Showing posts with label Gojira. Show all posts
Showing posts with label Gojira. Show all posts

3.22.2010

New Shirts



Some new Sci-Fi/Adventure themed shirts are being released by Uniqlo Store through their "Heroes of the World" series. Along with Star Wars and Indiana Jones themed shirts, Godzilla shirts are being released. Two shirts of each franchise are being released. Pics are above and below. Each shirt is up for 1500 yen (between $15-$20 USD).


You can buy them here:

http://store.uniqlo.com/jp/store/feature/ut/heroesintheworld/

11.23.2009

News on Blu-Ray Discs

Has anyone check out the page for the blu-rays? They updated some of them with pics form the new special features:

http://www.toho-a-park.com/tokusatsu-bd/monokuro.htmlhttp://www.toho-a-park.com/tokusatsu-bd/radon.htmlhttp://www.toho-a-park.com/tokusatsu-bd/godzilla1984.htmlhttp://www.toho-a-park.com/tokusatsu-bd/vskingghidorah.htmlhttp://www.toho-a-park.com/tokusatsu-bd/rengoukantai.html

Not only that, but the stats for the third wave's Heisei releases have been updated. It seems like all the Heisei releases are going to have the same "new" special feature: shows exactly where in Japan the kaiju go through. Something simular was done for the Cloverfield blu-ray...

10.30.2009

Godzilla Wins Halloween Award On Yahoo!



Halloween is a season for slashers, bashers and Universal masters of horror. But Yahoo istead came up with awards for everything that could be associated with Halloween. Some things are the same as every year: Michael Myers is still the ultimate slasher and Freddy Krueger is still the ultimate super-natural boogey man. But one thing is slightly the same: Godzilla is still the King of the Monsters. However, the runner up is not the legendary King Kong or the Rhedosaurus. It is instead the Cloverfield monster that is the runner up. King Kong's days are finaly numbered. The only think keeping the big ape in the public's eyes is the city of New York City, what pop culture refrences come our way through television shows, and the upcoming "King of Skull Island" film. Let's hope that Clover can keep up this kind of dominance over other kaiju. Maybe show JJ Abrams that we need another film?

Happy Halloween to all from JournalismG2KM and us of the Kaiju Galaxy Family!

10.28.2009

Book Alert: "Japan: A Primary Source Cultural Guide" by Meg Greene



You would think that in this time of endless information due to the invention that is the internet that inaccuracies would not be made. While I cannot say I haven’t made them myself, I would expect someone who is a professional to not makes those errors, especially with books which are used by schools. Out of the umpteen books which my school has which surround the topic of the history/culture of Japan, one of them stood out to me. Most notably because it was the only book to have information on kaiju eiga and Kurosawa. But I am going to focus on kaiju eiga here. While it is fine and dandy for there to be a paragraph on kaiju, it is not ok if there is an inaccuracy on something which has been - up to the book’s publishing year of 2005 - published many times.

The first offense was the classifying of a still from "Godzilla Raids Again" as a still from the 1954 classic "Gojira". What is even worse, then it comes to the book’s image index in the back of the book, it differs from the image’s subtitle and claims that the picture is from 1955. So if someone who did not know about kaiju eiga was to read this book thoroughly, they would be confused by the different dates which were provided and given the wrong information. The second offense is the calling of "Gorgo" as a Japanese kaiju - instead of the proper classification of a British kaiju film.

Bottom line, you who still go to school and may within the rest of your school years become assigned to do a report on Japan, do not used the book "Japan: A Primary Source Culture Guide" by Meg Greene. With two errors on just one page, I would love to see how many more inaccuracies there would be in the book. This is especially wondrous considering that Meg Greene has written two books on Japan, "Japan: A Primary Source Culture Guide" and "The Technology of Ancient Japan". According to Amazon, she has only published four books.
Fail.

9.24.2009

Interview with “Monster Attack Team‘s” Edward Holland and Michael Keller


Along with the promotion of the resurrection of legendary fanzine "Monster Attack Team", I have had the special honor to interview the editors-in-chief of the magazine, Edward L. Holland (also known as Edojira) and Michael Keller. I hope this interview is thorough, if not informative on the resurrection. Do take note that Bolgger seems to have an officinal problem when it comes to clumping large amounts of text together which are supposed to be spaced apart, so if you develop disdain, feel free to go ahead and leave your e-mail via comment and I am sure to give it to you. Enjoy!

1. When and under what circumstances did the revival of "Monster Attack Team" come under?

Ed: MAT was revived with the hard work and reinvestment by original contributor and associate editor Mike Keller.

Mike: It was my idea. Basically, it came out of the fact that I've been employed as a graphic designer for a little while now. I use all this software at work and at home. I have all these resources and equipment, plus I'm a hell of a lot better at this stuff now than I was back when we were doing MAT. It occurred to me that we could have really used all of this when MAT was active, it also occurred to me that there were things I'd still like to write about, or see written about. I contacted Ed and told him that I wanted to do another issue, and he agreed that it was a good idea.

2. When establishing "MAT", what goals did you guys set?

Mike: I'll let Ed answer this, as he is one of the founders

Ed: When MAT was established there were no definite guidelines or by-laws, but I had a clear idea of what I wanted to present and in what fashion. I wanted to bring fans together via television and print media and branch out a bit. I wanted it to be a fan club and fanzine like none other. We never took it too serious and wanted to bring things to our network of friends not seen elsewhere. I believe we continue to do so today.

3. What impact did other fanzines like "Japanese Fantasy Film Journal" and "Markalite" have on "MAT"?

Ed: JFFJ and Markalite had an effect, particularly Markalite. I bought every issue of Markalite when they came out and I believe I wrote to their offices as they were preparing issue 4, which unfortunately never came out. I have stayed in contact with August Ragone and Bob Johnson since those days. Back when Ultraman Powered was being shot in Burbank, CA Markalite, Oriental Cinema, and MAT were invited on the set. It was quite an honor and Markalite and MAT were fortunate to be there. At the same time, MAT was invited on the set of Power Rangers while the first season was being filmed.

Mike: They set the standard. Personally, I don't think JFFJ has ever been topped, though Markalite did come close.

4. How many contributors are returning and how many are new?

Ed: Mike knows more about the lineup, but many have returned and there are many new contributions too. I have not brought as many things to this issue as I would like to due to job and family commitments, but I am very thankful that our original crew is basically all back together. I always thought of our contributors as a team and felt that Monster Attack Team really fit our method of promoting the genre and Japan.

Mike: About half and half. I'm really proud of the contributors we have in this issue. We have multiple published authors in our ranks, and everything they've given us is of the highest quality. We also got some people who were pretty involved in the fandom in the 1990s to come out of 'retirement' for MAT 8, so to speak.

5. How did the advent of a TV series come into play?

Mike: That's Ed's department...

Ed: The cable access TV series actually started first. I was approached by Larry King, not the Larry King of CNN fame, but a real fan in his own right that approached me at Larry Lankford's Dallas Fantasy Fair convention and asked if I would like to have a show on Dallas cable. Both Joe Riley (Church of the Sub-Genius, Jimmy Neutron, Blade: Trinity, Mighty Joe Young, makeup/latex mask master) and I said sure. We had worked on a Fred Williams movie and an MTV commercial and we thought it would be fun. The fan club/fanzine sprang from that.

6. Did any competition come up between "MAT" and other fan organizations/fanzines?

Mike: No. We came out of that whole '90s milieu pretty unscathed. We never bought into any of the con/fan wars. We never turned anyone away and everyone was welcome. We were friends with people who hated each other!

Ed: There has never been a spirit of competition between MAT and any other Japanese tokusatsu group that I know of. In fact, some of the groups we featured articles, etc. from were at odds with each other during the original publications. I hope those waters have subsided now. We did not care if people were at odds with each other. If you are still doing something to promote these great shows you have stood the test of time and we applaud such efforts

7. With the TV show, you showed a lot of copyrighted clips. How was it working with Toho, Toei, and Tsuburaya?

Mike: We probably shouldn't address this, but I'll let Ed answer if he wants to.

Ed: Well we did not really work with the studios to show those clips but the studios including Toho knew about us and NEVER once complained. However, during the Alien Death Squad cable program days, a show started by David May, kind an offshoot of MAT, we actually got some Tsuburaya clips officially which were going to be used on a PBS special that we were interviewed for but I never saw the finished product. I don't think I even have those clips of Ultraman 80 which I received in the mail from Ultracom, Tsuburaya's American division years ago. Great show by the way!

8. Other than fanzine articles, what other contributions have you done for the fandom?

Ed: I have been heavily stating the artistic and surreal value of Japanese film and television shows to anyone who will listen since I was 6 years old. I have done this on shore, at sea in foreign countries, at bars, schools and particularly with my old film school colleagues. If an ear is bent I will fill it up with my admiration for my childhood and young adult heroes. I guess I have never grown up, the whole Island of the Lost Boys syndrome so to speak.

Mike: Fan articles and art are all I've done for fandom. I've had things published in G-Fan, Kaiju Review and Oriental Cinema.

9. When writing an article, what mindset do you put yourself?

Mike: I think I write articles a lot differently now than I used to. I certainly hope that I've gotten better! I do a lot of revising and re-writing. It's important to me to have all my ducks in a row. I won't identify something as a fact unless I can corroborate it with another source or witness it myself. Ideally, I would like to do as much original research as possible for a piece - though sometimes that just isn't possible

Ed: I usually work on a deadline and cram as much in as I can possibly and add a fan edge to it as well. First and foremost I am not an authority. I feel there are no authorities except for the creators of these great productions. Those that feel they know everything can never walk in the shoes of those that live it and breathe it for a living.

10. Do you practice a particular "style" of writing?


Ed: I do not practice writing. I write these day in a military manner and maybe I should adopt that style for the pages of MAT. I don't prefer too much authority in pieces that I enjoy on the genre, yet on the other hand I don't like too much subjective writing as well. I was trained to pass college level grammar, but I am a big abuser of comma splices.

Mike: I would like to think that I have finally arrived at my own style. I used to try to imitate the styles of others, but that doesn't get anybody anywhere. I try to steer away from goofiness - but can't help cracking the occasional joke or delving into sarcasm when the situation presents such an easy target. I do not write 'kaiju fan-wank' anymore (what if Godzilla ate a lobster and took a crap on a dead sea-slug and lightning hit it, blah blah blah...). I'm very embarrassed by some of the things I've written in the past. This issue will not contain anything of a fan-ish nature, or any fiction.

11. Do you think "MAT" has aged well in terms of for example, some issues becoming sought after collector’s pieces due to information kept in them, ect.?

Mike: Content wise, we had some pretty good stuff - good enough that's its been reprinted elsewhere. We were the first ones to write about tokusatsu in popular music, for example. Also things like Ed Godziszewski's Daimajin piece were really popular. I think that visually, our last couple of issues were pretty amateurish - that's something that will be rectified in #8.

Ed: I think MAT has aged as well as possible. We are not a fine Merlot by any means, but the members have been around the block seen things, some of them have released books, worked on dvds, played stages, authored articles for other fanzines and beyond. I think people have kept the old issues as a reference of the shows and time gone by. We are not at that level in fandom or professionally anymore. Most of us have larger responsibilities. The fan boys grew up but we never left our roots behind.

12. Where do you project "MAT" is going to go into the future?

Ed: I hope that MAT will be remembered for what it was, is and continues to be: a group of friends writing, discussing, showing what great events are happening on the other side of the pond. Doing this prior to the internet explosion was a labor of love. Our original members who have their membership packets are holding onto something that has never been done, or will be done again. Our original members received a newsletter, personally numbered fan club card, and the biggest prize a mockup of a SD hero or monster as a pin selected by me and hand painted by Joe Riley. To me this was as good as a fan club has ever come to honoring the masters. "Ultra" Joe Riley relaxes in the monster graveyard in the sky with many other legends now and I know he is looking down from more comfortable digs thinking about what we started. Issue 8 is dedicated to you brother!

Mike: No immediate plans. The magazine will not be coming back regularly. We are all too busy and have original creative endeavors and careers to focus on. Plus, printing costs a good chunk of change!

13. What new ground do you think could be broken in terms of kaiju journalism as of now?

Mike: There are always new things to discover. We have information in Issue 8 on some pretty obscure films - stuff that I'd never heard of before. I won't reveal any more until the issue has gone to press. We haven't mentioned everything we've got on the website. I'd like to see people continue to turn over rocks and dig up some new info. The Teito Monogatari series really needs a good English language retrospective, and somebody should try writing about the Watari films.

Ed: New ground? Hmm... maybe a platform for writers to actually write for screenplays and treatments for episodic television and animation. Everyone loves monsters in some form or fashion. As kids, we would pretend like we were on Monster Island and we would even get the girls to join in on the fun. As adults we saw Gamera and Godzilla in American theatres. How about more fan generated treatments with heavy weight stars and special effects done the western way with Japanese budgets and production efficiency?

14. As a fan, I got to ask: on the upcoming article on Kinji Fukasaku, how much information on the film "Satomi-Hakken-Den" will be included?

Ed: Please direct this question to Mike Keller. I don't know how much of that film content will be addressed in the piece.

Mike: Equal time will be devoted to all nine of Fukasaku's films that involve SF or fantasy - The Black Lizard, The Green Slime, Message From Space, Virus, Samurai Reincarnation, Legend of Eight Samurai (Satomi Hakken-Den), Crest of Betrayal, Battle Royale and Battle Royale II.

15. Any last words you would like to share with the fandom?


Mike: It would please me to think that issue 8 of Monster Attack Team will someday be looked at with the same reverence as those old issues of JFFJ. I also hope this serves as a shot in the arm to the fandom, and more people step up to the plate and try to out-do what we've done. I would love to know that we have inspired people to come up with great things, and I hope someone picks up the ball and runs with it.

Ed: Last words: Make it fun, entertaining, informative, a bit light-hearted and approachable for all and someone to read or watch. Even people at first who hated our cable access show continued to watch because they had not seen anything like that before in such a format. If it is not fun or entertaining for you then it will not be so for anyone else. Do your best and if you fall down trying to make a difference or promote your cause, at least you tried and can be proud of your efforts. Thanks for interviewing us and I hope that our readers old and new will enjoy the ride. Tanoshimasho!
You can visit the new site for the ressurected fan site here: http://www.kellerwerks.com/MAT.html
We at JournalismG2KM would like to thank "Edojira" and Mike for taking time out of their schedules to take the time to talk to us. Arigatou!

9.12.2009

More News on TOHO VISUAL EFFECTS DVD COLLECTION






Less than 24 hours ago, August Ragone posted on his blog (link to it is to the right of the blog) news on a new magazine publication which has to do with Toho Kaiju Eiga - "Toho Visual Effects DVD Collection". Here are some pictures taken from the issue reguarding the classic "Ghidorah, The Three Headed Monster". There accouple of more photos at the official site - which August has a link to on his blog. But as you can see, this is awesome. Good luck trying to find a person who is going to import this stuff to you though.

9.05.2009

Toho's Blu-Ray DVD Promotion and Other Stuff...

I wonder about how many of you actually check the official site for Toho’s blu-rays. If so, the news part of the site (accessible at the toolbar at the top right corner of the screen) has been bustling with all sorts of information. The newest piece of news would be on the advertising of the discs, which blows what Kadokawa is doing (by having a good looking Finaro-Goji suit in the store display instead of re-using a promotional suit from 1995). A picture from Toho’s official site is below. Notice the display shows DVD cases for both announced lines of the blu-ray releases.

Reguarding the display itself, it is in Akihabara and a rough translation of the site seems to say that the suit is the actual shooting suit from "Godzilla: Final Wars". And notice in the background the Gamera display).


Toho’s official site also seems to be showing stills of their "Gojira" release’s menus and a look at some of their special features. Take a look! (images in form of links due to their large size).

Scene Selection:
http://www.toho-a-park.com/tokusatsu-bd/img/news/chapter.jpg


Special Features
http://www.toho-a-park.com/tokusatsu-bd/img/news/tokuten.jpg


Special Feature: Story Board Comparison
http://www.toho-a-park.com/tokusatsu-bd/img/news/ekonte.jpg


Blu-Ray Exclusive Feature
http://www.toho-a-park.com/tokusatsu-bd/img/news/mybookmark.jpg

Just a reminder, here is the rundown of Toho's Special Features for their "Gojira" BD release (translation by James Ballard):

1. Theatrical Trailer (HD quality)

2. Akira Ifukube Interview (SD quality)

3. View Storyboards with Picture-In-Picture [NEW FEATURE!]

4. New Version of Godzilla's Theme (HD quality) [NEW FEATURE!]

5. See Original Filming Locations With Snapshots (tentative) (HD quality) [NEW FEATURE!]

6. Oxygen Destroyer (HD quality) [NEW FEATURE!]

7. Audio Commentary (Akira Takarada)

Wondering who is in charge of the people who are graciously making the blu-ray variations of our beloved Toho-owned kaiju eiga? Their names are…



Production Manager Haruyasu Yamazaki

Masaaki Murai

Taono (rest of name does not translate)

Blu-Ray Disc Advisor Enami Masanori

Blu-Ray Disc Advisor Kazuki Yokota


For the past two months, they have been doing "Roundtables" (as of date, there are only two), in which they post comments concerning their work on the official Toho concerning the blu-ray discs. Sadly, the translated version of the two pages is so unruly that it cannot be deciphered. If you want to take a gander, highlight the text from this link: http://www.toho-a-park.com/tokusatsu-bd/news.html and drag it to WordPad. Copy and past the text from word pad onto translate.google.com and then go for it.

9.04.2009

Classic Media... More Classic Mistakes


Remember the original "Classic Media... Classic Mistakes" article from Henshin Online? Well, the title of this article is a throwback to that.

Though no real surprise, Classic Media really does disapoint with their newest Blu-Ray release. Sure, we were expecting it but they could have pulled off a surprise for the fans. Honestly. I know that Toho charges for all of the diffrent images and videos the companese use for their discs but I do not think that the payment for the usage of the new remastered and RESTORED version of GOJIRA would be that more costly. Major letdown Classic Media. For future refrence, please get the new prints. Though you guys most probrobly don't care about fan responce at this juncture.

8.31.2009

Legendary Pictures Godzilla... by Who?



Something which has apparently set the world on fire for kaiju fans was the news of Legendary Pictures going into negotiations with Toho for the rights of a Godzilla film. But what is fact and what is not? This is what I am going to write about. Well, that and a look at possibly directors.


Legendary Pictures is in negotiations with Toho. True. Toho said "no comment", though how they said it proved that they are doing something which is top secret. True. Did Legendary Pictures ask Toho or was it the other way around? It was Legendary Pictures which approached Toho (this is based on the wording of a certain Twitch article). Legendary Pictures would like to make for the film an updated version of the Shodai-Goji suit? I do not know. This is where stuff starts to get tricky. That, and accouple of more rumors (that Legendary Pictures will have Weta do the CGI and that they want a Toho villain to oppose the King of the Monsters) came from an ananymous. When I asked about his source for validity, he said that his source was someone high in the industry. So make of it as you will. Is what Avery Guerra keeping secret the same facts? I do not know and event though I am a friend I do not know either nor do I have the audacity to do so.


But who will be the director? Many famous directors love Godzilla. John Carpenter (Halloween, The Thing, Escape From New York) has been in two different documentaries on the Big "G". But due to his age and his current projects, I doubt it. Tim Burton (Batman, Charlie and the Chocolate Factory) has given Godzilla a cameo in his film "Pee Wee’s Big Adventure" and even mentions him, "Destroy All Monsters", and had a picture of the Big G in his autobiography, "Burton on Burton". Martin Scorsese (Taxi Driver, Raging Bull, The Last Temptation of Christ, and Apocalypse Now) did what August Ragone said: "In 1956, Scorsese ended up seeing GODZILLA, KING OF THE MONSTERS several times as a young teenager. Decades later, when he worked on Akira Kurosawa's DREAMS (in which he played Vincent van Gogh), Scorsese was elated to discover that Honda was working on the film and asked to have a sit down with him. He told Honda about how much he loved GODZILLA and how he used to do chores so he could see the movie as many times as he could when it first came to NYC. Scorsese also, according to an interview with Honda, talked to Toho and managed to get several of Honda's films into the New York Museum of Modern Art's film library." But there is another guy who I want the most to do this project. And I got two words for you: QUENTIN TARANTINO.


Tarantino is already known to be a Godzilla fan. For "Kill Bill Vol. 1", he used one of the Yokohama sets from "Godzilla, Mothra, King Ghidorah: Giant Monsters All Out Attack". For the epic fight between Beatrix Kiddo and Elle Driver in "Kill Bill Vol. 2", he made both Daryl Hannah and Uma Thurman watch his print of "War of the Gargantuas" before filming the scene - which also copies some publicity stills from "War of the Gargantuas". Some even say that Quentin owns a print of "Destroy All Monsters". Well, some news has surfaced that has seemingly not hit most kaiju forums.


Originally around the time "Death Proof" was released, Tarantino mentioned something about wanting to make a Godzilla film but claimed that he was not at liberty to say anything about it. Very recently, Tarantino was interviewed and said this: "I have an idea for a Godzilla movie that I've always wanted to do. The whole idea of Godzilla's role in Tokyo, where he's always battling these other monsters, saving humanity time and again- wouldn't Godzilla become God? It would be called "Living Under the Rule of Godzilla". This is what society is like when a big fucking green lizard rules your world."


Some unique narrative, eh? Godzilla as a religious symbol is an interesting concept. This is something which effects the original, "Gojira" in which somewhat getting influenced from the original "King Kong", Godzilla is a God to the natives of Odo Island. 30 years later, producer Tomoyuki Tanaka would call Godzilla, "…a nightmare created out of the darkness of the human soul. He is the sacred beast of the apocalypse." Then in 2001, Godzilla became the embodiment of the dead souls of the Pacific Conflict theatre of the Second World War which were angry for the Japanese to try to forget about the war. However, "Godzilla, Mothra, King Ghidorah: Giant Monsters All Out Attack" also proves that Japanese mythology is in the GMK universe real, with the description of King Ghidorah’s mature form being eight headed - a call to Yamato No Orochi. Then there is the fact that the international name for Godzilla has the word "God" in it. Tarantino’s take on the religious angle to Godzilla himself sound different from what I have listed above and seems to be a breath of fresh air not smelled since Kaneko’s "GMK".



Overall, Tarantino has revealed something which he has kept secret for two years. We do not know when Legendary Pictures started negotiating for the rights to "Godzilla", with some people (including Chris55) saying that at least it has been going on for the past 2 months, so is it possible at Tarantino may be the new director since right after the revealing of the negotiations he can how talk about his Godzilla concept? Time will tell. I can say one thing, though it may be off topic: Michael Schlesinger is no longer available for interviews for publishing on the internet. Please comment on what you think Tarantino’s Godzilla may be like with this new information and how Legendary Pictures may use this if the negotiations lead to a green lighting which would lead to the hiring of Tarantino in a rare project which does not include the Weinstein Company.

NOTE: THIS ARTICLE IN NO WAY SAYS THAT TARANTINO IS THE DIRECTOR FOR A FILM THAT IS ONLY IN NEGOTIATIONS. THIS IS JUST TO GET OUT SOME DETAILS ABOUT THE LEGENDARY PICTURES GODZILLA AND SOME INFORMATION QUENTIN TARANTINO LET OUT IN AN INTERVIEW ABOUT NINE DAYS AGO. TARANTINO IS OF RIGHT NOW NOT THE DIRECTOR OF THE LEGENDARY PICTURES GODZILLA.

8.19.2009

Cultural References in "Gojira" (1954)


Cultural References in the film Gojira
By Kuroneko-sama

There is no limit to the wonders of diversity. Each culture is different, possessing individual beliefs and practices, each one more intriguing than the next. Nevertheless, many cultural beliefs and practices are virtually similar, such as the various beliefs on the creation of the earth.

Centuries ago, and perhaps even in today’s modern world, polytheism and heavy religious beliefs were central figures in everyday life. Certain rituals were performed in order to placate the various deities of ancient religions, and many basic practices were performed based upon the precepts and guidelines of a civilization’s religious tendencies.

There are also cultural similarities regarding the subject of "courting". Many include the practice of marriage, marital arrangements, et cetera. Courting behavior is also dictated by society, as well as religious influence.

In the film Gojira, there are at least two interesting cultural references that shapes the tale of the lifestyle of 1954 Japan. One is in regards to ancient mythology and religious belief, and the other refers to the practice of arranged marriage. Keeping in mind that while these practices no longer ordinarily occur, they are no less important to the culture of a country than they were so many years ago.

Mythology, Legends, and Folklore
In the original 1954 film, Gojira, mythology is one of the first examples of Japanese culture that we come across, as we are introduced the terrible incidents of death and destruction at sea, and the idea that Odo Island’s deity, Gojira, is to blame for the tragedy. According to one old man, Odo Island would send young women out on rafts once a year in order to placate the terrible god, so that fishing would be good and Gojira would not seek to destroy the island and its inhabitants. During the initial course of events at Odo Island, a ritualistic ceremony of dance is performed, what is described in the 1956 American cut of the original film, entitled Godzilla, King of the Monsters!, as the remains of a ritual that was "all but forgotten".

The tale of Odo Island’s wrathful god is by no means uncommon. Such a sub-plot was utilized in the 1933 film King Kong. Many tales of ancient cultures are littered with instances of gods and deities imposing some form of authority over small villages and even large cities. There is the Aztec legend of the Quetzalcoatl, a feathered serpent god of great power and importance to which the Aztecs would offer animal sacrifices, as it was said the Quetzalcoatl opposed human sacrifices, which was highly common in Aztec culture. There are also tales of European dragons laying waste to different villages, and pillaging the lands, eating livestock and occasionally humans. Tales of dragons in Japan are just as commonplace, although in Asian culture dragons are seen as more benevolent beings, save for those such as Mizuchi, a water dragon known for its malevolent tendencies and for it desire for human sacrifices to be made to it. The most famous Japanese deity tale, perhaps, is that of Yamata no Orochi and Susanoo.

The tale of Gojira also shows similarities to a perhaps little-known tale of folklore, which takes place around 1320 AD:

Hojo Takatoki, the last shikken (regent) of the Kamakura Shogunate, banishes a samurai by the name of Oribe Shima. Shima had insulted or displeased Hojo Takatoki in some manner, and was banished to a prison on the Oki Islands. Oribe Shima had a daughter named Tokoyo, who was noted for her strong character and love of her father. Overcome by grief, she sold everything in her possession in order to search for her father so that she would be reunited with him. Towards the end of her long and difficult journey at the Oki Islands, she comes across a grim priest and a fearful young woman of perhaps fifteen years of age, both dressed in white. Tokoyo stops the priest from pushing the girl off a cliff, and he explains to her that each year a girl of fifteen years or younger must be sacrificed in order placate the deity that held dominance over the islands. Seeing the grief in the priest’s eyes and the angst in the girl’s, Tokoyo asks that she don the white attire of the sacrificially intended, as she felt she had no reason to live without her father. It is agreed, and Tokoyo, who is noted for being an excellent swimmer, dives from the cliff, a sharp knife clenched in her teeth. Whilst down below, she finds a wood carving of the Emperor, and intends to bring it up to the surface, initially believing that the wood carving was the so-called deity. Her supposition is shattered, however, with the arrival with what many have speculated to be a water dragon. She slays the beast, and brings the wood carving to the surface. She is then treated as a hero, and there is a great celebration. With the death of the Oki Island deity, the Emperor finds himself released from a terrible illness, which had been inflicted upon him by the water beast. Upon the discovery of this, the Emperor orders the release of Oribe Shima, and the samurai and his daughter are happily reunited. There is also a hint that the city of Edo (ancient Tokyo) was later re-named in honor of Tokoyo, whose bravery had caused her name to be "known worldwide".

Culture
A little subject matter is occasionally argued upon, but is never truly delved on, is the subject of the "love triangle" in the film Gojira. By today’s standards, it would appear that there are virtually no romantic angles in the film at all. At least one person I have noted has stated that he/she would not have known there was a love triangle at all, had it not been blatantly stated. Keeping in mind the romantic standards of modern society, there is a legitimate reason as to why there is a debate at all.

Japan has always been a country that has kept its traditional values. While today Japan is a very modern society, and, sadly, many of those values have begun to fade, in the 1950s they were still very highly honored. One could compare the relationship between Emiko Yamane and Hideto Ogata as a sort of "courting romance". What we perceive as romance today (i.e. – kissing publicly, et cetera) would have been seen as lewd and, frankly, inappropriate behavior. There were (and still are) subtle indications that a couple is in love. The most common, perhaps, is simply holding hands. With Ogata and Emiko, it is Ogata’s constant attempts at doing little things for Emiko, such as holding her umbrella for her, et cetera. In addition, their behavior suggests only slightly the air of romance. While it is undetected by the modern youth of today, those who look closely and those who perhaps even grown up in strict societies will notice the slight hints of romance.

The type of romance conveyed in Gojira appears very odd to those of today’s society. Many perhaps do not grasp the concept of arranged marriages, which have all but faded away. Arranged marriage is another romantic element of Gojira that has a tendency to confuse modern society, as it is no longer a common practice. For those unfamiliar with arranged marriages, it is the practice of the parents of a young girl meeting with the parent of a young boy, and having it arranged so that the children would one day marry. It was a very common practice at one point, and it was ordinarily between families that had very close relations. With Dr. Serizawa, it was perhaps that he had been great friends with Daisuke Serizawa’s father, as Emiko and he had been betrothed since they were children.

If the concept of arranged marriages sounds startling, imagine what it must have been like to have to have been chaperoned! It was once a highly common practice that a girl and a young man could never be alone together. The girl was always to be in the company of her chaperone, and there were never any exceptions.

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*~Kuroneko-sama~*