What will the Reiwa Era represent?

[Rhedosaurus]

Each Godzilla movie series from Toho represents something.

Showa: This movie series eventually became a metaphor for how Japan recovered morally, spiritually, and economically from WW2 and also from fascism al la Tojo and his buddies.

Heisei: This one was more nationalistic then the Showa era and was a metaphor for how Japan was the 2nd largest in the 1980's. Japan buying 1/3 of the world in Godzilla vs. King Ghidorah is proof of that. Even when the economy crashed in the 1990's, the movies still had this tone and said that it was just a slight hiccup.

Millennium/2000's: I read that it being unfocused and scattered symbolized how Japan was lost and had no real direction after the economy crashed in the 90's.

My question is this. What is the Reiwa era going to represent?

[Gigantis]

I mean,Japanese content has had a huge bursting this decade,so it could be just Heisei 2.0. OR,it could focus a bit more on other countries,symbolizing Toho wanting to take Godzilla worldwide.

[UltramanGoji]

All three of those interpretations sound completely baseless, if I'm being honest. Each film represents something different thematically. Lumping them all together seems to me like you're looking for things that aren't there. I very much doubt there was any metaphorical political intentions behind the making of Godzilla vs. Megalon or Godzilla vs. SpaceGodzilla. You can't really throw them in the same pile as Godzilla 54 or Return of Godzilla.

If you're going to make a list of what each era could "represent", you're probably be better off talking about the evolution of the way Toho made their films. The Showa era is the era of unbridled creativity with each film trying something new. The Heisei era can be linked to evolving animatronics, digital effects and the use of nostalgic elements to attract crowds who grew up with Showa-era films. The Millenium series is sort of an anthological approach that disregards any sort of story continuity while also providing an extension of the Heisei films' steps into digital effects work.

I think the Reiwa era will bring a new focus back on inter-movie connectivity while showcasing even more of an evolution of digital effects, primarily motion capture elements to evolve suitmation beyond what it was in the original three eras of the franchise.

[LSD Jellyfish]

Each film represents something different thematically. Lumping them all together seems to me like you're looking for things that aren't there. I very much doubt there was any metaphorical political intentions behind the making of Godzilla vs. Megalon or Godzilla vs. SpaceGodzilla. You can't really throw them in the same pile as Godzilla 54 or Return of Godzilla.

If you're going to make a list of what each era could "represent", you're probably be better off talking about the evolution of the way Toho made their films. The Showa era is the era of unbridled creativity with each film trying something new. The Heisei era can be linked to evolving animatronics, digital effects and the use of nostalgic elements to attract crowds who grew up with Showa-era films. The Millenium series is sort of an anthological approach that disregards any sort of story continuity while also providing an extension of the Heisei films' steps into digital effects work.

I think the Reiwa era will bring a new focus back on inter-movie connectivity while showcasing even more of an evolution of digital effects, primarily motion capture elements to evolve suitmation beyond what it was in the original three eras of the franchise.

I agree generally. The only consistent theme throughout the entirety of the Japanese franchise is a clear anti-nuclear proliferation stance and some minor beliefs that are shintoistic about respecting nature and the environment. I don't think much thought went into Godzilla vs. Megalon, but it still has an anti-nuclear testing message that's front loaded in the beginning and poorly dropped. Additionally, I'd argue that GENERALLY the individual entries in the Heisei and Millenium series, addressed some WW2 stuff (and Japan's involvement) more aptly than a lot of the Showa stuff.

I think that Shin unilaterally addressed everything related to Fukishima and it would be a mistake to rehash ideas or visuals from that.

Japan (like literally every country currently) has a lot of issues but a lot of them wouldn't really translate well to film (prove me wrong Toho!). The only remote thing I could think of is something involving North Korea, but in reality that would just tie into similar themes of nuclear proliferation and in my opinion, having overt human enemies that are real people/groups does not age well. There's a lot of issues with Japan involving birthrates (which is an issue, but a lot of foreign news outlets tend to exaggerate/mislead people on the specifics of the issue or portray Japan as a sexless society).

I agree with UltramanGoji that it would make more sense to focus on more interconnected narratives and an evolution of style and effects. I also think that the series, even if it involves classic monsters, will be far less nostalgia heavy.

[Destoroyah of Worlds]

All sorts of things.

The Fukushima disaster, tsunamis, and pollution are very relevant in Japan. It wasn't too long ago that North Korea was firing in Japanese airspace and sending emergency alerts to people's phones too. Then there is climate change and terrorism, which the whole world is worried about.

[Vakanai]

Hopefully it will represent some good movies.

[Rhedosaurus]

All sorts of things.

The Fukushima disaster, tsunamis, and pollution are very relevant in Japan. It wasn't too long ago that North Korea was firing in Japanese airspace and sending emergency alerts to people's phones too. Then there is climate change and terrorism, which the whole world is worried about.

North Korea would be an interesting topic even more so considering how...eccentric Kim Jong Un is and how his father was not only a Godzilla fan, but also made his own giant monster movie, Pulgasari. And don't forget about earthquakes.

Hopefully it will represent some good movies.

Yes, that too.

[Destoroyah of Worlds]

All sorts of things.

The Fukushima disaster, tsunamis, and pollution are very relevant in Japan. It wasn't too long ago that North Korea was firing in Japanese airspace and sending emergency alerts to people's phones too. Then there is climate change and terrorism, which the whole world is worried about.

North Korea would be an interesting topic even more so considering how...eccentric Kim Jong Un is and how his father was not only a Godzilla fan, but also made his own giant monster movie, Pulgasari. And don't forget about earthquakes.

Hopefully it will represent some good movies.

Yes, that too.

I wonder if North Korea is something that Toho would be willing to address. They did hack Sony Pictures and send that company into crippling debt over a stupid Seth Rogan movie. Not to mention, China could ban the film.

[Rhedosaurus]

All sorts of things.

The Fukushima disaster, tsunamis, and pollution are very relevant in Japan. It wasn't too long ago that North Korea was firing in Japanese airspace and sending emergency alerts to people's phones too. Then there is climate change and terrorism, which the whole world is worried about.

North Korea would be an interesting topic even more so considering how...eccentric Kim Jong Un is and how his father was not only a Godzilla fan, but also made his own giant monster movie, Pulgasari. And don't forget about earthquakes.

Hopefully it will represent some good movies.

Yes, that too.

I wonder if North Korea is something that Toho would be willing to address. They did hack Sony Pictures and send that company into crippling debt over a stupid Seth Rogan movie. Not to mention, China could ban the film.

North Korea and China don't exactly have the best relations right now, mainly due to how Kim Jong Un has alienated them a la his missile tests and his behavior. The only friend it has is Iran.

[LSD Jellyfish]

I fundamentally believe that having something so overt, such as North Korea in a Godzilla film, would undermine a lot of the anti-war messaging in the series, and also horrifically date the film.

While yes, Godzilla films are overtly political, one of the biggest things they have done is always used fictionalized countries, that are vaguely amalgamations of possible world countries, as to not offend people. The closest we get is the US and USSR in 84, and they are less portrayed as villains and more as foolish in causing a catastrophe.

While Japan and the world are also wary of North Korea, the general vibe here is that no one is interested in getting into conflict with North Korea or escalating any sort of issue.

[shadowgigan]

I fundamentally believe that having something so overt, such as North Korea in a Godzilla film, would undermine a lot of the anti-war messaging in the series, and also horrifically date the film.

While yes, Godzilla films are overtly political, one of the biggest things they have done is always used fictionalized countries, that are vaguely amalgamations of possible world countries, as to not offend people. The closest we get is the US and USSR in 84, and they are less portrayed as villains and more as foolish in causing a catastrophe.

While Japan and the world are also wary of North Korea, the general vibe here is that no one is interested in getting into conflict with North Korea or escalating any sort of issue.

I think this is only partially correct. The US DOE is explicitly mentioned in Shin Gojira and plays a role in the film. Also Mr. takarada alluded to liking the thought of Godzilla attacking NK due to their pursuit of nuclear weapons at GFest, though I'm sure that was a joke. The point is though I can see where something like that could make sense, but I do see it as highly unlikely.

[LSD Jellyfish]

I fundamentally believe that having something so overt, such as North Korea in a Godzilla film, would undermine a lot of the anti-war messaging in the series, and also horrifically date the film.

While yes, Godzilla films are overtly political, one of the biggest things they have done is always used fictionalized countries, that are vaguely amalgamations of possible world countries, as to not offend people. The closest we get is the US and USSR in 84, and they are less portrayed as villains and more as foolish in causing a catastrophe.

While Japan and the world are also wary of North Korea, the general vibe here is that no one is interested in getting into conflict with North Korea or escalating any sort of issue.

I think this is only partially correct. The US DOE is explicitly mentioned in Shin Gojira and plays a role in the film. Also Mr. takarada alluded to liking the thought of Godzilla attacking NK due to their pursuit of nuclear weapons at GFest, though I'm sure that was a joke. The point is though I can see where something like that could make sense, but I do see it as highly unlikely.

Hmmm, you're right about that, but in the end, the United States plays a pivitol role in the films climax, as both a looming threat, and at the same time, a big part of the solution.

I just meant I doubt, and would be against a film in lets say where the North Koreans are portrayed absolutely as "enemies", and antagonists. As in the defeat of the regime is the solution towards the film. Note that no Godzilla film has military on military action.

[shadowgigan]

Yeah I am with you in that regard. An interesting plot could be NK and Japan teaming up somehow to defeat Godzilla or something (I have to lol at myself for this idea). That may be overtly political though.

[Jetty_Jags]

I want a shin anthology series. I'd like to clarify, I hate the idea of using Shin as a boost board into a wider cinematic universe. Instead, I'd want a shin series, where the shin name means a reinterpretation of classic Toho films, updated into modern day problems, and societal issues, while still retaining their basic philosophical integrity. I wanted the Cloverfield movies to turn out a similar way, each being a anthology film taking the title "Cloverfield" but giving it a different interpretation, as each film explores a different genre (Cloverfield=monster movies, 10 C. Lane=thrillers). However that turned out not to be the case.

[Tohosaurus]

Surprised no one mentioned China or Japan's general lack of regional hegemony these days. While it would be odd for that to be an ongoing theme throughout any particular series, I wouldn't be surprised if a kaiju or other sci-fi movie would explore the concept.

From what I remember people have perceived this being a theme of sorts in the AoT franchise, although personally I haven't really gotten that vibe myself.

[BlankAccount]

Animes with great premise but disappointing execution.

[Destoroyah of Worlds]

I fundamentally believe that having something so overt, such as North Korea in a Godzilla film, would undermine a lot of the anti-war messaging in the series, and also horrifically date the film.

While yes, Godzilla films are overtly political, one of the biggest things they have done is always used fictionalized countries, that are vaguely amalgamations of possible world countries, as to not offend people. The closest we get is the US and USSR in 84, and they are less portrayed as villains and more as foolish in causing a catastrophe.

While Japan and the world are also wary of North Korea, the general vibe here is that no one is interested in getting into conflict with North Korea or escalating any sort of issue.

I think this is only partially correct. The US DOE is explicitly mentioned in Shin Gojira and plays a role in the film. Also Mr. takarada alluded to liking the thought of Godzilla attacking NK due to their pursuit of nuclear weapons at GFest, though I'm sure that was a joke. The point is though I can see where something like that could make sense, but I do see it as highly unlikely.

Hmmm, you're right about that, but in the end, the United States plays a pivitol role in the films climax, as both a looming threat, and at the same time, a big part of the solution.

I just meant I doubt, and would be against a film in lets say where the North Koreans are portrayed absolutely as "enemies", and antagonists. As in the defeat of the regime is the solution towards the film. Note that no Godzilla film has military on military action.

I definitely wouldn't want North Korea to be presented as evil. I think a story detailing a refugee crisis and the world's willingness to help others and share in their pain there would be very moving.

[Gailah 1966]

Reiwa shows that Godzilla anime don´t work.

[mikelcho]

Reiwa shows that Godzilla anime don´t work.

To get off topic for a little bit: Gailah 1966, I like your little thing at the bottom, but there's one small thing wrong with it - Moguera was 1957 (the Japanese year), not 1959 (the U.S. year).

[shadowgigan]

Reiwa shows that Godzilla anime don´t work.

I don't know about that. I think this is one area with HUGE potential for Toho & Godzilla if done correctly. Would like to see more a more 'traditional' styled anime.