Tumgik
#source: godzilla: king of monsters
Text
Leo: There are some things beyond our understanding. We must accept them and learn from them. Because these moments of crisis are also potential moments of faith. A time, when we either come together or fall apart. Nature always has a way of balancing itself. The only question is, what part will we play? April: Did you just make that up? Leo: No, I read it in a fortune cookie once. April: ... Leo: A really long fortune cookie.
105 notes · View notes
Text
Godzilla: I just want someone to take me out.
Mothra: On a date?
King Ghidorah: With a sniper gun?
Rodan: Both if you're not a coward.
61 notes · View notes
graspingremlinhands · 3 months
Text
MOTHRA: I swear it on my life...
GODZILLA: BITCH, YOU ARE SUICIDAL, SWEAR ON SOMETHING ELSE!!!!
113 notes · View notes
leoprime13 · 4 months
Text
Madison Russell: People say "I can't do what I love without college." I don't need a degree to be a clothing hanger.
22 notes · View notes
Text
Dr. I.Q. Hi: The oxygen destroyer must not be used! Bugs: If we do not defend ourselves from Schmodzilla now, what will become of us? Dr. I.Q. Hi: And what will become of us if a weapon, such as I now have, falls into the wrong hands? Bugs: Then you have a responsibility no man has ever faced. You have your fear which might become reality. And you have Schmodzilla, which *is* reality.
3 notes · View notes
hatsampixie · 1 year
Photo
Tumblr media
Just a monke and lizard.
11 notes · View notes
knightscanfeeltoo · 1 year
Photo
Tumblr media
Its kinda Cool to see Godzilla 2000 again in some Mobile Game about Ants...
(still wish they are in gigabash instead of the ants game though and godzilla jr becoming godzilla 1999/2000 is just my headcanon...)
14 notes · View notes
raurquiz · 8 months
Text
Tumblr media
#HappyBirthday @verafarmiga #verafarmiga #actress #eleanorbishop #hawkeye #theconjuring #thedevilmademedoit #downtothebone #themanchuriancandidate #thedeparted #theboyinthestripedpajamas #orphan #upintheair #sourcecode #safehouse #thecommuter #godzillakingofthemonsters #anabellecomeshome #batesmotel @hbomaxla @marvelstudios @disneyplusla
1 note · View note
rustybottlecap · 1 year
Text
So back in 2021 The Asylum released Ape vs. Monster, their “response” to Godzilla vs. Kong. Say what you will about that movie, but I was AMAZED by the design of the titular monster, Gila, and was about to praise the hell out of them for it:
Tumblr media
...but then it turned out they just bought the model from TurboSquid and so can you too (link in the source), it’s called “Dino Beast”:
Tumblr media
So now they released a sequel to their movie, Ape vs. Mecha Ape, and the design of the titular Mecha Ape is also amazing. Suspiciously so.
youtube
I couldn’t find the model on TurboSquid, but I thought it looked familiar.
Tumblr media
Searching for figures online where I live it’s very common to come across bootlegs, now more than ever with 3D printing technology, some people may get their hands on the file of a model someone else did and either sell the 3d printed figure or the file itself, most likely without the original artist’s knowledge. Add to that the popularity of Godzilla vs. Kong, wich featured a Mechagodzilla, and you come across stuff like this:
Tumblr media Tumblr media
Meet “Mecha King Kong”, as online sellers call it. I assume they won’t call it “Mechanikong” because if you know who that is you probably will know this isn’t an official thing. I can’t find who the original artist is.
Tumblr media
Now the bodies look completely different, but the head...
Tumblr media
There are some differences, like the eyeballs, the forehead, the jaw, and the lenght of the “airvents”. But many of the details are so similar I simply can’t believe it’s just a coincidence:
Tumblr media
Now, if the guys at The Asylum are one thing, it’s legaly savvy. There is a reason they’ve succesfully been in the mockbuster business for DECADES. I’m sure they didn’t steal an asset like these neobootleggers probably did, but I wouldn’t be surprised if the “Mecha Ape” and “Mecha King Kong” 3D models have a common origin somewhere down the line.
If there is something I take from all this unprompted cashing-in on robot gorillas, is that if the Godzilla vs. Kong sequel were to feature a robot Kong (Mechanikong or otherwise), audiences and bootlegers would welcome it with open arms.
(Also is this “Ape” fella going to be their new “Mega Shark”?)
224 notes · View notes
xoxo-otome · 9 days
Text
Tumblr media
Famitsu Interview with Nightow, Muto and Waki. 2022/2023.
Part I and Part II included. No Copyright infringement intended.
Source- Part I and Part II (Japanese).
PART I
Exploring the Mystery and Highlights of the New Anime "Trigun Stampede": The "Humanoid Typhoon" Crosses Time and Dimensions! [Let's Talk About Anime!]
by Hakusai Kobayashi, Writer
by Hikaru Katada, Editorial Department
Updated November 26, 2022, at 18:00
Famitsu.com presents the series "Let's Talk About Anime!" where interviews are conducted with notable figures in the anime industry. The fourth installment of the series features the anime "TRIGUN STAMPEDE," scheduled for broadcast in 2023. It's a new anime based on the grand sci-fi epic manga by Yasuhiro Nightow.
The interviewees are the original creator and manga artist Yasuhiro Nightow, the director Kenji Mutou, and the producer Sumiyo Waki of the animation production company Orange, who is in charge of the production of this work. Exclusive stories you can't hear anywhere else will be delivered in two parts: the first and second halves.
___
In this first part, we share stories such as memories from Mr. Nightow's time serializing "Trigun," the background of the planning and launch of "TRIGUN STAMPEDE," and the lesser-known appeal (perhaps?) of Mr. Mutou, who is directing an anime for the first time. Please enjoy it until the end.
(First part of a two-part series.)
For the new anime "Trigun Stampede," the "essence" of creating Vash in CG is also undertaken by the animators themselves! The differences in creating CG for games and anime lie in surprising areas [Let's Talk About Anime!]
Yasuhiro Nightow (Naitou Yasuhiro)
A manga artist whose representative works include "Trigun" and "Blood Blockade Battlefront," both of which have been adapted into anime. He is also responsible for the character design and original concept of the game series "Gungrave."
Kenji Mutou (Mutou Kenji)
An animation director affiliated with Orange. After working on storyboarding and direction for titles such as "Land of the Lustrous," "HELLO WORLD," and "BEASTARS," "TRIGUN STAMPEDE" is his first work as a director.
Sumiyo Waki (Waki Sumitaka)
A producer affiliated with the animation production company Orange. Following "Land of the Lustrous," "BEASTARS," and "Godzilla Singular Point," he is working on "TRIGUN STAMPEDE."
Table of Contents
Close
Memories from Writing the Original "Trigun"
The Launch of "TRIGUN STAMPEDE"
The Original Creator and the Anime Adaptation
Does Mr. Naito Resemble Vash?
Information about the Work
Broadcasting Period
Main Staff
Main Cast
"Let's Talk About Anime!" Previous Articles in the Series
Memories from Writing the Original "Trigun"
"Trigun" brings back so many memories, doesn't it?
Naito: Yes... It started serialization in 1995.
The original manga series went through many twists and turns before it ended in 2007.
Naito: Twists and turns, indeed. Like when the magazine it was serialized in ceased publication, right? (*)
"Trigun" began serialization in "Monthly Shōnen Captain" (Tokuma Shoten) in 1995, but the magazine ceased publication in 1997. Afterward, the series was transferred and resumed as "Trigun Maximum" in "Young King OURs" (Shōnen Gahōsha).
(laughs).
Naito: Back then, I was so focused on submitting manuscripts every month, I never imagined that it would be adapted into an anime again in 2022.
- What was the inspiration behind the creation of "Trigun"?
Naito: There was a short story by Simon Bisley, a British comic artist, that combined science fiction and western elements. It featured a bizarre monster and a bearded gunman who went around indiscriminately killing people. I was a big fan of that, but at the time, I couldn't find anyone in Japan who was drawing that kind of world, so I thought, 'Why not give it a try?'
- So you began drawing with the idea of a highly skilled gunman who would immediately kneel and apologize whenever trouble was about to ensue?
Naito: Yes, that's how I started. I thought it would be interesting to have a character who was a skilled gunman but would instantly prostrate himself to avoid trouble.
- So you started drawing with just the concept that it was a sci-fi and western mix, and the protagonist was a peace-loving gunman?
Naito: Yes, that's all I had in mind. I hadn't thought about the grand world-building or the story when I began the series. As it turned out, I was in for a hellish experience later on.
- Really?
Naito: During the serialization, I endlessly pondered themes such as 'the arrogance of choosing whose lives to save,' 'the right of the desperately wronged to seek revenge,' and 'the secondary harm caused by saving the life of a villain.' It was a constant dialogue with myself. The staunch pacifism of Vash, who vows not to hurt or kill anyone, was put to the test in a lawless land with the worst public order. Naturally, other characters would challenge this stance.
- "If you don't act before you're attacked, you'll end up dead. Your ideas are too naive." I couldn't help but slip into Wolfwood's way of speaking.
Naito: That's a sort of valid argument in that world. However, despite that, Vash (the character) strives to stick to his belief of 'not killing anyone.' I kept pondering over how to make this work without getting too preachy or abstract, all the while maintaining the essence of an entertaining piece. Looking back, I feel like it was a manga drenched in blood, sweat, and tears, akin to a path sticky with them.
During the creation process, it was a constant struggle. I hardly have any memory of putting down my pen feeling good, thinking, 'I've got the future story under control, so it's all good' or 'I managed to quickly arrange the plot, so this part ended smoothly.' It was always just about surviving the month.
- I thought the setting and everything was meticulously planned from the beginning.
Naito: Not at all (laughs). Every time, I was just pushing myself to the limit, trying to produce the best I could. That such a haphazardly made creation is still being animated and enjoyed by everyone today, I'd say I'm really lucky, or I'm deeply grateful for it. Not everyone who has talent and puts in the effort is rewarded, after all. It's something I truly appreciate.
- It's the power of your work! Were characters like Meryl and Wolfwood also conceived while you were serializing?
Naito: Yes. Meryl and Milly were created right from the start with the thought that lively characters like them would be good to have around for a bit of fun. Wolfwood was introduced following a friend's suggestion, 'Wouldn't it be interesting to have a character whose allegiances are unclear, whether they're friend or foe?' And I thought, 'That's a great idea!'
- Such a casual suggestion led to the creation of those popular characters! (laughs)
Naito: They were indeed born (laughs). While I was continuing the series like that, I hit a really tough problem midway through.
- Oh?
Naito: It was a challenging issue, and that was, 'How should this manga actually end?'
Nicholas D. Wolfwood. He also makes an appearance in "Trigun Stampede" with a cool visual.
- (laughs).
Naito: As I continued drawing without any particular ending in mind, I received an offer for the first anime adaptation (by Madhouse, broadcast in 1998). I had a meeting with Director Nishimura (*) and Mr. Kuroda (*) at a family restaurant... I'll never forget, it was at Denny's in Minami-Asagaya.
* Satoshi Nishimura. Director of the previous "Trigun" anime.
* Yousuke Kuroda. Anime scriptwriter who was responsible for the series composition of "Trigun."
- You even remember the specific name of the restaurant.
Naito: At that time, the original manga was still being serialized, so the anime needed its own way to build up to and conclude the story. During the discussions about the anime's series composition, I had this moment of realization, 'Ah, I see, so that's how you can end this story!' It was the first time I truly understood how it could be done.
- It's your own manga, and yet! (laughs) Does that mean the idea for the climax of the original manga was born from the experience of adapting it into anime?
Naito: Of course, I thought that when I drew the ending myself, it wouldn't be the same as the anime's, and indeed, it turned out differently. But having Mr. Kuroda and the team summarize the ongoing story of the serialization and present a way to conclude it helped me see a clear path through the expansive world I had created. So I believe the manga's ending was something I was able to reach influenced by the anime.
- It's a nice story, how the anime production had a positive impact on the original manga. "Young King OURs," which serialized "Trigun Maximum," also had titles like Kohta Hirano's "HELLSING" at the time, and it left a strong impression with its detailed artwork and the intense emotions of the authors packed into each page.
Naito: "Geobreeders" and "Excel Saga" were also like that, weren't they? It felt like there were many works where you could sense the individual determination, almost like a grudge. "Young King OURs" had a way of affirming each artist's work, which I think made everyone happy and motivated to finish their manga with full energy.
"Young King OURs" December 2022 issue (image from Amazon.co.jp)
Naito: However, one thing I found unreasonable was, after having the deadline extended numerous times and feeling guilty about it, I would work myself to the bone, almost to the point of not sleeping or eating, and somehow manage to submit the manuscript just in time! And then I would collapse... only to find out that Hirako (Kohta Hirano) submitted his manuscript a day later than that (*).
- Ha ha ha (laughs).
* Hirako... Kohta Hirano, the author of "Drifters."
Naito: The editor-in-chief was someone who would wait beyond the limit for us. There's a legendary story about the editor-in-chief declaring at the printing house, 'If I have to, I'll deliver these printing plates to the printer in my own car!' I don't think I ever pushed it that far, but at that time, I remember thinking, 'Damn it... I should have taken a nap.'
- The closing date for each issue of a magazine is different, so it must have been a matter of convenience! (*)
* Fold... Magazines print 16 pages on a large sheet of paper, and this is called a "fold." The sheets are then cut and bound to create the magazine. The editorial department submits the folds to the printer over several days, so it's normal for the same magazine to have different deadlines. This is a comment made by an editor who knows about these publishing circumstances and couldn't help but explain the situation of another editorial department without permission. It's unclear what the actual situation was with the "Young King OURs" editorial department.
The Launch of "TRIGUN STAMPEDE"
- So, Mr. Naito, your work, a crystallization of blood, sweat, and tears, has been transformed into the original new anime "TRIGUN STAMPEDE." Was there a particular reason for reanimating "Trigun" at this time?
Waki: It actually started with Mr. Takei, another producer from Toho, who initiated this.
- Producer Takei mentioned at the Anime Expo held in the United States in July 2022 that the reason for producing it was, in a nutshell, because he 'loves Trigun.'
Waki: As for me, I originally communicated to Producer Takei how interesting the direction of other works by Director Mutou was. That aligned well, and it led to the decision, 'Let's have Mr. Mutou direct the new "Trigun."'
Naito: So in your mind, Mr. Waki, you were always thinking, 'Can we create something with Mr. Mutou as the director? What kind of project would be good?' and then the plan for "TRIGUN STAMPEDE" came along in that order, right?
Waki: Yes. I had always been thinking about having Mr. Mutou direct something.
- Mr. Mutou, who had high expectations from Producer Waki, how did you feel when you first heard the offer to direct "Trigun"?
Mutou: Actually, when I first heard about it, I thought it was about 'making an anime that strictly follows the original Trigun manga.' So, at that time, I thought, 'If it's going to be a direct adaptation, maybe someone else would be better suited for it.'
- Really!?
Waki: We never said it would be a direct adaptation of the original (laughs).
Mutou: Yes, that was a misunderstanding on my part (laughs).
Naito: Producer Takei also didn't think of it that way. When the conversation reached me, he was already talking about a reboot.
Mutou: I misunderstood for a moment, but after hearing more about it, I remember being surprised all over again, realizing 'Oh, it wasn't what I thought' (laughs).
- So, rather than feeling anxious about being a first-time director, what was important to you was how much of your own originality you could bring to the project?
Mutou: Based on my past experiences, I knew that it's impossible to create a good product without that as a prerequisite. I remember that one of the first things I discussed with the producer was about that aspect.
- Mr. Waki, what do you think are the characteristics and strengths of Director Mutou's direction?
Waki: He excels in expressing the drama that unfolds within the anime not only through storytelling but also through the emotions of the characters within the action. In both anime and live-action, action sequences tend to become moments where emotions don't quite connect. Director Mutou contemplates how to foster emotional investment in the characters during these moments, creating action scenes that are emotionally impactful for the audience. That, I believe, is his strength.
- Mr. Mutou, what about you? Do you have your own theory of direction for depicting emotions during action scenes?
Mutou: Direction theory... what would that be? I think it's also part of the screenplay. If an action scene in the script doesn't convey emotion, I might rearrange the sequence of events or alter the storyboard to make the emotions flow. Personally, I believe that even in animation, simple actions like a character running hastily can convey emotion as action. So I try to "avoid fighting as much as possible." It might seem contradictory to "Trigun," but I've always thought that using a gun or drawing a sword should only happen when absolutely necessary. Now that I think about it, this approach might align well with the character of Vash the Stampede.
The Original Creator and the Anime Adaptation
- So, with Mr. Mutou appointed as director, it was time to get Mr. Naito's permission for the anime adaptation, right?
Waki: I have the date we met Mr. Naito recorded. It was June 16, 2017. It was after an event Mr. Naito had in Roppongi. Mr. Takei, Mr. Okamura, who was the producer of "Blood Blockade Battlefront" at the time (*), and I went for a meal together and discussed the project.
* Kazuna Okamura. An anime producer, not only for "Blood Blockade Battlefront" but also for "Weathering with You."
- Do you remember that, Mr. Naito?
Naito: I do. Mr. Okamura from Toho asked, 'Do you have a moment?' and I said, 'Sure!' When I followed him, there was this slim guy in a white dress shirt, with slicked-back hair, sharp eyes, and an assassin-like unique aura. That was Mr. Takei. I half-expected to be stabbed with a long-bladed knife or something (laughs).
- You sensed a killing intent (laughs).
Naito: The ambiance of the restaurant matched Mr. Takei's presence. It was a Chinese restaurant with slightly suspicious lighting tinted red by lanterns... It felt like a place where a gunfight could erupt at any moment if pigeons suddenly fluttered away!
- Sounds like a scene from cyberpunk or hard-boiled fiction.
Naito: Of course, nothing like that happened. We had a friendly conversation around the table. The first thing I was asked was, 'What do you think about making the "Trigun" anime in 3DCG?' Essentially, 'Do you have any reservations about non-hand-drawn animation?' I responded, 'I think it's a medium with lots of potential and something to look forward to in the future, so why not?' Furthermore, they mentioned, 'There's this very talented young man named Mr. Mutou, and we're thinking of having him direct.' That's what I remember from that day's conversation.
- So, five years have passed from the start of the project in 2017 to the production announcement this year. Is five years considered a long time for anime production?
Waki: It is a long time. Our company, Orange, is a CG production studio, so we generally work on a relatively longer schedule compared to traditional animation, but this project took even more time than usual.
- What, in particular, took so much time?
Waki: Every part of the process was time-consuming. Creating the story, designing the visuals, modeling, animating... We spent a lot of time in each department to elevate the overall quality of the project.
Naito: The amount of time it took is one indication of the effort put in, but another indication is the sheer volume of the setting materials. Once these materials are created, they all come to me as the original creator for review. The volume is unlike anything I've seen elsewhere; it's on a completely different scale! Although some official artwork has already been released, the amount that's been disclosed is just the tip of the iceberg. We've been receiving a dense volume of fresh materials every month.
 Concept art by Koji Tajima, currently available on the official Twitter (from the official Twitter).
- Mr. Naito, who has experienced multiple anime adaptations, was surprised by the volume.
Naito: There were outrageous ideas like, 'We have this idea, and here's the concept art for it,' which led to a vast amount of text detailing the exploration and re-construction of characters and the world. I was astonished to witness the unusual amount of time and analytical approach devoted to the "Trigun" project.
- So Mr. Naito, you would review these and provide feedback like 'This isn't right,' right?
Naito: Of course, I do that, but on the other hand, a word from the original creator can be taken quite heavily. After years of interaction, I became confident that this team's passion, precision, and balance were trustworthy. When looking at the project from an overview, I felt that not being overly pulled by my own gravity, so to speak, might allow the project to achieve an incredible "distance" in the end. So, I started to intervene less.
Mutou: However, we did receive very effective advice at crucial points. Although they were brief, the advice was very precise and greatly appreciated.
- Was there any piece of advice from Mr. Naito that stood out to you?
Mutou: Well... that is... uh... there were various things.
Naito: Come on, you should remember that quickly! (laughs)
Waki: It's hard to remember when you're suddenly asked, isn't it? (laughs)
Mutou: Sorry (laughs). Ah, what became the most significant guideline later on was the words, 'Trigun should be thrilling.' The world of Trigun is harsh, and the more you delve into the characters, the darker their pasts and the more intense and potentially murky the atmosphere can become. But the essence of the work should be thrilling.
- Ah... I see. In that devastated world and character setting, it might become overly grim, but the core of the work is its thrilling nature.
Mutou: Having a clear statement about what 'Trigun' really is allowed us to make corrections along the way. I also understood how dearly Vash and Wolfwood were cherished as characters.
Does Mr. Naito Resemble Vash?
- I want to hear a bit more about your time serializing "Trigun". Did you ever feel a sense of rivalry with other works, like 'I can't lose to them'?
Naito: No, I was genuinely a fan of "HELLSING," "Geobreeders," and "Excel Saga." I thought, 'This manga is interesting.'
Mutou: Mr. Naito's attitude there, it's kind of like Vash, isn't it?
Naito: Eh!? Me?
Mutou: Yes. I've always thought, 'Mr. Naito is quite like Vash,' every time I met you...
Naito: What!? You thought I resembled that crazy guy!?
Everyone: (Bursts into laughter).
Mutou: No, no, no, no (laughs).
Naito: Towards the end of the manga, as I was drawing Vash, I concluded, 'This guy is a madman.'
- Hahaha. Towards the end of the original work, many people die, and Vash suffers greatly, yet he doesn't abandon his pacifism, striving somehow to resolve conflicts without shooting or being shot...
Naito: That's why he's in the realm of madness (laughs). His relentless preaching of 'Love & Peace'...
Mutou: Actually, I've always felt Mr. Naito suddenly becomes a pacifist at times, which I find curious...
Naito: Is that so? (laughs)
- I wonder if, when you hear about the systems of other manga magazines, you feel like 'If another work becomes more popular, mine will be pushed out.'
Naito: As I mentioned earlier, "Young King OURs" had an atmosphere that allowed us to draw without worrying too much about being pushed out by other works. I felt that way personally, and I was fortunate enough to feel a response from the serial publication.
- Mr. Naito, your work "Blood Blockade Battlefront" has also been adapted into anime. How does a manga artist feel when their work is adapted into anime?
Naito: I always think this... It's like a man who usually draws manga alone in his room is suddenly tied to a rocket chair, blasted off with fire, and shot up to heights he's never been to (laughs). While the anime is being broadcast, I'm taken up to the stratosphere, and when the broadcast ends, I gently descend back to my room, returning to my usual life.
- Like being propelled by a force that isn't your own.
Naito: Yes, propelled by a force completely beyond my control. Every single time.
- This anime adaptation seems like it's going to be attached to a very high-powered rocket!
Naito: It's indeed a rocket filled with the dangerous fuel of the challenge taken on by Director Mutou and the entire team. All I can do is prepare myself (laughs). I hope that what's created from this extraordinary effort reaches as many viewers as possible.
Mutou: For me, it feels like 'extracting Mr. Naito's DNA and using it as a catalyst to create a new life form.' It might be a difficult analogy to grasp (awkward laugh).
To be continued in the second part!
 (Scheduled for release on November 27, 2022).
Part II
New Anime "Trigun Stampede": The Animators Themselves Undertake the Role of Creating Vash in CG! Surprising Differences in the Creation Process of Game and Anime CG [Let's Talk About Anime!]
by Hikaru Katada, Editorial Department
by Hakusai Kobayashi, Writer
November 27, 2022, 18:00
Famitsu.com presents the series "Let's Talk About Anime!", where we interview intriguing individuals in the anime industry. This time, we feature the anime "TRIGUN STAMPEDE," set to be released in 2023.
The manga "Trigun" by Yasuhiro Nightow, which was first animated in 1998, is being remade not as a traditional hand-drawn anime but as a CG (computer-generated) anime. This ambitious new animation incorporates the CG technology of Orange, enabling dynamic action and richly expressive characters that convey their emotions vividly.
In this second part of the interview, we delve into a topic that might pique the interest of game fans: the CG production in the anime industry. Packed with intriguing stories, you'll get a closer look at CG animation, which, while familiar, is quite different from traditional hand-drawn animation.
For those who haven't read it yet, the first part is filled with the backstory of the production of "TRIGUN STAMPEDE" and behind-the-scenes tales from Mr. Naito's time writing "Trigun". Be sure to check it out as well!
Exploring the Mystery and Highlights of the New Anime "Trigun Stampede": The "Humanoid Typhoon" Crosses Time and Dimensions! [Let's Talk About Anime!]
Yasuhiro Naito (Naitou Yasuhiro)
A manga artist whose representative works are "Trigun" and "Blood Blockade Battlefront," both of which have been adapted into anime. He is also responsible for the character design and original concept of the "Gungrave" game series.
Kenji Mutou (Mutou Kenji)
An animation director affiliated with Orange. After working on storyboarding and direction for titles such as "Land of the Lustrous," "HELLO WORLD," and "BEASTARS," "TRIGUN STAMPEDE" is his first work as a director.
Sumiyo Waki (Waki Sumitaka)
A producer affiliated with the animation production company Orange. Following "Land of the Lustrous," "BEASTARS," and "Godzilla Singular Point," he is working on "TRIGUN STAMPEDE."
Table of Contents
Close
Is there a big perception gap between viewers and creators about CG anime?
Animators are also "actors"
Accumulating technology in "Land of the Lustrous," "BEASTARS," and "Godzilla S.P."
Mutou's directorial approach: from a sovereign state in individual episodes to a democratic nation as a director
Reluctance at first to work with directors of a similar style
A visit with the three key figures of "TRIGUN STAMPEDE"
Information about the Work
Broadcasting Period
Main Staff
Main Cast
"Let's Talk About Anime!" Previous Articles in the Series
Is there a significant gap in perception between viewers and creators about CG anime?
- Mr. Naito, did you have any reservations about rebooting "Trigun" and animating it in CG?
Naito: I thought it would be interesting as a challenge to see "Trigun" in a new form of expression.
Waki: We were really glad to get Mr. Naito's wholehearted approval.
- Mr. Waki, what do you see as the advantages of depicting "Trigun," known for its hard storyline, comical characters, and cool action, in CG? Is it mainly about dynamically moving the action scenes?
Waki: It's not just about 'choosing CG because it's an action work that moves a lot of characters.' The intention is that 'a reboot in CG animation makes sense because it will be something completely different in terms of the overall visuals.'
"I've experienced both traditional animation and CG animation, and I think the biggest difference between the two methods is the 'sense of length' per cut," he said.
- Sense of length.
Waki: "It's about the duration of each cut. Traditional animation is basically 'one cut, one action,' and it excels at connecting cuts with editing to make the tempo appear smooth. With CG animation, you can afford to show a more relaxed pace, allowing for a variety of actions within a single cut. Changing the duration per cut means a change in the editing approach. The way music is applied also changes. As a result, when you look at the total product, it should be something completely different."
- Why is it that CG allows for a more relaxed pace in cuts?
Waki: Japanese traditional animation has developed alongside the method of limited animation, focusing on "how to convey the necessary message to the audience while keeping costs down." This led to the approach of not overly incorporating character acting and sticking to 'one cut, one action.' In the case of CG animation, the effort required to create a cut doesn't change that much even if you insert various actions or longer scenes within a single cut. You can also move the camera dynamically, but that's not the fundamental strength; the real advantage is being able to create longer scenes within a single cut.
*Limited animation: Unlike the "full animation" developed by Disney and others overseas, which is based on 24 frames per second, domestic animation has evolved based on limited animation, which typically uses 8 frames per second.
- Mr. Mutou, as the director, what do you consider the key points of appeal for the new "TRIGUN STAMPEDE"?
Mutou: "TRIGUN STAMPEDE" involves various technical challenges, such as facial expressions. Traditionally, CG has excelled in inorganic depictions like mechanical drawings, but we are also challenging ourselves to achieve more organic portrayals.
We are referencing foreign animations for this aspect. One of the technical highlights of "TRIGUN STAMPEDE" is our attempt to approach areas where Japanese CG animation has traditionally struggled and hasn't ventured much into. But... maybe I shouldn't speak too confidently about that...?
- Suddenly becoming modest (laughs).
Waki: No, it's fine to say that! (laughs) I believe creating human expressions in CG animation is one of the most challenging aspects. However, it's also a point that can significantly change the impression it leaves on the viewers. So, this time we're trying hard in that area, and that's what Orange aims for in "TRIGUN STAMPEDE."
Naito: From what I've seen of the production of "TRIGUN STAMPEDE," it feels like there's a huge difference between what the audience imagines as the 'reason for using CG' and what the anime industry sees as 'the advantages of CG.' Some viewers might think, 'They're doing it in CG to cut costs, right?'
Waki: There might be a perception that 'once you've modeled it in CG, you can move it as much as you want' (awkward laugh).
Naito: From what I hear from Orange, it seems like it's not at all about cost-cutting... In fact, it seems like they're putting an incredible amount of detail into it, right? (laughs). I wish this gap in perception could be better communicated. It feels like the fundamental way of thinking is vastly different.
- Traditional animation, which often involves animators putting a lot of effort into bringing the work to life, is a topic that's relatively well-known to the public. There are even manga and anime set in the anime industry itself. On the other hand, how CG animation is created might not be as well understood, which could be causing this gap in perception.
Mutou: Ah, I see.
Waki: But the thing is, every CG production studio has a different way of doing things right now. Some are skilled at cell-look CG that mimics traditional animation, while others excel at creating photorealistic visuals. Some are adept at Pixar-Disney-like expressions.
It's possible that traditional animation methods are more uniform and easier to spread. With CG animation, it's more like 'this is how our company does it.' This might also be a reason why the stories about CG animation aren't as widespread.
- Indeed, unlike traditional animation, which often involves numerous companies and individual animators working cross-functionally, CG animation is typically produced in-house, with each production company having its own distinct method, like their "secret sauce."
Waki: Exactly. It would be boring if everyone did things the same way and expressed things the same way. Going forward, Orange will continue to pursue its unique methods of production.
Animators are also "actors"
- You mentioned earlier that 'creating character expressions in CG animation is challenging.' In gaming, facial expressions and body movements are often captured using motion capture, where actors' faces are marked, and their performances are directly captured. How about for "TRIGUN STAMPEDE"?
Waki: For us, both body movements and facial expressions are captured using motion capture, similar to games. However, we use them primarily as a draft. After capturing, animators manually adjust each cut. 
- So, there are motion actors for each character's movements?
Waki: In our case, the animators themselves are the motion actors.
- Really?
Waki: Yes. Our CG animators, especially those in positions like CG directors, do it. This might be unique to Orange. Our president is also an animator, so he captures the motion himself and then adjusts it. This approach might have been passed down. It makes sense, though. Even in overseas traditional animation studios, animators often act out the movements themselves, record them, and then trace them later. It's easier to understand the movements if you've performed them yourself... It's something you might understand better if you've actually done it. Does this make sense?
- It's like in manga, where if the manga artist has personal experience in a sport, whether it's baseball or judo, they can draw the movements more accurately.
Naito: Like Mitsuru Adachi with "Touch" or Makoto Kobayashi with "1-2 no Sanshiro," for example.
- I understand the notion that animators physically acting out and attaching performances to characters make it easier to create the desired outcome in later work. On the other hand, there's the question, 'Can a real person actually perform Vash's movements?' (laughs).
Waki: Naturally, there are movements that can't be performed as desired. Maybe because the animator's body isn't flexible enough... (laughs). For those parts, we manually adjust them.
Naito: Professional actors would certainly make better movements. But it's like saying, 'I want this character to swing the sword with this emotion!' Even if the movement isn't exactly as ideal, you try it out, shout 'Here I go!' and then correct it yourself. It leads to a different level of immersion. Though during review, I guess you'd be fixing it while feeling a bit down, thinking, 'I couldn't move like that...' (laughs).
- It seems that this process is important too. But it might be surprising for someone who joined thinking they'd be working on CG animation in front of a PC to end up doing motion capture as well.
Waki: We don't just have anyone do motion capture right away. Only those who become top-notch animators and reach positions like director or sub-director handle motion capture. There's no point in capturing motion yourself if you don't know how to correct it manually afterward. By that time, you should be familiar with Orange's production methods, so you're prepared to take on the role of an actor as well (laughs).
- In the gaming industry, it's common for female characters to be portrayed by female actors. How does Orange handle motion capture?
Waki: It depends on the situation. Sometimes women do it, or if there's no suitable person, someone with a similar physique steps in. A tall man playing a short female character wouldn't be effective (laughs). So, even if it's not the animator in charge, sometimes women have to play female characters, and conversely, a tall male actor might be suitable for a tall female character.
- Considering that movements can alter a character's personality, like how 'softer movements can make a female character look cute,' it must be quite challenging to accurately capture the motions of the opposite gender.
Waki: In traditional animation, it's not like only women draw female characters, and there are many male animators who specialize in cute movements. CG animators, including those doing motion capture, should be able to work regardless of gender.
Naito: It might be similar to female roles in Kabuki, played by men. Animators are 'actors' in the sense that they're making the drawings perform.
Waki: Exactly.
Mutou: What matters is how you internalize what you've observed. For instance, when creating the movement of water, some animators observe real water surfaces. Then they think about how they would stylize and express that visual as animation. This thought process is crucial. Gender or whether you're human doesn't really matter. It's more about 'what you are.'
Accumulating Technology in "Land of the Lustrous," "BEASTARS," and "Godzilla S.P."
- After watching the first episode of "TRIGUN STAMPEDE," I felt that the characters, including their hair, moved very well due to the bones embedded in the CG, showing significant evolution from the typical impression of CG animation. What has led to this technological advancement?
Waki: Of course, the specs of the PCs we use for production have improved, but that doesn't mean we can suddenly clear a lot of challenges at once. So, the best approach, in my experience, is to incorporate challenges into each work we tackle, aiming to improve with each iteration.
In "Land of the Lustrous," which I worked on in 2017, we faced challenges due to the characters being anthropomorphized gems (they look human but aren't). One issue was, as you mentioned, the expression of hair. Also, the characters had egg-shaped faces, so we didn't achieve a three-dimensional skeletal expression of emotions.
Waki: Next, we worked on "BEASTARS" (Season 1) which was broadcast in 2019. All the characters were bipedal animals. They had body fur and many characters featured muzzles (*), requiring facial animations that couldn't be created without considering a three-dimensional skeletal structure. As a studio, we had to master these two techniques.
*Muzzle: The part of an animal's face that includes the nose and mouth. In "BEASTARS," since the characters are anthropomorphic animals, their CG representations also had muzzles that protruded forward.
Waki: After "BEASTARS," we worked on "Godzilla S.P" (released in 2021). In this project, we explored 'what kind of texture should be used when creating large objects in CG.' It was a collaborative effort with Studio Bones, so we had to think carefully about how to combine our CG with hand-drawn animation and how to blend them seamlessly.
Waki: We've also experimented with various short works, clearing other challenges one by one. For "TRIGUN STAMPEDE," we're trying to incorporate all the skills and expertise we've acquired through the years. The perennial challenge in CG has always been how to depict humans (characters) effectively. We're committed to refining this aspect of our production.
In the interview, Waki mentions the significant improvement in the expressive power of CG animation in recent years. He believes that rather than attributing this advancement to user-friendly software or merely higher PC specifications, the most substantial factor is the accumulation of expertise and know-how within the CG animation staff. Waki expresses that if viewers notice the evolution of CG animation in "TRIGUN STAMPEDE," it's largely because the creators at Studio Orange have been provided with ample time to think and gradually accumulate expertise, leading to the current level of expressive power.
In the context of "TRIGUN STAMPEDE," which is seen as a culmination of technical achievements, Waki discusses the decision to appoint Muto as the director. He recalls their first collaboration on a music video production at MAPPA, followed by the creation of opening and ending sequences for a TV series. Waki found Muto's rapid growth and learning capacity intriguing, noting that creating anime is not an instant process and requires continuous learning. Observing Muto's ability to rapidly accumulate various knowledge and skills was intriguing for Waki.
In response to Waki's praise, Muto expresses surprise and humility. Waki, as a producer, witnessing Muto's burgeoning talent, contemplated offering him the directorial role. When asked about the key to his rapid learning and knowledge absorption, Muto humbly attributes it to his ability to study stress-free when it involves topics he is passionate about, while admitting that he finds it highly stressful to engage with subjects that do not interest him. He believes that Waki has recognized this trait in him, underscoring the importance of a producer's ability to discern the aptitude of individuals. Muto admires Waki's exceptional talent in this regard, consistently impressed by his producer's skills.
- So, having become a director, have you noticed any changes in your mindset from before?
Mutou: Being responsible for the direction of each episode (*) and making those 20-odd minutes "my film" was one thing, but being a director and overseeing the entire series, guiding the overall work to the desired quality, feels like a completely different profession. I've really felt that this time.
From all around the world and throughout history, watching making-of videos of various directors and reading books about their experiences, I found that they all seem to have similar struggles (laughs). I'm learning from them and somehow managing.
* Episode direction: In TV animation, each episode's direction is usually handled by different staff on rotation, and they are conveniently referred to as "episode directors." On the other hand, the "director" is responsible for steering the overall taste of the work. People who have accumulated their career as an episode director and are deemed suitable often become directors.
- What kind of challenges have you faced since becoming a director?
Mutou: I've come to realize that "there's a limit to what one person can control 100%!"
Naito: The volume of material you handle is completely different between directing individual episodes and overseeing the entire series.
- While a director for a single episode needs to control just that episode, a series director is looking at 12 or 13 times that amount if it's a single season.
Mutou: Plus, I have to check the script, design, and music, and depending on the episode, there may be troubleshooting tasks, so it's more than just 13 times the workload (awkward laugh).
Naito: When you're directing an episode, you have the character appearances and the script given to you beforehand.
- Right, like an outline or a framework for what will be portrayed in that episode.
Mutou: Exactly, exactly. As an episode director, I was presumptuously like, 'Let me decide everything about my episode!' I've done things like demanding, 'Show me the art board (*)!'
* Art board: A visual representation that serves as the base for drawing the background of each scene, specifying the background colors.
 - Normally, you wouldn't say such things in the position of an ordinary director (laughs), though there are exceptions.
- Mutou-san, you were an exception.
Mutou: When I became a director, I found myself in a position where I had to control an even larger volume of material... It's tough, but I also find it interesting. When I was directing, I think I was very much like a sovereign state. Becoming a director, needing to borrow the strength of various people, made me more democratic. I've become more interested in the reality of politics than before and recently, I've been reading books about politics.
- That's a keen interest in learning!
- At first, when I interacted with directors similar to myself, I thought, "I don't like this..."
- This is a basic question, but what exactly are the differences between the roles of "director" and "director" in anime?
Waki: There are slight differences between series like TV and streaming, and movies. For series, the director's role is to direct each episode. The director directs the work itself. However, there isn't a clear division like "this area is definitely the director's jurisdiction."
  Earlier, Mr. Mutou talked about asking to see the "art board" when he was directing, which is fundamentally the director's job, but there are cases where the director checks it too. The line between them varies depending on the production.
- When someone like Mr. Mutou, directing individual episodes, says, "This is the script, but wouldn't it be more interesting to do it this way?" and attempts to modify the storyboard, does the director ever reprimand them like, "Don't do whatever you want!"?
Mutou: I guess it depends on the director. I've heard directly from Mr. Nishimura that "there used to be many directors like that." This was the case when Mr. Nishimura was involved in "Future GPX Cyber Formula."
※Mr. Nishimura... Mr. Satoshi Nishimura, the director of the previous anime "Trigun."
Naito: Does that mean you were scolded by Mr. Fukuda (laughs)? But the storyboard is cut by the episode director, right?
※Mr. Fukuda... Mr. Mitsuo Fukuda, the director of works like "Future GPX Cyber Formula."
- So, the process is that the episode director first draws the storyboard based on the script, and then the director checks it. If the director feels, "This is going too far," they might mark it in red and request a resubmission, or if they think, "This kind of uniqueness is good for the work," they give the go-ahead.
Mutou: Yes, that's right.
Naito: Surely there are cases where animators tasked with the drawing express their strong individuality. If a scene that's supposed to be just a simple "slash and fall" is drawn as "Ura ura ura ura uraaaah! Boom!! Bang bang bang! Crack!! Thud!!", they might react like, "What are you doing! Uh... but it's really good, so let's keep it as is."
Mutou & Waki: That does happen (laughs).
- (Laughs) Listening to our conversation thus far, I get the impression that, as a director, Mr. Mutou, you have always been the type to assertively present what you find interesting. In "TRIGUN STAMPEDE," have you encountered any directors who you felt were similar to you in style?
Mutou: Yes, I have…
- How do you feel about working with such directors in your role as a director?
Mutou: Honestly, at first, there were moments when I felt quite reluctant. Even though they were similar to me in type.
- Hahaha.
Mutou: But the reason I felt that way was because, even though they were similar to me in terms of expressing themselves, their "directional preferences" were different from mine. However, when I started to view it from the perspective of the series' overall flow, I began to feel that it wasn't necessarily a mistake.
- So, as a director, you feel that while their taste might not align with yours, having such a unique flavor in one of the episodes could actually be acceptable and perhaps even beneficial for the series as a whole.
Mutou: In the end, it's all about creating a "delicious dish" as a whole. If I were just one of the directors, I might look at the episodes directed by others and think, "What's this?" or "I wouldn't do it this way."
- Sort of like a sense of rivalry?
Mutou: But when you're collaboratively creating something larger, the inclusion of an ingredient with a slightly different flavor can actually turn out to be a positive thing. This is something I've realized since becoming a director myself.
Naito: That's something you wouldn't understand until you've actually been in the director's shoes... Mr. Takei, the producer from Toho, also mentioned that Orange tends to create works where the distinct style of the directors involved is very much evident.
 Waki: CG animation production often involves a lot of division of labor. There are people who decide the layout, people who add the animation, and even those who work exclusively on the "swaying objects" (*). The tasks are divided and assigned to different people.
However, at Orange, one person handles the entire process for a single cut, from start to finish. The fact that the final product varies depending on the animator might be a unique aspect.
* Swaying objects: Items like capes or hair that sway every time a character moves. In CG, controlling these without having them intersect with other objects can be challenging.
- So, it's not like an assembly line process, but more like a single watchmaker assembling an entire watch by themselves. But doesn't this approach disadvantage you in terms of production efficiency?
Waki: Efficiency isn't just about "producing a large quantity of products." It's also about how well the final product turns out... I believe that's also a way to think about "efficiency," and that's why we do it this way at Orange.
Naito: Working together this time, I learned for the first time that Orange deliberately does things in CG that are closer to traditional animation. They don’t standardize everything through division of labor but rather allow the individuality of each creator to shine. That's something hard to understand from the outside.
- It's hard to grasp, indeed.
Naito: As a result, I believe this approach leads to a unique strength in CG animation, distinct from traditional hand-drawn animation. As a manga artist who has been involved in animation several times, I feel that the fundamental ideas behind it are completely different. I would like various media to delve more into this topic.
*English version professionally translated- commissioned by xoxo-otome.
34 notes · View notes
amelheth · 27 days
Text
Custom Godzilla
Its been awhile since i posted anything so i decided to post this recent reinvention of infamous kaiju's design. Reinventing the King of the Monsters!
It been a LOOONG time since i wanted to draw my own version.
Tumblr media
For design, i was inspired from many iterations of the monster. From most obvious being Burning Godzilla from Godzilla versus Destoroyah, Godzilla Ultima from recent Singular Point series, and of course, Shin Godzilla.
For skullshape i went for the more whalelike approach with googly eyes of Shin's early forms, giving it moreso fishlike vibe. Since originally "Gojira" comes from "Gorira" (Gorilla) and "Janjira" (Whale). Hence whale pick. Plus, Ultima's skull shape.
From Shin it got tiny arms, eyes, and most prominent, massive tail. Second Godzilla coming from tail is reference to Shin Godzilla unused concept arts where Godzilla divided, as well as, reference to his tail shape and tail beam.
As for texture, i wanted to go with overly nuclear look. Skin rips apart, baring irradiated flesh that bulges out, with skin trying to regenerate with fiberlike structure. It also makes this Godzilla a constant source of massive radiation and heat. Normal humans cannot approach it without burning their skins alive and getting irradiated. It leaves heavily irradiatef footprints and marks whenever it walks, much like to early Shin Godzilla, if not worse.
As for atomic breath, i havent drawn it, but i have ideas for it. And of course it can emit both from mouth and tail.
But, unlike regular interpretations, its not a beam nor a flame. When using atomic beam, Godzilla opens its maw wide, as its dorsal plates and exposed flesh glow brighter, increasing overall radiation emission. Its maw starts glowing blindingly bright with bluish light. Without visible beam, large area its atomic energy is emitted from mouth starts melting and burning, much like heat from stars or melting down nuclear reactors. Similar to effect Supercharged Godzilla's presence did in Godzilla: King of the Monsters, but on much larger scale. This Godzilla also can focus this invisible burst of destruction into thinner beam, as heat increases. Eventually, chain reaction occurs in air itself, as flash of light momentarily hits from its mouth onto target, creating a massive nuclear explosion.
I call this version of Atomic Beam as "Nuclear Radiance" or "Lighthouse of Death".
It also proudly stands at 100 meters height much like Ultima, Heisei and Final Wars. Its also pretty slow and passive like Shin (usually). But can be quite feral. In agressive fight with other kaiju, it can use its massive jaws both on head and tail aside from atomic beam, unable to use arms.
I am planning to remake more kaijus in near future, so, stay tuned, and dont get even mile close to this monster.
29 notes · View notes
catgirl-kaiju · 11 months
Text
pics of kaiju in order listed above with names, appearances, and image alt text:
Tumblr media
Giant Condor/Giant Eagle
Ebirah, Horror of the Deep (1966)
All Monsters Attack (1969) [stock footage]
Tumblr media
Gappa Family (Baby Gappa, Osu Gappa, & Mesu Gappa)
Gappa (1967)
Tumblr media
Gorgo
Gorgo (1961)
Tumblr media
Guilala
The X from Outer Space (1967)
Monster X Strikes Back: Attack the G8 Summit (2008)
Tumblr media Tumblr media
Yonggary (Showa & Heisei Designs)
Yonggary, Monster From the Deep (1967)
Reptilian (1999)
Tumblr media
Giant Octopus
King Kong vs. Godzilla (1962)
Frankenstein vs. Baragon (1965) [alternate ending]
The War of the Gargantuas (1966)
Tumblr media
Maguma
Gorath (1962)
Godziban Special Episode: Bring Them to Life! Let's Play with the Three Godzilla Brothers (2020)
Tumblr media
Gojirin
Get Going! Godzilland! (1996)
Tumblr media
Bagan
Resurrection of Godzilla (1980; scrapped)
Resurrection of Godzilla (1983; scrapped)
Mothra vs. Bagan / Mothra vs. Godzilla (1990; scrapped)
Godzilla 3/ Godzilla vs. Bagan (1991; scrapped)
Super Godzilla (1993) [video game]
Godzilla vs. Bagan (1995; scrapped)
Rebirth of Mothra trilogy (1996-1998; considered)
Yamato Takeru II (1997; scrapped)
Godzilla Movie Studio Tour (1998) [video game]
Godziban (2019-) [episode 54; special episodes 10 and 12]
Information sourced from wikizilla.org
61 notes · View notes
Text
Godzilla: *Screams*
King Ghidorah: *Screams louder to establish dominance*
Mothra: Should we do something?
Rodan: No, I want to see who wins.
43 notes · View notes
graspingremlinhands · 10 months
Text
KING GHIDORAH: How does it feel to be worst and the weakest titan ever, uh? RODAN:Shut up your mother buys you megablocks instead of legos.
KING GHIDORAH: YOU FUCKING TAKE THAT BACK!!!
52 notes · View notes
leoprime13 · 2 years
Text
Godzilla: You are grounded… for… till college.
Madison Russell: For till college?!
Godzilla: FOR TILL COLLEGE!!!
62 notes · View notes
Text
A War of Escalation
One of the old cliches in many old 50s atomic monster movies is that of the secret weapon. A powerful device that is the only thing capable of safely dispatching the monster. For example, in the 1953 classic The Beast of 20,000 Fathoms, a radioactive isotope is shot within the wound of the Rhedosaurus to put it down.
This is a very prevalent theme in many B-movies that the only way to fight a monster is to use a powerful weapon. Now these films flourished during the Cold War, where tensions between the US and the Soviet Union were high, and the fear of an all-out atomic war was used to serve as the basis for many of these monster movies. In many ways, the monster, like the Rhedosaurus, represented the enemy or their nuclear weapons, and the weapon used to dispatch it, like the radioactive isotope, was the nuclear weapon on "our side".
Tumblr media
The implication being that nuclear warfare and weapons are bad...as long as it's in the wrong hands.
However, the 1954 classic Godzilla (or Gojira, also known as Godzilla, King of the Monsters in America) takes a much...different stance. You have to remember that it hadn't even been a decade since atomic bombs hit Hiroshima and Nagasaki, and the horrors of the Lucky Dragon Incident (where a tuna trawler got doused in radiation from the fallout of the nuclear test Castle Bravo) were fresh in the minds of the Japanese people. So, they knew full well the horrors of an atomic war.
And here lies the difference: in America, a monster that rises from the sea as a result of nuclear testing like the Rhedosaurus would've been an allegory for the enemy, or Communism. Something to be conquered.
In Japan however, Godzilla was seen as an allegory for the atom bomb itself.
Sure, in many ways the two films are similar with a nearly identical plot: a prehistoric monster rises from the sea, mutated by radiation, and wreaks havoc on civilization. But the difference is presentation. Beast focuses on the people trying to stop the Rhedosaurus and the destruction is a sort of spectacle. Godzilla's rampage though is focused on the victims themselves, and how indiscriminate it is since nobody is spared. Even the monsters themselves are different in how they're portrayed: the Rhedosaurus acts like a rampaging animal that will back off if faced with intense firepower. Godzilla on the other hand just wades through buildings, not stopped by anything the army can throw at him.
Which leads to the Oxygen Destroyer, Godzilla's version of the super weapon. Once developed as a potential source of energy, the Oxygen Destroyer was an accidental creation by the brilliant scientist Dr. Serizawa (Akihiko Hirata), who's kept it hidden lest it fall into the wrong hands. A weapon of nightmarish capabilities (stripping underwater organisms of their flesh), it might be the only thing capable of ending Godzilla's terror once and for all.
Tumblr media
The thing is...it's not treated as being a good thing. Part of the reason Dr. Serizawa is so hesitant to use it, is because he believes that if it's used, even once, then the countries of the world is going to be scrambling to develop their own Oxygen Destroyers. And it's not like he can just say know a second time. If he used it once, then it means he can be persuaded to make another one. Another arsenal to an already destructive arms race that could potentially result in the ruin of the human race. In Serizawa's words:
"Bombs vs. bombs. Missiles vs. missiles. And now a new superweapon to throw upon us all".
Eventually though, the horrors of Godzilla get to him, persuades him to use the Oxygen Destroyer to slay the menace once and for all. But to prevent it being used again, he does so at the cost of his own life.
Tumblr media
Thing is, this isn't treated as a victory. A good man lost his life to the dismay of all. And worse, it didn't end the arms race. Paleontologist Dr. Yamane (Takashi Shimura) firmly believes that given how tough Godzilla was, it's unlikely he's the last of his kind. Worse still, given that weapons of mass destruction are still in use, it's only a matter of time before another Godzilla or something like him shows up again. The victory is a respite, but not the end.
The question of killing Godzilla is brought up again and again throughout the series. While all agree he's a threat, time and again it's explored whether humanity is going too far, or creating something far worse in trying to destroy him. Hell, in Godzilla vs Destoroyah (1995), it's revealed that in one timeline a much worse monster was spawned from the Oxygen Destroyer's usage. The message is clear that while Godzilla is a problem, humanity has the potential to make something far worse. And a weapon of mass destruction is not the ultimate solution in the end. It can give you a breath, but that's all it'll give before the next spawn it created arises.
For America in the 50s, the question of nuclear weaponry is whether who should be allowed to use it. For Japan in the 50s, it was a question of whether or not it should even exist.
95 notes · View notes