicket and stops.
Masako, Andoh — !!
Takuya involuntary sets up the camera.
A huge egg towers before their eyes.
Masako: “(involuntarily) It’s so huge…!”
Takuya: “(looking through the viewfinder) This won’t fit on the camera.”
Andoh: “(joy gradually rising) All right! It’s the greatest discovery of the century!”
Andoh rushes over to touch the egg, becoming hyper like a child.
Masako also approaches the egg.
At that moment, singing voices can be heard from the direction of the egg—
The words are indiscernible, but it is a beautiful melody.
All present — ?! Everyone looks around.
Andoh: “Who is it?”
Takuya searches around the direction of the singing voices with his camera.
There are figures at the bottom of the egg.
Like the lens had mistaken the figures of the people — there are two little small girls.
Takuya zooms. Two small beauties (Shobijin) are singing.
Andoh, Masako find the Shobijin.
Minamigaki also clicks his camera shutter rapidly.
Andoh: “What… is this?”
Masako: “You girls, just what…?”
Minamigaki approaches his subjects while peeking through the finder, gradually inching closer to the fairies.
Frightened, the Shobijin flee.
Masako: “Please wait!”
Minamigaki chases them.
The Shobijin run away, into the palm of a big hand. Suddenly, seven strong men appear from behind the egg. The Shobijin are in the hand of one of these men. With muscles and skin the color of iron, the men’s bodies are wrapped in beast skins. Each holds a spear in their hands.
Masako, Minamigaki are breathless.
Takuya takes his eyes off the camera.
One of the men calls out to them.
Minamigaki seems to understand some of his words.
Minamigaki: “(to Andoh) “What are you here for, what are you doing,” he seems to be saying.”
Minamigaki speaks in their weird local language with the help of Puto.
It looks like their words got through. The man replies.
Minamigaki: “When I said that we’re with a Japanese TV station, and that we came here to record this egg, they said it’s an important time as this egg’s about to hatch. We’re being told to leave quickly.”
Andoh: “Ask them to let us film it while it’s hatching.”
Minamigaki tries to talk.
The men yell roughly and hold up their spears.
Andoh, Masako — Shock!! and tumble over.
Puto hastily persuades with the men in a panic.
The man lowers his spear and speaks.
Minamigaki: “He says they will kill us if we don’t leave soon. Puto said even if we go back now, it’ll be dark halfway through. Tomorrow, as the sun rises, we will leave, I beg of you.”
The man says one, two words with a gesture showing “understood”.
Minamigaki: “It seems he understood our reasoning. We absolutely have to leave tomorrow morning. Otherwise, our lives will be gone.”
Masako bows her head as if to say “Thank you” the men.
The Shobijin in the man’s palm respond to Masako with smiles.
The men turn around to leave.
Everyone breathes a sigh of relief.
Andoh, Takuya look at the camera.
Andoh: “(still somewhat excited) Taku, the video’s still rolling, right?”
Takuya gives the OK sign.
Andoh: “I win. The people at the TV station, it’ll be fun to see what kind of faces they’ll make!”
Minamigaki orders something to Puto in a low voice.
Puto runs to where the men left.
Masako: “(to Minamigaki) Where is Puto going?”
Minamigaki: “I sent Puto to tail them.”
Masako: “(unpleasantly) You had him do what?”
Minamigaki: “Knowing the enemy’s location is necessary for our safety. Lady.”
Masako: “(annoyed) Are you saying they’re enemies?”
Masako glares at Minamigaki.
42 Cave with the wall painting・Inside
The Shobijin and seven men enter.
Puto watches from the cover of a rock.
43 Base camp — Night
There are 3 tents — one is Masako and the luggage, another is Andoh and Takuya, and the last tent has Minamigaki, Puto, and the video equipment.
Everyone is asleep. Only Minamigaki’s sleeping bag next to Puto is empty.
44 Waterfall near base camp
Minamigaki throws the video camera and finished tapes into the waterfall and leaves.
Minamigaki takes out two cans from his pocket and goes to the entrance. He throws the cans inside. There is the sound of cans breaking.
White smoke fills.
Minamigaki, who is watching his wristwatch, waits for a suitable amount of time to pass, then puts on a prepared gas mask and goes inside.
After Minamigaki enters, there is a figure under the shadow of a rock — it’s Puto.
He watches warily.
A cave with a wide space.
Seven men are lying unconscious on the ground.
Minamigaki, turning on a flashlight, checks the number of men, then begins searching for the Shobijin with great haste.
He searches the inside of the cave’s rocky cavities one by one.
He finds them — the two Shobijin collapsed on top of each other.
Minamigaki wraps the two in the palm of his hand and heads outside.
Out comes Minamigaki, who gently puts the Shobijin in a prepared case.
Puto, who has been hiding in the cover of a rock, understands the plot of Minamigaki. He runs back towards the tents.
50 Base camp
Puto jumps in, waking Masako.
Puto: “Masako, Masako!”
Minamigaki climbs down with the case in hand.
52 Base camp
Andoh and Takuya come out of their tent.
Andoh: “(to Masako) What happened?”
Masako: “That man!”
Two canoes are anchored.
Minamigaki splashes one of the boats with gasoline fuel. After dousing it plenty, he grabs his case and rides in the other boat.
After lighting his lighter, he throws it into the gas-drenched canoe.
The canoe burns with a roaring sound.
54 Base camp
Masako approaches Andoh.
Masako: “He used the chloroform, it’s gone.”
Andoh: “What a guy!”
Takuya: “That guy, he also threw away the video camera and recording tape somewhere.”
Andoh: “What did you say—!”
Puto comes running back breathlessly.
Puto: “Fire, fire!”
The three people rush towards the waterfall pointed to by Puto.
The three people and Puto approach.
A canoe is burning.
The canoe carrying Minamigaki is nowhere in sight.
The three people are stunned. Puto is shouting angrily in a loud voice.
56 Base camp
The three people and Puto return.
Andoh: “Quick, if we don’t get away from here too, when those guys wake up it’ll be dangerous.”
Masako: “It was Minamigaki who kidnapped the Shobijin. If we just explain properly—”
Andoh: “You think they’re people who’d listen and understand?!”
As expected, Masako is also convinced.
Takuya: “But without another canoe, how?”
Puto: “I, know, I know, another way.”
Masako: “There seems to be another way.”
57 Morning sun rises in the jungle
58 Party moving on the cliff path following the river
A suspension bridge comes into view ahead.
59 Suspension bridge
It is considerably aged, and the hanging ropes appear insecure.
Andoh: “Is this all right?”
Puto: “Only one, okay?”
Masako: “You mean only one person at a time?”
Puto nods and crosses the suspension bridge quickly to the other side.
From the other side, he shouts: “Only, one, okay!”
Andoh: “Well, I’ll go first.”
Andoh crosses over. As expected, when the grown adult Andoh crosses over, the rope creaks.
Still, he manages to reach the other side.
Andoh: “(towards Masako and Takuya) Taku, let Masako go first!”
Masako: “I will go.”
Masako crosses over. In the middle, (it always happens at times like this) a bridge plank breaks.
Masako’s leg slips down. She shrieks.
Masako tries her best to pull her leg back while standing on one leg somehow.
Masako is relieved. After she’s alright, she turns to Takuya and—!!
Seven men follow the cliff path. They are approaching Takuya.
Takuya, Andoh also notice the men.
Andoh: “Taku, cross over quick!”
Takuya: “But, if 2 people cross over…”
Andoh: “Run across, Masako you run, too!”
A spear brushes against the hesitant Takuya’s body.
Takuya decides to run.
Two people are now on the bridge.
The rope on Takuya’s side tightens and snaps, splitting off as it’s unable to bear it anymore.
Masako shrieks, and grabs ahold of the bridge’s rope.
Takuya, the moment he falls, grabs onto a plank.
The suspension bridge, swinging in an arc to Andoh’s side, crashes into the cliff below.
Masako and Takuya endure the shock and are barely clinging on.
Andoh: “Get up quickly!”
Masako musters her willpower to climb up.
Takuya also goes up, using the bridge planks like a ladder.
Men toss spears at the 2 people.
A spear pierces nearby, barely hitting them.
Another spear hits the rope, 1 of the 2 ropes splits.
Masako — it’s hopeless.
And, at that moment.
Behind the seven men, a light bursts over the mountains.
A loud sparkling noise —
The men turn around facing the mountain, loudly chanting “Mothra” “Mothra”, and run back in a hurry through the cliff path from where they came.
60 Mothra’s egg
Light forms in zigzags around the shell.
Along with the light, the shell starts cracking open.
61 Suspension bridge
Masako and Takuya use the rope, finally climb up.
Standing on the cliff, Andoh, Masako, Takuya, and Puto look toward the flash of light over at the mountain.
Masako: “Mothra’s egg is hatching.”
62 Minamigaki’s canoe proceeding in the river
Minamigaki also looks back, staring at the flash of light over the mountain.
The Shobijin in the case sing sorrowfully.
The song continues into the next scene.
63 Mothra’s egg
The shell splits open along the cracks.
7 men watch over (hitting the drums, dancing and such are okay…).
Flicking off eggshells, Mothra Larva emerges from within.
64 The Shobijin singing in the case
Their song gradually becomes louder — in hopes of Mothra’s help.
65 Mothra’s egg
Responding to the singing voices of the Shobijin and breaking the remainder of its shell, the Mothra Larva reveals its whole body.
Mothra gives her first cry.
― F ・ O
66 Puto’s village
Led by Puto, Masako and the others arrive.
Masako staggers and collapses.
Andoh is also very tired. He sits down.
Takuya checks for the truck.
67 Same・Where the truck was parked
There is no truck.
Takuya, who came to check, clicks his tongue in annoyance.
68 Jungle road
The truck drives on.
69 Truck・Driver’s seat
Minamigaki drives, looking triumphant.
The case of the Shobijin is on the other seat, covered by a sheet.
70 Puto’s village・Plaza
Andoh and Masako are sitting and talking.
Masako: “Is he really going to take those girls to Japan?”
Andoh: “He must be. It’d be his greatest souvenir for his return to Japan. Television, the press, agencies, they will all come rushing to him.”
Masako: “Such a dirt bag.”
Andoh: “Definitely. (lies down on his back) But, it’s not like I don’t understand.”
Masako: “… (looks at Andoh)”
Andoh: “Even scum have stubborn pride. Before that pride, as you can see, they are powerless. They can’t help themselves.”
Masako: “(sighs) By the time we reach the town on foot, the airplane will be heading for Japan.”
Takuya and Puto come with the village chief.
Takuya: “Andoh, there seems to be an airplane.”
Andoh: “(getting up) What?! In this village?”
Takuya: “According to the village chief, in the past, it fell nearby and they picked it up.”
Takuya: “(to Puto) Sky, flight, okay?”
Puto: “(pointing to the sky) Okay, okay!”
71 Same・Excavation hut
The village chief opens the creaky door.
Inside is a deflated, dusty balloon.
Andoh: “What is this?”
Masako: “Isn’t that a balloon?”
Takuya: “That shocked me. You said the past, but it was actually from the 19th century, wasn’t it?”
Puto: “Sky, flight, sky, flight!”
The balloon is swelling.
Takuya examines the equipment.
Takuya: “It seems to be okay.”
Andoh: “Hey Taku, are you for real with this thing?”
Masako: “Can you fly it?”
Takuya: “Back in my school days, I did this.”
Masako is half-anxious, half-excited.
73 Above the large forest
The balloon emerges, floating in the sky.
74 Inside the balloon basket
Masako, Andoh, Takuya, Puto.
Takuya: “See, it flew!”
Masako: “(delightfully) So great, I’ve always wanted to ride in something like this at least once.”
Puto: “(happily) Sky, flight, sky, flight!”
Andoh: “But, can we fly this to where we want to go?”
Takuya: “If the wind is on our side.”
Masako: “(pointing down) Look, it’s Mothra!”
Everyone looks to see where Masako is pointing.
75 Looking from the balloon
Mothra, who broke out of her egg, proceeds through the forest. She heads towards the sea.
76 Balloon in the sky
Floats, slowly, but it is definitely moving forward.
― F ・ O
77 Bay of Bengal・Underwater
An Indian nuclear submarine is in motion.
Fukazawa, Sūn, Somna are on board. They look at the radar with the crew.
The radar does not detect anything.
Somna: “The radar is unable to tell the difference between it and the undersea rocks…”
Fukazawa: “(nodding) It was originally something of a mountain monster, after all.”
The nuclear-powered submarine advances.
On the rocks at the bottom of the sea — two eyes shine eerily.
80 Singapore・Panoramic view
81 Changi International Airport
82 Same・Airport building・Departure counter
Minamigaki is beginning the boarding procedure — dressed up in a businessman-style suit, in his hand is box-shaped luggage.
83 Same・Airport building・Front
A jeep being driven by Andoh comes to a stop. Masako, Puto exit the vehicle.
Takuya, who was waiting in the building, comes out and meets with the three people.
Takuya: “On the passenger list for the next flight to Narita, there’s Minamigaki’s name.”
Andoh: “He really is taking them back to Japan, isn’t he…”
Masako: “It was nice to have made it in time.”
The four people enter the building.
84 Same・Control tower
An air traffic controller watching over the runway — “What, what is that!”
It is Mothra Larva.
Landing from the sea to the runway.
She steadily advances on the runway. A stopped jumbo aircraft is crushed, causing an explosion and flames.
86 Same・Waiting lobby
Passengers who are watching the sight on the runway start screaming and running away.
Sirens echo throughout the airport.
An announcement is made informing an emergency situation.
87 Same・Stairs to the lobby
Masako is caught in the crowd of people running away and cannot proceed.
Andoh: “What happened!”
88 Same・Waiting lobby
A stunned Minamigaki stares at the figure of Mothra, away from the noisy crowd.
Minamigaki: “No way…”
Minamigaki opens the bag. The two Shobijin are inside — singing.
Swearing under his breath, Minamigaki closes the bag and quickly leaves.
89 Inside the bag
The Shobijin continue singing.
Their song continues into the next scene.
Mothra heads toward the airport building.
After crushing an airplane standing by at the airport apron, she approaches the building.
91 Airport building・Front
People are running away, flooding all the exits.
Masako and the others come out as if being pushed back by the flood of people.
Masako: “He’s here among this crowd! We’re so close to catching him…”
Andoh: “(pulls Masako) The airplanes aren’t even flying. That dude cannot escape this town, either. Let’s go.”
Andoh takes Masako back to Takuya and the jeep.
Blocking out general vehicles, army troops enter — tanks, armored cars, rocket artillery, trucks, etc. head for the airport.
93 Airport as seen from a helicopter
An airplane bursts into flames.
Mothra begins destroying the airport building.
94 Airport building・Front
Breaking apart the airport building, Mothra looks up.
An attack helicopter formation of the Armed Forces is flying overhead.
The attack helicopters assault Mothra all at once.
Fired missiles, Vulcan cannon.
Explosions wrack the body of Mothra.
Mothra’s body tenses and shakes as if surprised.
95 Jeep leaving the airport
Takuya drives. The jeep cannot proceed due to a traffic jam.
Masako is looking back towards the airport.
She can see the figure of Mothra being attacked by helicopters.
Masako: “Somehow, I feel sorry for it. Mothra isn’t at fault…”
Takuya: “(nodding) Mothra only came here to take back the Shobijin, surely.”
Andoh: “If that’s so, then Minamigaki’s boss’s sin is deep.”
Masako: “How can we find him?”
Andoh: “Until he can fly to Japan, he has no choice but to wait here. He would have needed to book a hotel somewhere.”
Masako: “That’s right.”
Takuya: “Let’s examine the guest lists of the city’s hotels.”
96 Mothra at the airport
Mothra, just as she is caught in the attack of the attack helicopters, spits thread from her mouth.
The discharged thread entangles an attack helicopter.
The attack helicopter stalls and crashes, creating a big explosion.
Mothra proceeds to spit thread at the remaining attack helicopters, one after another.
Attack helicopter units fall, and explode.
Ground troops go in to attack.
Tanks, howitzers, rockets, anti-aircraft missiles are fired.
They land on Mothra’s body, one after another.
Mothra spits thread at the ground troops mercilessly.
The ground units are trapped in the thread and cannot move.
Mothra moves. Her large body is enveloped by tank, rocket, missile attacks.
97 Armed Forces headquarters
Commander Ramada is responding via radio.
Ramada: “What?! Annihilated?!… The monster is headed towards the city!”
Ramada cuts off the radio. He instructs his subordinate.
Ramada: “All remaining troops go into the city.”
Ramada makes a phone call.
Ramada: “Oh, is this Mr. President? With our army unable to put up resistance, this could be considered a worst-case situation. I would like to request a support order to the United Nations. … Thank you.”
98 Singapore city・XX Hotel・Lobby
Masako and Andoh are on a lounge table.
Takuya and Puto arrive. They shake their heads as if saying it’s no good, then take a seat.
A list of hotels in the city is placed on the table —
Most are crossed out.
The last 3 are erased.
Masako: “Is that all?”
Andoh: “That guy, where could he be hiding…”
Announcement — “The monster is heading towards the city. All remaining guests in the hotel, please evacuate to Fort Canning Park at once.”
The lobby starts becoming busy.
A guest with children is behind Masako, bumping into another guest.
A child drops their locomotive toy.
Masako picks up the locomotive that fell at her side and hands it over to the kid—!!
Andoh, Takuya — ?
Masako: “The Malaysia Railway.”
Andoh: “! — The Malaysia Railway from Singapore to Bangkok.”
Takuya: “If you go to Bangkok, there would be a number of flights to Japan. (rising) I will go to Singapore Station.”
Puto catches up with Takuya.
99 Central Area, Singapore・Jalan Besar (Night)
Mothra comes up.
A defense line of troops are mobilized along the canal.
Mothra enters the canal.
An underwater missile that was set in the canal explodes.
Along with an intense water column, Mothra springs up.
For a moment, she floats in the air, then strikes the surface of the water again.
The water column is higher than a skyscraper.
Weapons such as missiles, rockets, etc. lined up on the defense line are fired all at once.
Mothra is engulfed in fire and smoke. She cannot move.
100 Armed Forces headquarters
Ramada watches Mothra on a monitor.
Ramada: “We did it!”
101 Jalan Besar
In the smoke —
Again, weapons lined up on the defense line are fired.
Mothra is aggravated. Her upper body unexpectedly contracts, and springs to hit the row of tanks, grenades, rockets, and anti-aircraft missiles lining the canal.
The defense line has been pummeled by Mothra, and weapons explode sequentially, one after another.
Mothra, fairly wounded, seems exhausted and advances slowly.
102 Armed Forces headquarters
Ramada is watching the monitor.
Ramada: “(to his subordinate) Connect me to the president.”
103 Singapore Civic Centre
Mothra approaches slowly.
In front, the 73-story Westin Stanford Hotel comes into view.
Mothra, as if she has decided on that as her target, heads for the Westin Stanford Hotel.
104 Malaysia Railway・Singapore Station・Home
It is crowded with many people evacuating.
It is just before the departure of the Asian international train.
Takuya walks along, checking each train window.
105 Same・International train・Within a passenger car
Puto walks down the aisle, carefully looking at the seats on both sides.
With a bag on his knee, the figure of Minamigaki appears, who is waiting for departure.
Puto — !!
Puto comes down from the train and calls Takuya.
Train departure bell.
Puto sees Takuya rushing over.
Takuya tries to catch the train, but the train starts moving.
107 Fort Canning Park
A small hill overlooking the city.
People who evacuated are gathered.
Among them are Masako, Andoh. Mothra begins climbing up the side of the Westin Stanford Hotel.
108 Westin Stanford Hotel
Mothra seems to cling to the building. She spits thread from her mouth.
The discharged webbing gradually envelops Mothra.
109 Fort Canning Park
110 City Hall・Roof
Army soldiers are monitoring Mothra with binoculars.
Ramada gazes at Mothra, who is turning into a cocoon.
111 Westin Stanford Hotel
A huge cocoon now wraps Mothra — it is attached to the building.
112 Fort Canning Park
The people cannot help but notice Mothra’s cocoon.
Masako, Andoh —
Takuya and Puto arrive.
Takuya: “He was there. The train destined for Bangkok at XX hour XX minute just left.”
Andoh: “Is that so?”
Masako: “If you drive the jeep at full speed, can we get ahead of it?”
Andoh: “I can try.”
Everyone heads to the jeep.
113 Train running on Malaysia railway at night
Minamigaki sleeps on the booth’s seat.
In the bag on the shelf, the Shobijin sing.
The song flows into the following scene.
114 Westin Stanford Hotel
The cocoon of Mothra is lit up by military floodlights, appearing pure white.
The music becomes instrumental —
115 City Hall・Roof
Ramada watches the cocoon through binoculars.
A messenger soldier arrives.
Soldier: “(to Ramada) In response to the request of the United Nations, today, four Maser tanks have arrived at the Air Force base from the US Army in the Philippines.”
Ramada: “(appearing content) OK. At dawn tomorrow morning, we will start a heat ray attack on Mothra’s cocoon.”
116 Jeep running on the national highway in Malaysia at night
Takuya is driving. Andoh spreads open a map next to him.
Masako is in the back seat. Beside her, Puto is sleeping peacefully.
117 Off the coast of the Strait of Malacca (Night)
A large ship is proceeding.
The quiet wave front suddenly winds into a vortex and the seawater rises.
From the center, Bagan appears.
Bagan snatches the large vessel in its ferocious claws.
The large vessel is destroyed like a toy.
118 Indian Army Submarine・Inside
A wireless SOS is sent.
Radio staff call for a response. Behind them are the figures of Fukazawa, Somna, Sūn.
Radio staff: “The signal has fallen. It seems it was sunk.”
Fukazawa’s group looks at each other.
Fukazawa: “It’s off the coast of Malacca… (he looks it up on the map)”
Somna: “Are you planning to come to my country?”
119 Singapore (Morning)
The morning sun embraces the cocoon on the Westin Stanford Hotel, shining brightly.
120 Westin Stanford Hotel front
Four Maser tanks are in place.
The heat ray guns aim at the cocoon.
121 City Hall rooftop
Ramada has a tense look on his face.
The jeep runs along Chaoyang. It runs through an overpass crossing the track.
The international train passes under the overpass a little after the jeep.
123 Singapore・City Hall rooftop
Ramada: “Commence the heat ray attack!”
124 Westin Stanford Hotel front
Heat rays are fired all at once from the Maser tanks at the cocoon.
125 Cocoon of Mothra
The area receiving the heat ray attack gradually heats up, eventually a fire rises.
The cocoon burns.
126 City Hall rooftop
Ramada: “Alright! Stop the attack!”
127 Cocoon of Mothra
Only a portion of the surface burns away, exposing the inside.
The heat on the inner surface causes a sharp crackling.
128 City Hall rooftop
Ramada’s other military superiors — ?! They breathe in and watch.
129 Cocoon of Mothra
The cracked parts break down, and from inside, the head of the adult Mothra appears.
Furthermore, giant wings appear from the cocoon.
130 City Hall rooftop
Ramada’s group — !!
Raising a high-pitched cry, she spreads her wings and soars into the sky.
In the sky, twice, three times, her large wings flutter.
A gust of wind occurs.
132 Westin Stanford Hotel front
The Maser tanks get caught in the gust of wind and crash into a church. The church collapses.
133 City Hall rooftop
Ramada’s group is knocked down by the terrible wind.
134 Running train・In the passenger cars
Minamigaki wakes up and sits up in his seat.
In a bag placed near his feet, the Shobijin sing Mothra’s song.
As if she could hear the song of the Shobijin, Mothra makes a large turn in the sky and flies northward.
136 City Hall rooftop
Ramada sees off Mothra as she leaves.
Ramada: “(anxiously) Where to now? There is even more evil awakening…”
137 Station near the Thailand・Malaysia border
Andoh, Takuya, Puto, and Masako wait in the hub.
The international train arrives.
Everyone climbs aboard.
138 Mothra flying in the sky
139 International train running
140 Same・In the passenger cars
Puto leads Masako and walks through the aisle. On the camera, the edge of a seat comes into view. They approach it.
Minamigaki and Masako notice each other. Minamigaki hugs the bag and walks down the aisle.
Masako: “They’re inside the bag, huh?”
Minamigaki: “What is?”
Takuya: “Don’t play dumb.”
Andoh: “Give it back.”
Minamigaki: “This is mine. I have the right to take it.”
Andoh: “Don’t say such stupid things! Minamigaki.”
Minamigaki: “(interrupting) In the 20 years of warmth and prosperity that you were born into, things like rights existed, did they not?!”
Masako: “Of course we do not have such a right. (strongly) In the same way, you have no right.”
Minamigaki: “Don’t be cheeky, lady. Do you understand my feelings? Me, who has been wandering outside the country for 20 years?”
Takuya: “You’re just agitated! It’s over, so let it be.”
Takuya approaches Minamigaki.
Minamigaki pulls a gun out of his pocket and raises it.
Takuya — ! He stays in place.
From the seated guests, there is screaming and yelling.
Andoh causes Takuya to fall down.
Minamigaki: “You threw away half of my life. I can’t wait.”
Masako, Andoh, Takuya — all glare.
141 Mothra’s appearance (From the sky)
A train runs between the rocky mountains along the coast facing the Gulf of Thailand.
— Mothra gradually heads towards it.
142 Train・Conductor’s seat
Assistant: “(looks out the window — !!) What, what is that!”
143 Same・In the passenger cars
The figure of Mothra approaches from outside the window.
— A passenger looks out and shouts.
Hearing the voice, everyone in the passenger cars look out the window.
Minamigaki also looks.
In that moment, Takuya kicks Minamigaki’s gun with his feet, and jumps.
In the bag rolling on the floor away from the hands of Minamigaki, the Shobijin flip about, and scream.
She grazes over the upper windows of the train.
145 Train・In the passenger cars
Window glass cracks due to the tremendous wind pressure.
Screams resonate from the guests.
U-turns from the mountains to the sea.
She flies over the train again, this time closer than before.
Its wheels are momentarily lifted off the rails.
Some of the rear portion is torn away from the coupler and is blown away.
148 Same・Masako’s passenger car
The parts that were not blown out shake in shock. A person falls from their seat, another falls down.
Takuya and Minamigaki are entangled, and knock into people.
Takuya loses his balance and collapses.
Minamigaki picks up the bag and staggers, escaping towards the deck.
149 Same・Conductor’s seat
Assistant: “(to the conductor) If you try that again, it’ll be a mess. Head for the tunnel.”
The conductor nods and speeds up.
150 Focused on the train
A tunnel comes into view in front of the rocky mountains.
U-turns over the sea.
Begins approaching the train for the third time.
152 Train running at tremendous speed
Rushes into the tunnel.
Immediately after, Mothra grazes over the tracks.
153 Same・Conductor’s seat
Assistant: “(to the conductor) Brake! We’re leaving the tunnel again.”
Conductor: “It’s too short, I can’t stop it.”
Assistant: “That’s the next tunnel. Stop there.”
154 Focused on the train
The tunnel exit approaches. Beyond the exit, the rocky mountains come into view.
However! The mountain tunnel has been blocked!
155 Same・Conductor’s seat
Conductor: “Wh-what! There is no tunnel!”
156 Wheels squeezing brakes
Against the huge rocky mountain that blocks the tunnel, thud!
Minamigaki is crushed by the impact into a wall. He raises his voice in a deathly cry. His arm breaks the window.
Inside the bag that rolls on the floor, the Shobijin topple over and over.
159 Same・In the passenger cars
Passengers are knocked down while screaming.
Masako, Takuya hit the floor and the wall and faint.
As Andoh and Puto are tottering up, they are hit into their seats.
Andoh, wondering what happened, takes a look outside the window.
160 Huge rocky mountain opens
What looked like a rocky mountain was actually the foot of a huge monster.
Camera pans up from the leg. With a torso like armor and a ferocious face with a sharp horn — Bagan.
Andoh — !!
Bagan roars. It looks up at the sky. In the sky is Mothra.
161 From the sky
From the first camera, Bagan enters towards Mothra.
Mothra notices Bagan.
162 Mothra vs. Bagan
Bagan fires a light ray from its horn. A direct hit on Mothra’s neck.
Mothra, instinctively letting out a cry, retreats.
Bagan fires more light rays from its horn.
Mothra lifts her body, abdomen — her abdomen becomes keratinized like steel, reflecting the light ray, safeguarding her. Mothra returns to her former posture, wholly spreads her wings, and glides towards Bagan like a glider.
Bagan stands alert, Mothra’s attack comes at it again, this time even stronger, and Bagan loses its footing on the rocky cliffs. Without delay, Mothra flies towards the falling Bagan.
The tail of Bagan bends like a whip and hits Mothra directly.
Mothra staggers greatly in the air.
Bagan roars. Standing up, it shoots a light ray from its horn at Mothra’s back.
Mothra tumbles out of the way of the light ray, and swoops over Bagan’s head, gliding downward.
Bagan points its ferocious horn upward.
Furthermore, it raises both its hands, and prepares to skewer Mothra with its extended sharp claws.
Mothra — !! She makes a sharp turn at the last minute.
The steel-like abdomen of Mothra and the horn and claws of Bagan rub against one another, creating a resonating metallic sound while sparks fly.
Mothra rises sharply.
From the back of Bagan, wings like a bat protrude and spread.
Bagan jumps. It stretches out its hands towards the rising Mothra.
Bagan’s sharp claws capture Mothra’s wings.
Like that, the two monsters fall toward the earth with a boom.
Bagan still has both of Mothra’s wings in its grasp.
Mothra desperately flaps her wings, trying to get away, but Bagan does not let go.
Using all its strength, Bagan forcibly turns Mothra to face it.
Bagan’s wide-open, eerie mouth follows Mothra’s face.
At that moment, Mothra fires a powerful Prism Beam from its compound eyes.
The rays hit Bagan’s oral cavity directly.
Bagan lets out a cry and releases both of Mothra’s wings from its grasp.
At close range, Mothra irradiates the face of Bagan with its Prism Beams.
Mothra spreads her wings and rises.
Enraged, Bagan jumps high. One arm reaches for the tail of Mothra.
Bagan floats in the air while grabbing her tail with one arm.
Mothra flies out over the sea.
Over the ocean, Mothra flutters her wings at full power.
She beats gale-force winds towards Bagan, where her tail is still caught.
As expected, Bagan braces itself, but is unable to withstand the tempest and releases its grip.
Bagan crashes into the sea. A huge splash rises.
Over the sea where Bagan sank, Mothra turns.
― F ・ O
163 Thailand・Bangkok・Panoramic view
164 City hospital・Hospital room
Masako wakes up on a bed.
Masako: “(lightly shaking her head) Where am I?”
Andoh is standing next to the bed.
Andoh: “A hospital in Bangkok. Taku is in the next room.”
From behind Andoh, Fukazawa’s face appears.
Fukazawa: “Hey, did it go okay?”
Masako: “(alarmed) Chief!”
Fukazawa: “After chasing Bagan, I came from Nepal all the way to Thailand. (wry smile)”
Andoh: “A monster that doesn’t seem to be of this world that appeared earlier.”
Masako: “(remembering) Where are the Shobijin?”
Andoh: “Still missing at the scene of the accident.”
Masako: “Huh? Then, Mothra…”
Fukazawa: “We don’t know the whereabouts of the girls, while Mothra is still dealing with Bagan, as she’s not moving from over the Gulf of Thailand.”
Puto comes in.
Puto: “(looking at Masako’s face happily) Masako, you, okay?”
Masako smiles and nods.
Andoh: “(to Puto) Taku?”
Puto smiles while giving a thumbs-up.
Masako: “What about Minamigaki?”
Andoh: “He was crushed by the train. We weren’t able to save him.”
Masako: “(In a small voice) I see…”
Andoh: “Still, because it seems that the other two are okay, I’ll return to the hotel. I’ll leave Puto here.”
Masako: “I will go as well. I have to find the Shobijin quickly and return them to Mothra. I can’t sleep in a place like this. (gets up)”
Andoh: “(directed at Masako) For today, you’re a patient.”
Fukazawa: “(nodding) You understand the troubles of a patient who doesn’t listen to their doctor, don’t you?”
Fukazawa: “I will also be leaving soon… (looking at his watch) I have to head to the airport to welcome our guest from Japan.”
Masako: “Guest from Japan?”
165 Don Mueang International Airport
An airplane lands.
166 Same・Arrival lobby
Miki Saegusa (18) appears.
Fukazawa greets her.
167 Sheraton Hotel・Panoramic view
A 28-story high-rise hotel.
168 Same・A room on the upper floors (Andoh’s room)
Andoh is on the phone.
Andoh: “…If you keep saying that after seeing the real thing, then I’ll decide if there’s a real story… 20 million? (laughs) Aren’t you off a bit? Kanto TV is saying 100 million and that…”
The camera moves to the white basket placed for a pet in the corner of the room by the window.
Inside the white basket — the Shobijin. They have fainted and are sleeping.
169 Chulalongkorn University・Main gate
Fukazawa’s voice rises from the previous scene.
Fukazawa’s voice: “This is Miki Saegusa of the National Mental Sciences Development Center.”
170 Same・Professor of Paleontology Office (Somna’s room)
Fukazawa introduces Miki to Somna and Sūn.
Fukazawa: “She says that when Godzilla appeared in Japan last time, she accurately tracked the position of Godzilla’s spirit under the volcano and in the sea. I think that she can find Bagan’s position in the sea.”
Somna: “(nodding) Let’s take a look at a video with Bagan for now.”
Somna rises, switches on the video monitor.
Video screen — Bagan in Calcutta.
171 Same area・Full view — Sun is rising
172 Same・Professor of Paleontology Office
After watching the video, Fukazawa and the rest are considering their plan.
A map is spread out on the table — the position where Bagan sank is marked in the Gulf of Thailand.
Somna: “Then in the morning, we’ll go.”
Fukazawa: “(wondering) Is that okay?”
Miki’s eyes and expression are distant.
Fukazawa — ?
Miki gently closes her eyes.
Fukazawa: “What’s up?”
Somna: “(anxiously) What?”
Miki: “Somewhere, there are voices calling… They are calling for help.”
Fukazawa: “Help? To who?”
Miki: “(opens her eyes) Mothra.”
173 Sheraton Hotel・Andoh’s room — Evening
In the basket, the Shobijin are singing out the window — sorrowful singing voice.
Andoh is not in the room.
174 City hospital・Corridor
Masako’s hospital room door opens. Masako, Miki, and Fukazawa emerge from the inside.
Afterward, Takuya and Puto follow.
Everyone walks into the corridor.
Masako: “(to Miki) We’re not far. How long?”
Miki: “(as if touched) It’s close, within 10 to 20 kilometers.”
Takuya: “Then it’s somewhere in the city…”
Masako: “So does that mean Mothra will come to Bangkok?”
Masako and Takuya’s faces match each other.
175 Mothra whirling over the Thai bay as it approaches dusk
—The Shobijin are singing.
176 Bangkok・Department of Defense・Table — Sunset
177 Same・Secretary’s office
Somna explains directly to the Secretary of Defense that Mothra will come to Bangkok. Fukazawa is also a section chief.
Secretary of Defense: “(in disbelief) Mothra to Bangkok?”
Somna: “It is certain. If you don’t respond fast, this town will be just like Singapore — it will cease to exist.”
Secretary of Defense: “How do you know such a thing will happen?”
Somna: “What Mothra is looking for is in this city.”
Secretary of Defense: “What indeed? This is…”
Fukazawa: “We need to discover what we’re looking for quickly.”
178 City of Bangkok・Rama IV Road — Night
Takuya’s car is driving slowly.
179 In the car
Puto sits next to Takuya, while Masako and Miki are in the back seat.
Miki closes her eyes, concentrating with all of her soul.
Miki: “It’s becoming more distant.”
Masako: “(to Takuya) We’ve already been here, turn back.”
Takuya turns the steering wheel.
180 Rama IV Road
The car forcibly makes a U-turn. A horn sounds from the opposite lane.
The car swerves from Rama IV Road onto Phaya Thai Road.
181 In the car
Miki: “We are close.”
182 Phaya Thai Road
A luxury vehicle passes by Masako’s car.
— The figure of Andoh is in that car.
Masako and Andoh do not notice each other.
183 Sheraton Hotel・Front
Takuya’s car comes to a stop.
Miki: “(looking at the building) They’re here.”
Masako comes out of the car and looks up at the hotel in a very telling way.
Takuya, Puto also exit the vehicle. Takuya sees Masako’s face, who looks as if she’s noticed something.
Takuya: “This place, could it be…”
Masako: “That’s right, this is the hotel Andoh’s staying at.”
Takuya: “No way.”
Masako: “Perhaps, there is one answer.”
184 Silom Road・Japanese restaurant
A small parlor style room.
Andoh and Ryuzo Tashiro (45) — a certain trading company’s Bangkok branch manager.
Tashiro presents a check to Andoh that has no amount written on it.
Tashiro: “Please fill in the amount of money. There were instructions from the Tokyo head office.”
Andoh: “(satisfied) Always selling everything from missiles to instant noodles. No way, it’s a trading company.”
Andoh raises his beer glass. Tashiro also takes his glass, a toast.
Tashiro: “(drinking beer) It’s a shame, I haven’t heard anything from the main office yet…”
Andoh: “It’s human.”
Tashiro: “A human! Is it a corpse?”
Andoh: “(peppy) It’s two people.”
Tashiro: “2 people… Am I finally buying and selling humans? Haha… (laughing, not sure if proud or lamenting)”
From outside the window facing the street, a public relations car can be heard repeating a fast-paced announcement in Thai.
Tashiro: “It’s saying Mothra is heading to Bangkok, and that we have to evacuate the city.”
185 Air Force base
F-15 Eagle and F-4 Phantom jets scramble, one after another.
186 Pattaya Coast
Ground forces continue to gather.
Anti-aircraft missile Hawks, anti-aircraft cannons, etc. line up along the coastline.
187 Mothra turns towards Bangkok as she flies over the sea at night
188 Ministry of Defense・Large revolving radar
189 Same・Central Command room
The shadow of Mothra is on the radar screen.
Room member: “Mothra is 10 kilometers off the coast of Pattaya. It has an ongoing speed of 960 kilometers per hour.”
The Secretary of Defense is listening nearby.
Secretary of Defense: “(tense) So, it has come?”
Mothra is flying over the sea.
A fighter plane formation intercepts. Sidewinders are fired one after another.
Missiles explode on Mothra’s body.
Mothra, raising a high-pitched cry, turns slowly while rising at incredible speed.
Pilot A: “Mothra has risen to an altitude of over 25,000 meters. Impossible to pursue.”
Mothra, now over 25,000 meters in the sky, reverses rapidly. She descends at breakneck speed.
Mothra appears — a fighter plane formation comes closer with a whoosh.
Pilot A: “!! Mothra is approaching rapidly overhead!”
Mothra jolts just above the formation.
— In an instant Mothra makes contact with several aircraft, which crash and explode.
Mothra returns to horizontal flight. Behind her, another crew follows from the south.
Pilot B targets his missiles ahead at Mothra.
The figure of Mothra suddenly slips downward and disappears.
Pilot B: “!! The target has disappeared!”
Behind the formation, Mothra reappears.
Mothra’s compound eyes shine. Prism Beams irradiate the fighter formation rapidly.
Fighter aircraft explode in the air one after another.
191 Pattaya Coast
Mothra comes close above in the sky.
Surface-to-air missiles, anti-aircraft cannons, etc. begin firing.
Various missiles and munitions strike the body of Mothra.
A rocket bomb leaves black smoke in the air, and the sky is enveloped in heavy smoke.
Mothra, while greatly moving her wings up and down, rushes the ground troops in a low-altitude assault.
Tanks, missiles, anti-aircraft cannons, rocket artillery, etc. are blown away by gusts.
Mothra, now rising higher into the air, heads toward the Bangkok mainland.
192 Bangkok・Sheraton Hotel・Front
People evacuate the streets.
A car stops, and Andoh exits it in a hurry.
Guests are evacuating from the hotel one after another. Andoh passes the guests to enter into the hotel.
193 Same・Room corridor
Exiting the high-rise elevator, Andoh heads to his room down the hall.
There are no customers left to be evacuated.
In front of the room. Andoh takes out his key, but notices the door is already open—?
194 Same・Andoh’s room
Andoh comes in — !!
Masako is sitting in a chair, as if she had been waiting for him to return.
Andoh: “(breathless) Masako…”
A basket is on the table — the Shobijin are inside, looking at Masako and Andoh uneasily.
Masako: “Since when did you join the ranks of scum?”
Andoh: “… (gives a snarky smile)”
Masako: “This is the scum pride you talked about?”
Andoh: “I am different from Minamigaki. I don’t intend to get myself rich with this.”
Masako: “(sarcastically) Were you going to do it for charitable projects?”
Andoh: “(in a fit) I didn’t mean it like that. It’s only that I don’t want anyone to take care of me. It is painful for me to lower my head to someone who gives me money or buys things for me. I only want to make my own documentaries with my own money.”
Masako: “I’m disappointed. You’re that kind of person, aren’t you? No one sees what those kinds of people make.”
Andoh: “How could someone like you understand me?”
Masako: “Minamigaki said something similar. You say that you are different than him, but in the end, you are the same.”
Andoh: “(staring at Masako) …”
The two people remain silent —
195 City of Bangkok
Looking up into the night sky from between buildings, Mothra appears.
196 Mothra’s point of view
The Sheraton Hotel, 28-stories high, towers ahead of the Chao Phraya River.
She approaches with a whoosh.
197 Mothra rams into the Sheraton Hotel
198 Sheraton Hotel・Andoh’s room
The ceiling falls and the room tilts.
Masako holds the basket, and they fall to the floor together.
Andoh also falls. Objects from the ceiling land on his right foot.
He involuntarily frowns.
199 Same・Panoramic view
With the hotel wobbling and shaking, Mothra drops down near the vicinity of the hotel.
Mothra stops in front of the building.
The ceiling has collapsed. The walls are torn and pillars have fallen.
Takuya is coming.
201 Same・Andoh’s room
Andoh holds onto one leg and cannot stand up — it seems to have broken.
With the basket in her hands, Masako stands, not knowing what to do.
Takuya comes into the room.
Takuya: “Get out, quickly!”
Takuya puts Andoh’s arm around his shoulder.
Andoh stands up while being supported by Takuya.
202 Same・Emergency stairs
Masako with the basket, and Andoh whose body is supported by Takuya, go down the stairs.
Takuya: “The rendezvous point with Mothra was decided to be the Royal Racecourse. Miki and Professor Fukazawa are already waiting there.”
A view outside of the stairwell. Part of the large body of Mothra can be seen through it.
Inside of the basket, the Shobijin look at the Mothra — “Be still,” they wished.
Surrounding the hotel, tanks, short-range missiles, anti-aircraft guns are gathered.
Masako appears. The waiting Puto rushes towards her.
Andoh is handed over to a medical team, while Takuya, Masako, Puto, and the Shobijin enter a jeep prepared by the military.
204 Ministry of Defense・Central Command room
The Secretary of Defense is on the phone.
Secretary of Defense: “Currently, a contact operation with Mothra is in progress, so I do not want to agitate Mothra. For now, until further notice do not attack unless instructed.”
The Secretary holds the receiver and talks.
Secretary of Defense: “If possible, I do not want to turn this town into a battlefield. I hope that somehow contact can be made.”
205 Royal Racecourse・Panoramic view
The military jeep comes to a stop, and Masako who is holding the basket gets down.
In the entire venue — there is a vast light floating throughout.
In the vicinity of the center box seat, Fukazawa, Miki, Somna, the other troops and government officials are on standby.
Everyone looks at the Shobijin in the basket, who rise.
Fukazawa: “(to Masako) Quickly, we need to take the two to the landing place of Mothra.”
Takuya receives the basket from Masako,
Takuya: “(referring to the open space out on the course) That is the center of it.”
— And, at that moment, voices say, “Here is fine.”
Masako, everyone — ?! They look inside the basket.
The Shobijin look at everyone, smiling.
Shobijin: “Thank you, everyone.”
Masako: “! …You can speak our language?”
Miki: “Language conversion ability.”
Masako: “(to Miki) What is it? This…”
Miki: “They speak in a different language, but to our ears it sounds like our language.”
Takuya: “Psychic powers?”
Miki: “(quietly) Rather, it could be said that it is in an alien language.”
Takuya: “(loudly) Hey! These two are people—!”
Masako shushes Takuya!
The Shobijin speak. (mouths and voices are out-of-sync)
Shobijin: “If we sing a song here, Mothra will come down wherever you want. If you return us, then Mothra will no longer rampage.”
Masako: “(seeming happy) I will return you to the Mothra. I am truly sorry to have done bad by you.”
Shobijin: “(seeming to not be worried) We are fine. But… (it gets darker)”
Masako: “? But?”
Shobijin: “But, Mothra now has to fight Bagan.”
Fukazawa: “What! Bagan?”
Shobijin: “On our island, Mothra was the protector of the forest from long ago, and Bagan was the god of darkness.”
Sūn: “God of darkness?”
Shobijin: “When the island was still connected with the continent, Bagan came to our forest where Mothra lived. He burned the forest named “the Himalaya Forest”. In order to protect the forest, Mothra fought against Bagan.”
Masako: “I saw the mural in a cave.”
Shobijin: “(nodding) Then, Bagan was sealed in the Himalayas. Since then, Mothra has been watching over the Earth’s green on that island as the god of the forest, but… (talking becomes difficult)”
Masako: “This time, it was humans who have been steadily destroying the forest.”
Shobijin — nod silently.
Fukazawa: “Deforestation raised the temperature of the earth, once again reawakening Bagan… What a thing to happen.”
Shobijin: “Mothra’s egg hatched because Bagan appeared.”
Sūn: “Would Mothra and Bagan still fight after these hundreds of millions of years?”
Somna: “A foolish man pulled the trigger.”
Miki — feeling something.
207 Off the coast of Thailand
A devilish roar echoes.
Breaking the surface of the sea, Bagan spreads its black wings and takes off into the sky.
208 Royal Racecourse・Square
The Shobijin sing —
From the sky, Mothra spreads her wings and lands gently.
Everyone watches with relief.
The Shobijin stop singing, then turn and smile at everyone from inside the basket,
Shobijin: “Everyone, good-bye!”
They stand, wrapped in a peaceful air.
Takuya picks up the basket and faces Mothra — at that time…
There is a devilish roaring and a dazzling light.
On top of Mothra whose wings are spread and has quietly landed, a black mass comes down.
Bagan’s surprise attack!
Everyone — !
Bagan rides on the torso of Mothra.
Mothra flutters her wings trying to fly, but her body doesn’t rise.
Bagan’s arms encircle Mothra’s neck. The claws on its feet scrape and crack Mothra’s wings.
Mothra sways her body greatly from left to right, but Bagan does not let go.
With all her power, Mothra raises her tail.
Bagan is hit and falls off, then turns once and beats the ground.
Mothra spreads her wings, flying with great difficulty.
Bagan gets up, then fires a light ray from its horn toward Mothra.
The light ray scorches Mothra’s wing, burning right through it.
Mothra climbs into the air with her wounded wings marked by rays and nails and rises, turning.
Shobijin: “(calling out) Don’t fight anymore, Mothra! You’ve already fought enough!”
Everyone looks at the Shobijin.
Shobijin: “(as if apologetic) Originally, Mothra was born without attack instincts. Going against her normal instincts and becoming aggressive exhausts her life span. In this state, Mothra is—”
Mothra rushes towards Bagan, as if not hearing the voices of the Shobijin.
Bagan hits Mothra’s body hard with a sweeping tail attack.
Mothra crashes, decadently, and rolls to the ground.
Bagan triumphantly approaches Mothra, slowly.
Masako: “Run away, hurry!”
Bagan grabs the torso of Mothra in both hands. Sharp claws dig into her body.
Firmly holding Mothra in both hands, Bagan headbutts.
A fierce horn pierces Mothra — once, twice…
Masako, Miki scream.
The faces of the Shobijin are filled with anguish.
Bagan raises its horn further, as if to end it with one more strike.
At that moment, powder rushes from the body of Mothra.
Shobijin — !!
Bagan, now bathed in the powder, is in agony. It releases Mothra reluctantly.
Mothra desperately flutters her wings, and escapes into the sky.
Puto & Takuya: “You did it!”
Masako nods in relief and joy.
Shobijin: “…Mothra is not long for this world. That poison powder is a sign that the end is close for Mothra.”
Masako — !! She looks up at Mothra in the sky.
Takuya: “The end of Mothra?”
Fukazawa: “When Mothra dies, who will be able to defeat that monster?”
The Shobijin sing with tears flowing.
220 Borneo Island
221 Same・Jungle・Panoramic view
Along with thunder, a flash of light strikes the jungle from the sky.
Again, thunder and a flash.
A part of the jungle begins burning up.
From the burning flame, a white spherical surface appears.
The following scenes will be stacked according the the Shobijin’s song.
・ The Shobijin sing as if praying
・ A flash of light surrounds the egg. The egg cracks and another Mothra Larva appears.
・ The seven men are watching over it
・ The wounded Mothra turns towards the racecourse
・ Mothra Larva emerges from the egg
・ The singing Shobijin
・ Mothra Larva heads from the jungle to the sea.
Advances through the sea towards the continent.
223 Royal Racecourse・Square
Mothra is circling in the sky.
— Music ends.
Bagan fires a light ray from its horn.
Avoiding the beam, Mothra goes behind Bagan whose movements have been slowed.
Mothra, holding its six legs out firmly, rams into Bagan from behind.
At the moment of the collision, Mothra’s feet catch the wings of Bagan tightly.
Bagan’s feet float off the ground.
Mothra lifts Bagan and flies.
Even though Bagan flails its limbs, it cannot match Mothra’s end-of-life power.
Everyone looks up.
With the Bagan hanging from Mothra, they fly towards the sea.
Masako: “I wonder where it’s going.”
Shobijin: “It’s the sea. Another Mothra should be heading towards the sea.”
Masako: “Another one?”
Shobijin: “(nodding) A newborn Mothra.”
225 The larva of Mothra going off to sea
A small island is coming into view.
And in the sky beyond that —
With Bagan hanging from it, Mothra flies slowly.
226 From the sky
One camera focuses on Mothra and Bagan as they move to the front of the screen.
The island can be seen below. It goes from the island to the sandy beach, and then to the sea. The Mothra Larva can be seen approaching the island.
227 On the island coast
Mothra releases Bagan.
Splash. Bagan slams into the coast.
Mothra Larva heads toward Bagan.
Bagan gets up. It fires a light ray from its horn at the approaching Mothra Larva.
The light ray hits the Mothra Larva directly.
Bagan fires more rays at the Mothra Larva in quick succession.
The Mothra Larva cannot help but jump up.
Mothra approaches Bagan from the sky. She fires Prism Beams from her eyes.
Bagan roars. Ascends.
Mothra shoots a thorough ray attack.
Bagan staggers and falls.
However, the Prism Beams of Mothra gradually become weaker and finally disappear —
Mothra is debilitated.
The Mothra Larva spits thread while moving to the fallen Bagan.
The upper body of Bagan, arms are bathed in the silk, and are gradually wrapped in white.
It tries to extend its arms to the Mothra Larva who has moved in close, but the silk sticks and Bagan’s arms do not come free.
Bagan roars. Mothra Larva suffers a heavy kick from Bagan’s feet.
The Mothra Larva is blown away all the way out to the sea.
228 Watching from a helicopter
Bagan is standing on the coast. Mothra Larva is kicked into the sea.
Mothra is flying in the sky overhead.
229 Inside the large helicopter
Masako, Fukazawa, Takuya, Puto, Miki, and the Shobijin in the basket.
Masako: “The Mothra Larva is…”
230 Two large helicopters landing on the island
231 On the island coast
Mothra approaches Bagan from the sky — her speed has dropped considerably.
Bagan begins a light ray attack.
Mothra, with wings burning, flies up to Bagan. She showers her poison powder.
From above Bagan, Mothra continues to relentlessly scatter the poison powder.
232 A hill overlooking the coast
Masako, who is now off the helicopter, comes over.
Takuya: “So much poison powder.”
Masako: “It feels like she’s giving up her life…”
Shobijin: “Mothra knows that her life is gone.”
233 Off the coast
Bagan continues to try freeing its immobile arms as it chases after Mothra.
Mothra retreats towards the sea.
Bagan enters the sea.
Mothra Larva dives underwater. It spits thread towards the legs of Bagan while beneath the water.
And in that moment, the thread catches Bagan’s feet.
Mothra Larva emerges. It approaches the fallen Bagan.
Mothra also approaches Bagan from the sky.
The Mothra Larva spits more starch silk over Bagan’s body.
Mothra also attacks, using the last of her poison powder.
Bagan, while suffering, has its face, horn wrapped in a white cocoon.
With a raised roar, Bagan, who had been stumbling, soon becomes quiet and does not move.
Its wings which had also been moving until the end have also stopped.
Everyone cheers, they look at the spectacle in front of them with excitement and exhilaration.
235 On the beach
Mothra grips the still form of Bagan wrapped in the white cocoon with her feet, lifts it up slowly and flies out to sea.
Masako: “Mothra and Bagan…”
Fukazawa: “Now, it will be sealed in the bottom of the ocean.”
Shobijin: “It is Mothra’s last act.”
237 Off the coast of Thailand・South China Sea
The sea surface of Chaoyang is shining and sparking.
There is a long silhouette —
Mothra comes flying, carrying Bagan.
Mothra releases Bagan.
A large water column rises on the surface of the sea.
As if to watch the end of Bagan, Mothra circles several times over the spot and breathes her last.
Mothra falls to the water’s surface as if dancing.
238 Coast of the island・Morning
Mothra Larva is waiting on the beach.
The Shobijin who have left the basket are standing and smiling, with Mothra behind them.
Everyone sees them off.
Masako: “This time, it is truly farewell.”
Shobijin: “Good-bye, everyone!”
Fukazawa: “Be safe on your way home.”
Shobijin: “(nodding) We have one last wish for everyone.”
Masako and the rest — ?
Shobijin: “Please do not awaken Bagan again. Our… Our Mothra bet her life and confined it in the sea. Please, do not waste Mothra’s death.”
Masako: “(tightening) I understand. Although we may not be able to change things by ourselves, I will do so always.”
Fukazawa: “(nodding) I promise.”
Shobijin: “(looking happy) Thank you. Then…”
The Shobijin run to Mothra.
Fukazawa: “Make an empty vow, misconstrue your prayer, in other words, Bagan, it will overtake your path…”
Masako: “Director, what is it? This…”
Fukazawa: “The “Wen xuan“, you don’t know it, do you? You, don’t worry about it.”
Sūn, Somna laugh.
Everyone lined up on the beach watch Mothra as she heads out to sea.
239 Borneo Island・Outside of Puto’s town
Looking from the helicopter – Puto and the priest shake hands, and slowly walk away.
240 Helicopter going over the sea
It hovers and stops.
Masako, Andoh, Takuya are on board.
The three people look outside.
On the sea — Mothra’s dead body is floating in the sea.
Masako: “We have polluted our planet and awakened Bagan… I’m sorry.”
Masako throws down a bouquet.
Beside her, Andoh tears apart the check he received and throws it away.
The broken pieces are tossed outside.
Masako: “What? That…”
Andoh: “It’s nothing. (to Takuya) You got an 8 mm video camera, right?”
Andoh: “Turn it. It’s the new first scene.”
Takuya — ?? He takes the video camera out and points it down.
Masako glances at Andoh.
Ending theme plays.
242 Over the sea (Overhead view)
Mothra drifts over the waves on spread, vivid wings —
The helicopter begins moving, out of frame.
Staff and casting title rolls.
終Translations // January 10, 2018
Finally, a Godzilla anime! Okay, sure, we had two American animated television series, and we also had those very strange educational Susume! Gojirando! OVAs back in the 1990s and dozens if not hundreds of cameo appearances in a wide variety of animated shows over the years both in the West and in the East, but this is the first time we have received a proper Godzilla animated film, and what is especially exciting to me about this take is that the creators, instead of just making the millionth “monster strolls through a city” flick, have made something new and different, with an elaborate science-fiction premise and a Biollante-esque reincarnation of Toho’s favorite mutated dinosaur–here nicknamed “Anigoji.” (Kind of reminds me of when Darth Vader appeared as a little kid nicknamed Annie. Why do movies have to re-imagine scary villains and then call them Annie?)
The experience of watching GMP on the first day this year was much different from when I went to see Godzilla Resurgence (2016) on opening day last year. For one thing, I was lucky enough to have the day off when I saw 2016’s Godzilla film, so it was easy to catch the first showing, and further Resurgence was showing at a local theater, so I could just walked there when the lines for the bus proved harrowing. But for Godzilla: Planet of the Monsters (2017), the two closest theaters were not showing the film, and so I decided to go out of my way and bop all the way over to Shinjuku (about an hour or so by train) and check out the latest monster madness in the Godzilla building itself.
I had a bit of a stressful day, so I was extra excited to see the massive inflatable Godzilla head with glowing blue eyes perched over one of the exits to Shinjuku station. I found myself caught in the swarm of feet and purpose that pounds through Shinjuku every evening, and thus fumbled about, trying to take a picture while bodies pushed forward all around me. The Godzilla head stared out, those piercing eyes lazily at half-mast, a speaker alternately belting out a throaty roar, then singing Xai’s “White Out” as if Godzilla had become a dinosaurian diva (which might make sense, given his apparent taste for dating pop stars).
As usual for me, before finding Godzilla Kabukicho street, I just had to wander lost down a street or two. Before too long I found the correct avenue and gazed upon the Godzilla statue and the huge posters for Godzilla’s latest adventure. I was hoping that there would be some kind of special event for opening day, as apparently I missed out on some festivities last year at the Godzilla Resurgence (2016) premiere. However, this year there was no suit on display, but there was a lot of merch for eager shoppers.
As I was navigating the crowd, suddenly I saw the much-celebrated monster artist Matt Frank emerge from the seething masses, and I couldn’t help but belt out, “Matt Frank!” He cheerfully returned my greeting, and we exchanged pleasantries and I said I had met him at G-Fest. Frank then said he had met some G-Festers at the opening show of Godzilla Resurgence (2016) last year, which is pretty dang cool. We took a picture together (which turned out pretty epically), and then he went off to purchase an Anigoji theater exclusive cup. Given that just a few short weeks before I had met Robert Scott Field at the Godzilla Fest 2017 outside the same building, I was feeling some major G-Fest nostalgia about then.
But, uhh, I went to see Godzilla: Planet of the Monsters by myself… so I got my popcorn and tea, received a theater-exclusive promotional gift as I entered the theater (I chucked it in my bag and promptly forgot to look at it again until the next day), and plopped down in front of one of Toho Cinema’s TCX extra-large screens with some extra-large expectations to have a good time. As I was sitting there, a single young lady came and sat next to me, apparently unaccompanied, which I felt was encouraging. I had a similar experience at the live-orchestral performance of the original Godzilla on Halloween this year (my impressions of that event are forthcoming)—another young lady attended that film mere seats away. I guess I am just glad to see that women are getting into Godzilla, too, and it is not just one big wave of testosterone alone that keeps the G-festivities afloat.
Six paragraphs in, and still no actual impressions of the movie itself—let’s get to it. I want to keep this article mostly devoid of spoilers, but of course if you want a “pure” experience, you should stop reading right now anyway. I am going to break up my impressions into several categories—story, characters, animation, and Godzilla.
I think the biggest draw (and perhaps largest hurdle for traditionalist fans) for Godzilla’s animated movie debut is the dramatically different, almost space operatic storyline. Perhaps taking some cues from the mediocre Eric Powell IDW Godzilla: Kingdom of Monsters run, the backstory features a multi-stage monster assault across the planet, devastating the human race and driving them to desperation. But while Powell took that concept and used it for ham-fisted political commentary, anime legend Gen Urobuchi uses a monster apocalypse as a springboard for a Planet of the Apes-ish dark sci-fi romp wherein the human race loses control to a superior set of successors—but instead of a nation of dang dirty apes, the Monster Planet has been overrun by kaiju, and ruled specifically by Godzilla. The way that Urobuchi sets up this story is really engaging, tense with peril, as the human race has tried to resettle on a distant planet, but finds they need to return back to the Earth—and attempt a coup against the king of the monsters. This story allows for plenty of surprises—a transformed earth, a wide variety of futuristic weaponry and vehicles, and high drama. The actual execution of that story, though, is not always the most compelling, with the old inevitable long strategy meetings still taking up excessive screen time as per usual. Traditionalists rejoice?
Still, the story is thick with mystery and interest, and ripe for further development. To a huge degree, given that this film was specifically designed to set up the trilogy, the story is deliberately unfinished. Fans will likely feel rather unsatisfied by the conclusion—if the movie simply ended as it does with no sequel, I would feel somewhat cheated.
It is a little difficult to comment too much on the characters given that my Japanese is still not up to the level that I can understand everything. Haruo Sakaki is easily the most fleshed-out, though his motivations are pretty standard kaiju movie fair—family killed by monster, wants revenge. I liked Yuko Tani, but she didn’t have any time to really develop in any meaningful way. This might be a minor spoiler for some, but amongst the cast there are several extraterrestrials, and they made a bit of an impression on me simply for being different and showing sparks of personality. However, most of the dialogue mostly focuses on strategizing or commenting on the dire situations the characters find themselves in, or war cries, or the like. There is not much time for heart-to-hearts or multi-faceted motivations—although I suspect some of the characters are harboring some secrets that will come out in the sequel.
When I first heard that Godzilla: Planet of the Monsters would be a CGI anime, I was disappointed. While I love CGI, most anime which are realized solely through CGI look mediocre at best to me, with often rough-looking, blocky art which lacks character. Frankly, my criticisms remain when discussing GMP. Frequently I just felt that the characters looked strange, or that the animation seemed to shudder a little, or conversely that characters moved too smoothly like robots. The human cast sometimes look like a set of dolls being manipulated into position. I also felt that the art seemed a little washed out and indistinct. Of course, this kind of CGI art lends itself to the actual mechs, spaceships, and military vehicles, which often look pretty cool—although their designs are, again, in general kind of nondescript. We don’t have anything as iconic as the Millennium Falcon for example, and the mech suits—such a huge part of Japanese animation they almost seem inevitable in a sci-fi setting—appear largely devoid of character as well. While the design of the space suits looks stylish and cool, and the spaceship computer readouts (all in English!) look informationally dense and intelligently laid out at the same time, my overall impression of the animation was one of grumbly disappointment. Still, given that this is computer animation, the nature of the beast allows the camera to move independently for dramatic positions and speedy, twisting, rushing pans, spins, and more, which provides for some dynamic and exciting action sequences of riotous action and explosive combat.
It’s hard to discuss Godzilla much here without giving away massive spoilers, but I will try to keep everything fairly general. Given that the viewing I attended was a TCX show, the screen and the resulting action were appropriately huge. Godzilla, too, is depicted with an eye to conveying his size, at least in some shots, and the thundering speakers added much to his throaty roars and whomping footsteps. Some shots truly depict Godzilla’s gratuitous size, which can be awe-inspiring here. However, just as I wrote recently in my design response, I am not a huge fan of Anigoji’s look, and as I had suspected, Godzilla has little personality here. Anigoji moves with excruciating slowness, and only reacts by roaring and blasting ships with his new energy ray. Godzilla really doesn’t have any cities to smash either, and watching him foot it through the trees or in a canyon is, to be frank, kind of boring. Given that the human cast are often jetting about in flying bikes and interstellar spaceships, we often get some shots of Godzilla from above as well, and some of those angles are very unflattering. Still, Godzilla has some big surprises for fans, which make this incarnation unique to the franchise and add to the mystery and interest of the character. My guess is that Anigoji will inspire quite a bit of controversy this year amongst the G-fan faithful, though perhaps not as much as the previous year’s incarnation.
Oh, I almost forgot–Servum! The Servum monsters are the new beasties in Monster Planet–but to discuss them much, again, would be to go into deep spoiler territory. Still, for what it’s worth, they come in various sizes (so far as I could tell) and prove deadly as they wing through the sky and snap their wicked jaws savagely. They function as a more small-scale threat that menaces the remains of the human race, and feature prominently in some frantic action sequences. Since I almost forgot to mention them, you can guess my reaction–that is to say, I didn’t find them particularly memorable.
Overall, I quite enjoyed Godzilla: Planet of the Monsters, and it was great fun to attend the grand opening in Shinjuku. The tiny orange promotional Godzilla figure that came with my ticket was a colorful bonus—and great for me, as orange is one of my favorite colors. My takeaway is that Godzilla: Monster Planet is a memorable and daring new step in the Godzilla film series, and I really am thrilled that Toho is taking the character in some wild and crazy new directions. Still, with somewhat questionable animation and characters that have yet to come into their own, as well as a story which is deliberately incomplete and unsatisfying alone, I can’t help but be a little bit underwhelmed. Nevertheless, I am stoked to check out the sequel in just a few months, and excited to be a Godzilla fan in what seems to be a real age of cinematic monsters that we are enjoying today!General // November 20, 2017
Today marks the day that Toho is releasing their latest Godzilla film, and their first theatrical animated feature on the King of the Monsters. To celebrate, the Toho Kingdom staff is sitting down and giving their thoughts on the latest look for the nuclear menace.
Like we did in our Reactions to the Look of Godzilla 2016 thread, thoughts are boiled down into a single rating at the end. This will note if the overall response was positive, negative or mixed.
Note, we are just critiquing the visual appearance of the character. There are no spoilers on the events of the movie, nor does this factor into anyone’s view on the design and execution.
For years I have enjoyed calling Godzilla “the Big Green Guy” or similar nicknames, regardless of the fact that Godzilla (usually) is not green. Indeed as a child, my image of Godzilla was always as a giant green monster that breathes flames—which is doubly inaccurate when compared to most of the movie versions. So it is with some amusement that I welcome “Anigoji”—the first animated Godzilla to star in his own movie. He has become, in some ways, closer to that childhood image I had of him all along. At any rate, he is greenish, and certainly Anigoji is metaphorically “green” now. (Curiously, the OTHER Anigoji from the animated educational OVAs from the 90s as well as the American Godzilla from the 70s animated were also green—emphatically so.) Despite the new Godzilla being dramatically different in some marked ways, my first impression of him was that he was kind of unremarkable.
When I first saw the silhouette of the new Godzilla that appeared on an early movie poster, I felt that the monster looked incredibly generic—almost like a knock-off Godzilla akin to the sort of faux-zilla action figures you could buy in the USA back in the 1980s. They retained much of Godzilla’s familiar silhouette, but were always missing something, and of course appeared clunky and stiff. The new Godzilla looks much that way to me, and has even less personality in the face than the 2016 Shin Godzilla design.
However, my suspicion is that this personality-wipe was intentional. As has been widely publicized, the new Godzilla is apparently a plant—or perhaps half-plant—and indeed he looks it. Inevitably taking some cues from Biollante—herself a Goji-plant-clone—the new Godzilla is actually one of the more unique re-imaginings that have appeared in the films. (Perhaps in a meeting Urobuchi made a joke—”What if Godzilla’s back plates really WERE maple leaves?” And they took him seriously.) Coupled with the fact that this Godzilla will apparently be the biggest yet, we are left with what appears to be the most alien, least anthropomorphic Godzilla of recent memory. While Legendary has gone to some lengths to make Garethzilla relatable, Toho seems to be going in the opposite direction. Anigoji has the facial expression of a block of wood—and that is not even a joke. His face looks like it is quite literally a block of wood, cracked and jagged not with teeth, but with thorn-like protuberances where the ivories should be. If anything, Anigoji’s tree-stump face has less personality than Biollante’s fierce dental-nightmare maw. While ShinGoji is all tortured flesh and snaggle teeth, Anigoji is bark and thorns and chunky sinew. If Shin Godzilla is John Carpenter’s The Thing, then Anigoji is The Thing from Another World, for better or for worse.
I think the reason for all of this—the size, the plant-origins, the lack of personality, even the recent reveal of his bizarre incarnation of his nuclear “breath”—is to more align Godzilla with the power of nature. Anigoji seems to be a part of earth itself, and is the guardian and master of the world—a sort of avatar of nature that expunges the polluting, exploitative human race, and reclaims the land with primordial forests and armies of dinosaurian beasts. To take on that role, he has grown in size, taken on a hue more in tune with ecology than nuclear mutation, and sheared off most of his anthropomorphism to be replaced by cold, emotionless-but-relentless life. The nuclear blast, too, seems to emerge from an electric atmosphere that crackles around him like an atmospheric storm, suggesting that he is like planet earth itself. Further, Anigoji’s face has no space for tears, for mercy, for understanding—or even for rage. To me, it appears that Anigoji more truly embodies the force of nature metaphor that has often been applied to Godzilla all along.
But I tend to be more emotional, and I like Godzilla being emotional, too. While I am excited that the Godzilla: Planet of the Monsters (2017) team are branching out and taking Godzilla in a fertile new direction, I mostly find the new design to be a little flat and dull. I am quite stoked to see the world’s first animated Godzilla movie spring to life on the screen, but I am a little worried that I might find myself pining for the nuclear snarl of yesteryear.
When the first photo reveals for the new anime Godzilla began flooding in, I was left more confused than enthralled. His legs were oddly lanky for his wide body, the arms were brawny but rather short, and the face appeared to lack even the most basic features such as teeth, with the beaked maw giving off the appearance of a turtle. My initial impressions were closer to negative than positive, especially after hearing how this Godzilla would have to carry an entire trilogy of movies! How could this monster possibly fight against anything with a design like that?
However, as time went on and more information behind the film was released, I became accustomed to the extremely aged look of the anime Godzilla. While small, the weary eyes seem to harbor a certain sentience that not many previous versions of Godzilla carried. The extraordinarily toned body is so well defined with the visible muscle fibers, an unusual design choice but one I liked even before Godzilla was fully revealed. The back plates are probably my favorite feature, the almost leaf-like structure of the spines reminding me somewhat of Legendary Godzilla’s, but with a more traditional twist. I almost feel pity for the oddly-proportioned monster; it looks like all he wants to do is live alone in peace without having to deal with the inevitable encounter with the human characters.
As much as I enjoy certain aspects of this incarnation, my overall impressions are still somewhat mixed. I now love the rugged, almost ancient appearance, but from certain angles the design still looks less than stellar. But I’m more than willing to give this Godzilla a chance to impress me in its debut movie, and I hope the team behind the film has a blast making this new Godzilla pull off plenty of impressive and unconventional tricks that the animation medium allows.
When I heard news of an animated feature coming from Japan featuring Godzilla, I instantly grew excited. My mind raced with the gorgeous animation on display in such films as Your Name. I couldn’t wait for any details on the film and finally a trailer revealed the movie and… in time it showed Godzilla…
The Godzilla on display appears to be based on Legendary’s version with a twist, that being this Godzilla is somehow plant like. The first thing to catch my eye are the spine’s which are unique with the leaf-like style. I will also say the tremendous size of Godzilla makes him imposing, but these features can’t help hide what looks to be a bland creation. The color pallet appears to be all but gone, rendering most of Godzilla’s features almost indistinguishable from one another in regards to color. The skin across his body has little detail, and his forehead protrudes far too long, creating an almost depressed look from every angle. While these negative views could be from over-analyzing the few angles we’ve seen of him, my negative feelings only increase with the realization that the film uses a 3-D animation style instead of a 2-D one.
While many may have cried foul when Shin Godzilla’s design emerged, I can definitely say that movie attempted to make a unique Godzilla to benefit the film. In regards to Godzilla: Planet of the Monsters (2017), I feel this the reverse. The design was created to lower costs, ensure the monster was easy to place on screen, and guarantee he would have little movement as again not to increase costs. Because of these things, I can’t imagine many people clinging to this design with views of positivity and I can’t see myself enjoying it when I finally watch the film.
I hope to be wrong and enjoy this new world when it finally arrives, but unlike my hopes when hearing of this film, my instincts urge me this Godzilla will be a pale comparison to all that has come before.
My initial reaction to seeing this newest Godzilla design was one of excitement and shock. Given the success of Shin-Godzilla, Godzilla Resurgence (2016), I had wondered if we would get a more traditional design to counteract the previous year’s exotic take on the King of the Monster’s appearance. What I did not expect to see was a design that seemed to resonate so deeply with the 2014 take on the monster king. I simply love the similarity of this design to the Legendary Godzilla’s design. Not to wax too heavily on the Legendary monster, but the sheer mass of it brings to mind a sense of overwhelming natural power and strength. I believe it is undeniably Godzilla, and so too is this design. It brings that same mass and strength to this new Godzilla that the 2014 design has. Truly a look befitting the king of a monster planet. And yet, I also feel a hint of Shin-Godzilla; the odd anatomy doll like texture of the body brings to mind the gourd like skin of that monster, accentuated by the 5 rows of dorsal plates and strange eyes (though the newer design has a heavy brow like most of his predecessors).
Because I like each design of Godzilla for one reason or another, I often talk to my friends to see what their thoughts are as well. Though none of them are fans to the degree that I am, the common theme from them seemed to revolve around the similarities of this appearance to his 2014 counterpart. I recall showing it to my younger brother for the first time and he asked why “…they’re just using the Legendary one?” Each of them enjoyed the similarity, and I was happy to hear it. In some ways, it brings to my mind the use of the Mire-Goji suit as a conceptual basis for 4 of the 6 millennium films. Could we be entering a phase where the Legendary design acts as a bedrock for other designs to come from Toho? I’m skeptical, but I would like to see that! But whether that comes true or not, I’m very excited to see this glorious looking fellow in action!
If someone had told me back in 2012 or 2013 that Gen Urobuchi, the mastermind behind the TV anime series Madoka Magica and Fate/Zero, was going to be involved in making a Godzilla movie, I would have been overly enthused at the prospect (and that’s putting it lightly). I very much relish in the dark, tragic twists and nihilistic themes that pervade through his works, so I hold some semblance of expectation when I hear more and more about Godzilla: Planet of the Monsters (2017). That said, much like most fans, I can’t really fancy myself a huge fan of taking Godzilla in the 3D route; much would’ve preferred either 2D or a mix of both (Studio Rikka and TRIGGER’s Power Plant No. 33 from director Yasuhiro Yoshiura is undeniably the finest example of how a modern kaiju anime should be handled, even if the robot effects are kinda subpar). While I’ll try and reserve my personal judgments until I see the film, let’s get onto that design now, shall we?
I think the design, on its own accord holds up nicely. The literal plant theme that sprouts from this design I think allows Godzilla to explore different kinds of textures we wouldn’t see with other Godzillas. Seeing roots and tree bark for skin is most certainly fascinating, and it gives the musculature a distinct and unique vibe. Perhaps my favorite tidbit is that the iconic dorsal fins can now literally be described as maple-leaf. My only complaint, and it’s really only a nitpick, is that there should have been some kind of secondary color to him. He just seems too monochrome. Maybe some highlights on the maple-leaf spines like past Godzilla designs, or even on other parts of the body like the tail, would’ve been helpful.
On another note, it would seem that either Toho or people heavily known for their anime works (Gen Urobuchi, Hideaki Anno) really love the precise, laser-styled look for the signature Atomic Ray. I’m more than happy to see the beam returning to the classic blue after the experimental purple for Godzilla Resurgence (2016), though it seems that (at least for Japan) Godzilla is going to be rocking a more narrow beam. It’s something I can personally live with. What I’m currently in love with about the Atomic Ray isn’t the beam itself, but rather the charging of the beam, and everything that builds up to the discharge. Sparks bouncing in between the plates, the gathering of energy to the mouth in the vein of Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack (2001)… If there’s anything that makes the narrow beam tolerable, it’s identifier of when it’s coming.
For me, I don’t want to be confined to seeing the same kind of Godzilla over and over again. I understand the nature of tradition, but Godzilla’s always felt like he can be more versatile and serve purpose to the story you create with him. So long as some of his core components are left intact and is treated with respect, unlike TriStar’s infamous GODZILLA (1998), I’d love to see a very different approach to Godzilla–be it by way of a Godzilla Resurgence (2016) sequel or a Millennium Series 2.0 that takes more risks. If you’re looking for something more traditional, I think Legendary Pictures has our back in that department.
I believe that most versions of Godzilla usually fall into one of three categories: Pure Evil, Force of Nature, and Earth Defender. Looking at this design gives the impression that someone might have taken the force of nature concept a little too literally…
His coloration is primarily green, and his flesh has a very wooden looking texture to it. He has small teeth that seem to be carved into his mouth separation, adding to this wooden look. His muscular definition is extremely exaggerated, which gives a very root like appearance.
Personally, I don’t particularly care for this direction in design. For starters, I feel that his muscular definition is far too exaggerated, to the point of almost looking like he has no skin. Also, despite all that muscle, this is one of the fattest versions of Big G we’ve ever seen. Almost all of his mass is in the central body, giving him a tiny head, and twigs for lower arms and legs. These proportions make him look like he’s an overweight alcoholic! Finally, his constantly half-shut eyes, and plant-like aesthetic have earned him the nickname Weedzilla in more than one place on the net. Which brings up a good question…
Why design Godzilla like a plant? One could argue for the sake of experimentation, and to bring new concepts to franchise that’s over 60 years old, but that’s the thing: Despite the strange choice in aesthetic, there’s virtually nothing unique about this Godzilla. At a distance, one could easily mistake this for Godzilla 2014’s design.
When you think about it, the base design of Godzilla is just one head, two arms with four fingers, two legs, a tail, and a body with a row of spines down its back. Love ’em or hate ’em, designs like Godzilla 1998 and Shin Godzilla actually are experimental, because they are built around this base, and experiment by giving it different form. This design seems built around a more concrete base, and gives it a different aesthetical treatment to differentiate it.
Reportedly, the studio was given free reigns to design Godzilla as they wish, and part of me wonders if they didn’t begin animating with a model of Godzilla 2014, and built their design around that. Somehow, it just feels like something done out of obligation rather than passion.
But overall, I can look past a concept as meager as a design if the film ends up being good. Though in this aspect, I am still apprehensive towards this film. What I find most disappointing about this whole situation is that a proper Godzilla anime is something I have wanted for a long time, but I don’t feel this is it. From the 3D animation, to the James Cameron Avatar looking Backgrounds, to this strange plant-like Godzilla, nothing says “anime” to me. I would’ve hoped for something more akin to Neon Genesis Evangelion, or Go Nagai’s Maoh Dante in that regard, which still contain fantastic elements like giant demon monsters, or super robots, but have a basis in reality that makes it more relatable. However I intend to keep an open mind, and try to look at this film with as unbiased lenses that I can.
I love that Toho is taking chances with Godzilla. What really hurt the previous Toho Godzilla films and even the Legendary film to a certain extant was the repetitiveness between the films. Shin Godzilla’s design was something fresh and new and I loved it. Monster Planet’s Godzilla design is also new, but I’m not sure it works for me as well as Shin Godzilla did. On the surface it looks almost exactly like Legendary’s design. Similar body shape and mass with identical back plates. However the ripped muscles across Godzilla’s body really make this design stand out as does the new head design that almost gives Godzilla a permanent grin. I’ve seen fans refer to this design as Old Man Godzilla and I think it fits. This Godzilla manages to appear more ancient than previous versions but still looks as powerful as the King of the Monsters should. Ultimately what really matters is how well this design is executed on screen and considering that a 3D animated film is completely new territory for Godzilla this design may be able to allow Godzilla to pull off new feats that we’ve never seen before.
It’s strange to think that the latest Godzilla movie is here, and yet I have found myself rather indifferent to it. A lot of this actually stems from the design of the titular character this go around. While the look of the King of the Monsters in Godzilla Resurgence (2016) got a strong reaction from me, initially negative in nature, this take on the character did not. Yes it tried new things, but falters in evoking an iconic look or experimenting in a way that makes the character jarring to an audience. I actually liked the design when used as a black and white sketch, as seen below, and so had some initial excitement after the poster reveal. This is because it focuses on the strengths, such as the nice dorsal fin design, and hides some of the weaknesses, such as the bland colors. Naturally, though, that excitement faded as more was seen of the character, especially the lackluster face. The mouth in particular just feels so docile. Ultimately what the design generates from me is utter indifference, and some times that’s an even worse emotion to leave people with than getting them riled up over something.General // November 17, 2017
Let’s take care of the elephant in the room right away. I like GODZILLA 1998. Yes as a Godzilla fan I could make a minute by minute commentary with everything wrong with the film. Godzilla is too weak. Godzilla should breathe radioactive fire. Godzilla never runs from a fight. But what can I say? I was the target demographic for the film when it came out. I remember the ads, the young adult novel, my first Godzilla toy was a Trendmasters Godzilla 1998 figure. It’s a massive part of my childhood and its because of that movie that I was introduced to Godzilla proper.
As both an avid Godzilla fan and reader, I have been buying and reading as many books featuring Godzilla as I can. Most of them have already been covered in great reviews on our site including the one I want to talk about today in a manner of speaking. The original print book has been reviewed by site staff member Nicholas Driscoll, but I’m reviewing what up till now is still the only Godzilla audio book ever published. GODZILLA by Stephen Molstad is an audio book adaptation of the novelization of the 1998 film of the same name. So far the audio book has only been released once on two audio cassettes in 1998 and hasn’t been seen on any other format.
Most of the original novel is presented as being written by Matthew Broderick’s character Niko Tatopoulos who is writing his perspective on the film’s events following Godzilla’s death.This format is a fairly unique one that has yet to be used in any other Godzilla novels. It allows for a few extra details and ideas that are not found in the film. For instance the end of the book continues past Godzilla’s death and presents a “where are they now?” wrap up to the film’s characters. That being said the few new ideas contained in the novel do not alter the film’s story to any degree and will not change anyone’s feelings on the movie for good or for ill.
The audio book itself is an abridged version of the novel which I find to be incredibly frustrating. I love audio books and have always hated abridged ones. If I’m too lazy to read or listen to the full story why even bother with a slightly shorter take? I’ve never understood this and it’s a big problem for me. However if you’ve never read the original novel then it probably won’t make any difference to the average listener. I have read the full novel and I can remember some of what was cut but I doubt this will bother too many other people.
Doug Savant, the actor who portrayed the character Sergeant O’Neal in the film, provides the narration for the audio book. He does a decent enough job, altering his voice enough from character to character to make it clear who is currently speaking in each scene, but his vocal range is short enough that many characters speak with practically the same voice and inflection. There are no sound effects unfortunately. Not once do we get to hear Godzilla’s roar or footsteps in the background and I personally feel that is a big mark against this production. There’s some cheesy little bit of music to signal the start and end of each side of the cassettes and its not pulled from the movie’s original score. The best movie based audio books I’ve ever heard are the Star Wars titles which incorporate both the sound effects and the scores from the films into them and this makes GODZILLA 1998 sound even weaker in comparison.
Bottom line whether or not you enjoy this production largely depends on your feelings towards the original source material. If you like or even tolerate GODZILLA 1998 then I would give this a recommend mostly for the novelty of a Godzilla audio book. The only similar piece of media was the Wonderland Record Godzilla King of the Monsters but that was a full blown audio drama complete with full casts and sound effects. As a Godzilla fan and an audio book lover I do enjoy it in spite of its shortcomings that I’ve mentioned already. I found it fun to listen to when writing, drawing, etc. If anything it makes me wish for an audio book version of the Godzilla(2014) tie in novel. Legendary’s Pacific Rim (2013) received an audio book version of its novelization so I find it curious that Godzilla(2014), another Legendary Pictures produced film, hasn’t seen one yet.BY: Noah PercivalGeneral // November 3, 2017