Showing posts with label Eiji Tsuburaya. Show all posts
Showing posts with label Eiji Tsuburaya. Show all posts

Eiji Tsuburaya: Master of Monsters: Defending the Earth with Ultraman, Godzilla, and Friends in the Golden Age of Japanese Science Fiction Film


Now in paperback!


Behind-the-scenes hero to anyone who's thrilled by giant monsters duking it out over Tokyo, Eiji Tsuburaya was the visual effects mastermind behind Godzilla, Ultraman, and numerous Japanese science fiction movies and TV shows beloved around the world. The first book on this legendary film figure in English, this highly visual biography surveys his fascinating life and career, featuring hundreds of film stills, posters, concept art, and delightful on-set photos of Tsuburaya prompting monsters to crush landmark buildings. A must-have for fans, this towering tribute also profiles Tsuburaya's film collaborators, details his key films and shows, and spotlights the enduring popularity of the characters he helped create. 

Reviews:

"[A] loving, well-researched tribute to the greatest of all Japanese Monster Makers!!"
-Guillermo del Toro
Director of Pacific Rim and Pan's Labyrinth

"Eiji Tsuburaya was a very reserved man on the set. Most of the direction he gave me for the performances was, 'I trust you to do it. Do what you feel is best, I'll leave it up to you.' And that's the way he was for most of the films we worked on together after Godzilla. After the wires broke on the Rodan suit, causing me to fall several meters onto the miniature set, he chided, 'It's good that you didn't die; because I need you to finish the film.' And I replied, 'That's easy for you to say; I'm the one inside the costume.' But, these things would sometimes happen. It's been forty-three years since Tsuburaya has left us, but what a happy feeling to have a book published about him after all this time. And that it came not from Japan, but from the U.S.! I'm sure the Old Man would be as happy as I am. August did a wonderful job. Thanks to all for not forgetting him."
-Haruo Nakajima
original Godzilla suit actor (1954-1972) and the Man of a Thousand Monsters

"When I moved to America to start filming Godzilla, this was one of the few books I brought with me. Eiji is a true inspiration, and a one of a kind innovator of special effects, the likes of which we'll probably never see again in cinema."
-Gareth Edwards, director of Monsters and Godzilla (2014).

'The difference between this book and other coffee table volumes that have covered daikaiju before, though, is the staggeringly researched detail that Ragone has put into the text itself. This is not just a picture book to flip through, nod approvingly at and stick on the shelf; this is a record easily in scale with the monsters Tsuburaya created a critical and historical look at the creation and output of an industry that spanned (and has continued to span) the decades.
-Tooth and Dagger, October 2007

Godzilla Sometimes Needed A Hand And The Long Forgotten "Puppet" Monsters From Toho


Many fans never knew that the close up shots of Godzilla in the early days was a hand puppet. Likewise Mothra, Manda, Kumonga and Kamacuras were also puppets. As a whole Eiji Tsuburaya and his special effects crew had to come up with all kinds of creative ways to portray their famous monsters due to both time limits and budget constraints.

The SYFY Wire recently published a great article about how puppets were effectively used in the Godzilla movie series:

THE REVOLUTIONARY PUPPETS OF GODZILLA, TOHO AND OTHER KAIJU MOVIES

The Japanese monster movie (kaiju eiga) is known — and frequently scoffed at — for its signature technique of suitmation: placing a stuntman inside an enormous rubber costume and turning him loose on an intricately detailed miniature cityscape.

It is important to note, however, that while this has been the go-to method for many decades, Japanese special effects artists have never shied away from using other techniques to bring their visions to life. Due to the physical limitations of suitmation, kaiju eiga filmmakers frequently supplement CGI, animatronics, separate props for feet and tails, very limited use of stop-motion animation, and even puppets to make their creatures all the more expressive on the silver screen.

Going all the way back to the original Godzilla (1954), one of the drawbacks of suitmation was inherently restricted movement in the head and neck areas. The monster costume constructed by Eizo Kaimi and Yagi brothers Kanji and Koei had been designed in a way so that the stuntman’s head would be positioned inside Godzilla’s neck — giving the creature a more inhuman shape as well as permitting the actor inside some limited visibility and ventilation through tiny holes in the throat.

The negative consequence of this design choice, however, was that the costume's neck was quite stiff — practically immobile — and thus making it difficult for Godzilla to perform actions such as snapping his jaws, an important tool in his assault toolkit. Not to mention, he could hardly turn his head without turning his entire body at the same time. The staff wanted this first iteration of Godzilla to exhibit violent, animalistic behavior, so a secondary technique would be required.

Here is a little more information from my article What Was It Like To Play Godzilla, King Kong, Rodan, Mothra ...?:

Nakajima endured wearing that 200-pound costume for the entire filming of "Gojira". Though other actors were cast to play the monster, only Nakajima could tolerate the costume, long working hours and awful filming conditions.

The filming for "Gojira" took place in the summer of 1954, which would be one of the hottest on record in Japan. Since the stages at Toho had no air conditioning and because Nakajima had to wear that heavy costume, the production was moved from a normal shooting during the day to a five pm to five am schedule. According to the actor "The crew often times said that the shooting schedule was the real Gojira (Monster)."

Let's get back to the SYFY piece:

To counter the problem, a half-body puppet was assembled. Built at a much smaller scale and used primarily in close-ups, its head and neck could be operated by hand, providing much more expressive movement than what was attainable with the suit. Now Godzilla could tilt his head in various directions as well as seize objects with his mouth. (In addition, the arms were electronically controlled with cables, helping maintain the illusion of a living creature.)

Semblance to the suit was spotty at best, but the puppet was nonetheless capable of performing actions the staff wanted, such as Godzilla lunging at the Hattori Clock Tower, biting train cars, and tearing down the NTV tower with his teeth. Under Koichi Kawakita's supervision in the 1990s, Godzilla costumes garnered internal mechanisms permitting limited head movement (tilting and swiveling), but in the beginning, filmmakers depended on ingenuity with secondary techniques to make up for the physical shortcomings of suitmation.

The 1954 puppet also came in handy when depicting Godzilla’s signature atomic breath. As the schedule did not permit sufficient time to fully animate every instance of the breath on film, all close-ups of this fiery weapon were accomplished with a water nozzle installed in the puppet's mouth. When enhanced with proper lighting, Godzilla appeared to be spitting a white-hot, explosive vapor.

Many films —and many monsters — have come since the original Godzilla, oftentimes retaining the supplement of partial-body puppets for close-ups, though the staff frequently expanded their efforts to include full-body props.

For instance, some shots of Rodan in Ghidorah the Three-headed Monster (1964) were pulled off with a puppet that was equipped with motorized wing movement. This allowed more convincing flapping motions than what could be achieved with a costumed actor and piano wires hooked to the wings. More recent films such as Godzilla 2000: Millennium (1999) and Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack (2001) occasionally resort to puppetry for tight shots of monsters gnawing and biting, reducing the chances of damaging the more elaborate (and expensive) suits.

Let me interject here. Not only was it expensive, it was down right dangerous as well. Here is an excerpt from my article that mentions a couple of times when suit actor Haruo Nakajima was injured:

As the years kept coming so did the monster roles for Nakajima. Next came "Rodan" then "Varan" and then "Mothra". The filming was long, hard and very dangerous. Nakajima admits that he was injured in some way or another on every single production. On the set of "Varan" the actor was hurt very seriously when a miniature building blew up underneath him. Despite being in severe pain he never let anyone know about it, "I felt like I could have gone to the hospital, but I knew if I had to go then the crew would have to go home, and not get payed for the time, so I stuck it out."

Likewise on the set of "Rodan" a cable snapped while Nakajima was inside the monster's costume suspended some 10-meters above the sound stage, "The cable broke and I began to spin wildly before the whole thing gave way and I came crashing to the ground. Luckily the costume had wings and I landed in the water which protected me."

Tsuburaya was very pleased to see that Nakajima was okay stating, "I'm glad that you didn't die."

The SYFY article concludes:

Puppets also prove useful in aiding forced perspective. In Mothra vs. Godzilla (1964), for instance, distant shots of Godzilla moving across the landscape were shot with a puppet. As it was about half as tall as a person, it helped forge the illusion that Godzilla was extremely far away when placed toward the far reaches of the set—something which wouldn’t have worked as well with the man-sized suit. The climax of Destroy All Monsters (1968) employed tiny duplicates of Manda, Baragon, Varan, etc. never meant to participate in the battle with King Ghidorah but simply to provide background motion while simultaneously aiding the illusion of distance.

But perhaps no other Japanese special effects artist has defined the wonders of wired puppetry as proficiently as Sadamasa Arikawa. A former cameraman for Tsuburaya, Arikawa more or less took over as Toho’s effects director in the mid-1960s, as his mentor began shifting focus to television projects at his own company. In terms of wire work, Arikawa’s magnum opus is Son of Godzilla (1967), with its assortment of giant praying mantises and a colossal spider, all portrayed with intricate marionettes. In particular, the giant arachnid Kumonga steals the show, its eight jointed legs in constant motion (each leg operated by multiple puppeteers perched in rafters above the set).

Another standout moment in Arikawa’s résumé is the serpent-like Manda (also a marionette) wrapping its coils around a monorail bridge in Destroy All Monsters (1968) before crushing the structure under its might. Scenes such as this required Arikawa and his crew to test their ingenuity. The usual overhead wires would only handle part of the task, so in order to get Manda to crawl over and underneath and then back around the bridge, the puppet was rigged to several wires, the various directions (above, sideways, etc.) changing according to the shot. Edited together, the results are absolutely astonishing.
Source

Related:

Godzilla: King of the Monsters (1954)(Toho)

"Using his beta capsule, Hayata becomes Ultraman!"

Kingukongu no gyakushu / King Kong Escapes (1967)(Toho)


"Using his beta capsule, Hayata becomes Ultraman!"


The sequences with Ultraman fighting proved to be so expensive to film, that the producers needed a way to limit the scenes to only a few minutes for each episode. The solution was to give the character the weakness that he can not survive in his true self for more than roughly three minutes before he runs out of energy. This is marked with his warning chest light, called the Colortimer, which begins to blink with increasing speed as his energy runs out.

Some monsters from Ultra Q appear in this series, some with changes. A few examples: In Episode 4 ("5 Seconds Before the Explosion!"), Ragon, the Gill-Man-style humanoid fish, returns in giant size and breathes fire like Godzilla. In Episode 8 ("The Lawless Monster Zone"), the monster Pegila returns as the monster Chandrah, fighting the monster Red King (and loses). And in that same episode, the giant-sized robot monster Garamon is reused as the friendly, pint-sized monster Pigmon.

The character 'Ultraman' was ranked #23 in TV Guide's list of the "25 Greatest Sci-Fi Legends" (1 August 2004 issue).


The character of Ultraman went through many changes as pre-production went along. At first, the planned series "Woo" had a corporeal space creature with eyes, who befriended a reporter named Jôji Akita, but the Self Defense Forces were after him. This was basically the monster version of Doctor Who, and Woo's personality was comical. Then they planned "Bemular" (retitled "Science Patrol - Bemular") about a defense force disguised as an art/photography team. One of the members, little did anyone know, gained the ability to transform into a giant birdlike humanoid monster called Bemular (this is not the same Bemular that Ultraman would fight in Episode 1), who defends Earth from monsters, aliens and other threats. Unlike Woo, Bemular was a tough and righteous fighter (Bemular looked very similar in design to the title monster of Daikyojû Gappa). This then evolved into "Redman," the title hero of which slightly resembled Ultraman as we know him, but he looked more demonic and had horns. Both Bemular and Redman were designed by Tôru Narita, who came up with the final design for Ultraman based on his Redman design, now resembling a less-scary Buck Rogers-style alien being (with a bit of the iconic "Roswell Alien" as well). The characteristic "ColorTimer" (the "warning light" on his chest) was added at the eleventh hour.


As is the case with his previous series, Ultra Q, series creator Eiji Tsuburaya uses and redecorates famous Toho monsters for the show. Baragon (from Frankenstein Conquers the World), who was also used in aforementioned series (as the monster Pagos), was used as monsters Neronga in Episode 3 ("Sally Forth, Science Patrol!") and Gabora in Episode 9 ("Operation Lightining Speed"). And the King of the Monsters himself, Godzilla (who was also used as the monster Gomess in the first episode of Q), was used as the frillnecked lizard monster Jirass in Episode 10 ("The Mysterious Dinosaur Base"). Using the body of the "Mosu-Goji" suit and the head of the "Daisensô-Goji" suit, Godzilla/Jirass was fitted with a frill collar around his neck, as well as a minor paint job. This was because the script called for a lizard monster, so Eiji said, "Okay, then, let's use a Godzilla suit!"



The Science Patrol's Jet VTOL (AKA: Jet Beetle) was originally from the Toho SF epic, Gorath, but with a new paint job and accessories.

When directing Episode 36, "Gift from the Sky", Akio Jissoji played a humorous prank on star Susumu Kurobe by making him mistake a spoon for the Beta Capsule when transforming into Ultraman. This became a popular in-joke to many fans of the show (even American fans like cartoonist Jeff Nicholson, who made an Ultraman parody called "Ultra Klutz", in which the title superhero transforms using a spoon).

For about the first third of the series, the opening credits featured silhouettes of monsters that had appeared in "Ultra Q", such as Kanegon and Gorou. For the remaining episodes, silhouettes of "Ultraman" monsters like Gyango and the iconic Baltan were shown instead.


Godzilla: King of the Monsters (1954)(Toho)

GODZILLA IS DEAD!
City Saved By Scientist's Secret Invention
Tokyo, Japan - Steve Martin - United World News - Chicago
(Fiction)

Our tale begins dramatically amidst the smouldering ruins of what was once a great city. Twisted girders, cracked, blistering sidewalks and the skeletal frames of demolished buildings paint a grim portrait of this smouldering memorial to the unknown. Tokyo, once a proud metropolis of six million people, is now a graveyard.

See Also: Gojira (Godzilla King of the Monsters) 3D Shadowbox Collage - One of a Kind Original Artwork

The mind is a curious thing. It takes so much for granted! Freedom, happiness, security....these are things we've lived with and accepted, but rarely appreciated. As I look across the crimson, still-smoking horizon, these ideals seem very far away, for what I see, and smell, and sense...is death. Perhaps I myself am dead, and this fiery, lifeless landscape is actually Hell! I don't know..I don't know anything anymore, except that I, as a man, as a member of the human race, have been dwarfed by a living nightmare. It has proven itself stronger, smarter...more powerful than the Earth itself! My world burns before me, and with it, my very soul.

My name was Steve Martin. I used to be a foreign correspondent for United World News. I was headed for a routine assignment in Cairo when I decided to stop off in Tokyo to see an old friend. But that was days ago...I was a man then.

Now I am part of the human wreckage, the rubble and blood and total destruction of last night. I am in a hospital, and all around me are the dead and the injured. Those who are alive are silent, thoughtless...they know it is only a matter of time before "It" strikes again.

People are walking by me very fast now. I can hardly see their faces. Perhaps it is just as well....what does the face of defeat look like, anyway? It couldn't be more sickening that the cold, blank expressions of the lifeless. But ....wait. That girl coming toward me-I know her! Why, it's..."Emiko, Emiko!"

"Steve, Steve Martin! Are you Badly hurt?"

"After last night I'm lucky to be alive. And your father....is he alright?"

"Yes! He's meeting with the security officials now. Don't move Steve, I'll try to get a doctor for you."

A doctor! Hah! What can a doctor do? Will he bring the city back? Will he bestow life upon upon those trampled and crushed and burned? What can anyone do now...now that Godzilla lives? Emiko means well, as do they all...but tonight he will return. Tonight we will not be as fortunate! Death stalks us all, in the furious, rampaging form of a behemoth such as modern man had never seen prior to last night. But wait - I am wrong? He had never been seen! But no one believed those sightings, those reports of a vengeful monster out of ancient myth and legend....it seems so long ago now, but I can still recall every horrifying moment as clear as crystal. A few days ago things were normal...

A small sailing vessel was drifting peacefully in calm water. Some of the men were on deck, staring into the infinite loneliness and wonder that was the ocean. How old the ocean was, they thought. And how mysterious. Suddenly a stark, glaring light flashed across the deck. The men rose instantly and looked about. Then their eardrums burst and their bodies crumpled before a sound like no other....a heavy, thundering roar like the wail of some unholy foghorn. Flames filled the air. The radio men tried to send for help but there wasn't enough time. In an instant, the vessel had disappeared beneath the cruel, burning waves...

When I finally arrived at the airport the following morning, I was greeted by Shegarito, Dr. Serizawa's trusted assistant. But before we could visit the good scientist, a Japanese officer interrupted our meeting and asked me to come to the security headquarters. Slightly annoyed at the curious request, I asked Shegarito to extend my apologies to Dr. Serizawa and reluctantly followed the officer into a small room. Although I could not understand all of it, I figured out that the reason for everyone's strange behavior this curious morning involved the sinking of that small sailing vessel...

My part in the confusion was finally made clear to me. A friendly, English-speaking Japanese official named Tomo asked me several questions about my flight. He was seeking answers to the perplexing enigma of that ship disaster! What could have caused it? A mine, or a collision perhaps...but when the ship's doomed radiomen sent a message through, it told only of a blinding flash of light.


It was a mystery, alright. The Japanese authorities were trying to solve that mystery by sending out a rescue ship to survey the disaster area.

That rescue ship was never heard from again.

While officials tried their best to control the panic elicited from these strange accidents, news of the disasters finally leaked out. A frightened public demanded an explanation! Scientists and government men were brought together to discuss courses of action and offer solutions. Among them was Dr. Yomane, Japan's foremost paleontologist, whom I had met through my friend Serizawa several years ago. If there was an answer to these mysterious sea disasters, it would come from these men.

After much desperate conversation, Dr. Yomane suggested to the officials that they question the natives of Odo Island, a small bleak, spot of land that was close to the area where the tragedies had taken place. Confused, but receptive, the authorities quickly agreed. I was allowed to tag along.

Odo was an industrious little island in the Pacific populated by several hundred natives who were now paralyzed with fear. These people were the only ones to see some of the fires at sea, as well as locate one survivor of a sinking. His visit, unfortunately, was a short one! As the Japanese officials descended upon the island’s small community, the natives became even more frightened. One babbled what everyone considered to be a “ridiculous” story to Tomo. Nervously, he informed the official that a horrible monster was responsible for all the disasters.

Too much sake, I thought to myself.


That evening I had the unique opportunity to witness a rare ceremony. The islanders were apparently performing an ancient folk-dance, and wore rather frightening reptile-like face masks. Tomo enlightened me as to an old Odo legend, which stated that somewhere off shore there lived a massive creature of incredible strength. Although this sounded silly to me at first, I was curious about the monster’s name and asked Tomo if he knew it. A native answered for him. The thing was called Godzilla.

Much later that night, Tomo and I were sleeping in a tent we had set up at the far edge of the island. Restless, I awoke to notice a peculiar flickering in our lantern. The very ground beneath us appeared to be quivering! Tomo and I wedged ourselves around our tent pole for support as wind and rain began to pound against us. Staring into the furious blackness, we could hear huts falling a people shouting. For this was more than just the wind and rain and lightening. Much more. I wasn’t sure just what it was. No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!

It was decided that a return trip to Odo was necessary if the mystery of these unusual occurrences would ever be solved. Dr. Yomane himself would visit the island to search for signs of unusual phenomena. On the morning of the sailing, Pier “J” swarmed with well-wishers for the doctor and his party. But there was still a feeling of anxiety among the passengers. For every ship that had taken this course had vanished from the face of the Earth. Yes, there was a feeling of anxiety, but perhaps the two exceptions were Emiko and a young marine officer named Ogata. When I had last seen Emiko she had just been engaged to Dr. Serizawa; it was the usual triangle, only this time it was to play an important part in the lives of millions of people.

When the troupe finally arrived the next day, they discovered various large, radioactive openings in the soil of Odo Island. Dr. Yomane was stunned….they were the footprints of a living creature! Suddenly, Emiko pointed out something in the crack of the imprint. It was a trilobite, a three-winged worm thought to be extinct.

The shrill sounds of a native gong rang out across the peaceful morning silence and everyone began running toward the top of a hill. I hastily asked Tomo what was going on, but he simply insisted that we follow. Soon we were swept along with the frenzied natives in that strange exodus toward that mountain peak. From our position in the crowd, we could see that Dr. Yomane and his party were fairly close to the top. Then it happened. At first it looked like the mountain was moving….but this was no mountain. Nor was it anything else I could possibly imagine. Several jagged, pointed spines rose like majestic warriors from behind the hill! The horrified people cried out in fear and melted into the side of the mountain for protection. For this was Godzilla….an incredibly large, unbelievably massive prehistoric beast, and the most frightening thing I had ever seen in my life! Staring at the tiny human beings before it, the creature roared and bellowed in terrifying defiance. It was challenging us, challenging mankind itself for mastery of our world.

At a scientific conference held a few days later, Dr. Yomane, one of the eyewitnesses, lead the discussion. Of course, the question we were all asking ourselves was how this animal could reappear after all these years, and so close to the coast of Japan? The doctor suggested that some rare phenomenon of nature allowed this breed of the Jurassic Age to reproduce itself and, for a long span of time, the beast had no reason to reappear to the world. But now that analysis of radioactivity in the creature’s footprints showed the existence of Strontium-90, a product of the H-Bomb, it was Yomane’s considered opinion that Godzilla was resurrected due to repeated experiments with nuclear bombs.

A short while later I phoned my boss, George Lawrence, in Chicago and eagerly gave him the following headline: SECURITY DECIDES TO USE DEPTH BOMBS AGAINST GODZILLA. It would be the first real test of man’s defenses against this prehistoric foe!

In the midst of all the excitement, I finally contacted my good friend, Dr. Serizawa, but declined to see him that evening when he mentioned that Emiko was visiting. The marriage between Emiko and Dr. Serizawa had been arranged when they were both children, and while the girl wasn’t in love with the great scientist, she had great respect and admiration for him. It proved difficult for her to tell him she was planning to marry the young sailor, Ogata.

But what was more important and, indeed, far more surprising lay in the doctor’s mysterious laboratory. Before Emiko could explain her true feelings, Serizawa insisted she observe his new discovery. A large beautiful fish tank stood in the center of his lab, and the girl seemed enchanted with it. Then, Serizawa placed a strange pellet into the water and pulled Emiko away. Bubbles arose furiously from the capsule, and Emiko screamed in revulsion!

Whatever it was she saw, the scientist made her promise to tell no one of it.

By the end of the day, it was generally assumed that the underwater demolitions had ended the short but terrible reign of Godzilla. There was a feeling of relief throughout Tokyo, even celebration, but both the hope and the celebration were short-lived.


For the massive creature was soon sighted rising from the ocean outside of Tokyo! Within moments the city was aware that Godzilla was inside the harbor, and panic began to spread and mount to uncontrollable proportions. The monster slashed at the ocean as the Japanese military began firing. Their bullets and rockets had no effect whatsoever. With the thunder of some monstrous demon, the creature climbed upon land! It was like the end of the world for the seaside citizens of Tokyo. Godzilla crushed automobiles and small houses beneath his massive feet. An oncoming train was savagely attacked, its steel cars crushed within the ferocious jaws of the prehistoric horror. The monster left a legacy of terror and destruction before it finally turned back toward the sea. But we knew that he would be back soon to destroy us all unless some means were found to combat him.

Tokyo was quick to ready its defenses. The city was surrounded by high-tension electrical towers, and to get to the heart of the area, Godzilla would have to break through 300,000 volts of electricity! The officials were fighting against the clock to have everything ready by nightfall, and a general evacuation of all non-essential personnel was ordered. It was a monumental job, but a job that had to be done. By the early evening hours everyone was off the street. The news office commanded a good view of Tokyo and received all reports directly from security headquarters. Everyone in the city was on a watch a wait basis. The wait….was not a long one.

Like some monstrous denizen of Hell, Godzilla emerged from the ocean depths and walked toward the shore. Here in Tokyo, time has been turned back two million years as the creature stalked defiantly across a well-guarded landscape. He was as tall as a thirty-story building, and we gasped with terror as he approached the city’s main line of defense: the 300,000 volts of electricity strung around Tokyo as a barrier against Godzilla! The monster cautiously neared the wires. Explosion after explosion of electrical power began! It seemed for a while as if, at long last, something had finally worked in stopping the prehistoric leviathan. But then our hopes died with the next fatal blow. From out of the monster’s massive mouth came a stream of radioactive vapor! Spewing fire upon the life-saving electrical towers, the strong, steel girders became soft and weak, and began to melt. I could hardly believe what I was seeing. Now it seemed Tokyo had no defense!

The monster destroyed everything in its path. Nothing could withstand its other-worldly might! Buildings, bridges, aircraft, all were wiped from the face of the Earth by this incredible force of ancient nature. An entire tank battalion was sent out to point-blank firing range. The soldiers who commanded these defenses were incinerated in a matter of seconds! Death loomed over Tokyo. Godzilla roared and screamed his challenge into the fiery night sky, as if to alert man of his numbered days. And before I realized what was happening, the ceiling above me began to collapse, and I was soon buried under the wreckage.

Now, it’s a blurred memory as I lie here in the hospital.

“Hi Emiko”, I moan as the young girl’s vision comes into focus and wracks me from my tormented dreams. Her fiance is with her.

“Ogata!” I exclaim. “Anything new develop?”

Emiko answers before the sailor can even speak. “Nothing new will develop unless….I was shown a terrible secret, and was asked never to reveal it!”

I look the girl squarely in the face, and find my senses returning to me at long last. “Emiko”, I ask soberly, “If you can help, you must! Last night Tokyo was destroyed. Tomorrow it might be Osaka or Yokahama.”


“When I went to see Dr. Serizawa, I had intended to tell him of Ogata and me, but there was something he wanted to show me first…He had been experimenting with oxygen when he came upon a terrible chemical discovery: A way to destroy all oxygen in water, thereby disintegrating all living matter! An amount no larger than a baseball could turn Tokyo Bay into graveyard. Serizawa had found a terrible destructive power and until he could find a counteractive developed from his experiments, he didn’t want the world to know his secret. He swore me to silence!”

Ogata eyes his future wife nervously. “Emiko! We need Dr. Serizawa’s help. There is no other way!”

I nod in agreement, and then watch the young couple leave the hospital room.

I don’t know what went on when Emiko and Ogata went to see the great scientist. I only know that he finally did consent to let them use the weapon, after burning the formula for the deadly discovery in his fireplace. We all stand together now, united in our hope for the future.

The boat; finding the location of Godzilla; the oxygen destroyer; all these are ready. Serizawa is assisting Ogata in placing the weapon deep under water as an announcer aboard the ship eagerly asks the world to “please stand by”.

They’ve been under water for several minutes now. It seems like….wait! Serizawa seems to be having trouble! Ogata radioed that he refuses to come to the surface!

“Ogata, is it working!” Serizawa’s voice crackles over the speaker. He can see the horrendous creature approaching in the distance, already feeling the effects of the deadly weapon. As Ogata is pulled to the surface, he can see his comrade remove a knife and start cutting his own hose! “Live happily with Emiko.” He says.

The sea around us is erupting. We are motionless; still; waiting to see what happens next. Suddenly the monster appears! But he is not the terrifying sight that instilled fear and terror into our very souls as before. Godzilla is now bellowing his death throes. In an instant he disappears beneath the surface.

The menace is gone, and so is a great man. But now the whole world can wake up and live again, and perhaps now, with the example set by Dr. Serizawa, we can do so more wisely.

The original "Godzilla" was first released in Japan on November 3, 1954.

Tsuburaya Productions Celebrates 50th Anniversary

by Armand Vaquer

Above, Eiji Tsuburaya during the filming of "King Kong vs. Godzilla." Photo: Toho Co., Ltd.
The production company that Japanese special effects pioneer Eiji Tsuburaya founded is celebrating a milestone.

An exhibition celebrating the 50th anniversary of Tsuburaya Productions is opening Thursday in Yokohama.

According to the Asahi Shimbun:
An exhibition devoted to Ultra superheroes and live-action “tokusatsu” special effects will be held in Yokohama to mark the 50th anniversary of Tsuburaya Productions Co. 
The event, from Dec. 12 to Feb. 16 at the Broadcast Library, will look at the history of the nation’s leading special effects studio, best known for the live-action “Ultraman” gigantic superhero shows and movies. 
Visitors will be greeted at the entrance by a statue of Ultraman Mebius and photographs of about 30 Ultra heroes and 50 “kaiju” monsters from the franchise.
To read the full article, go here

'Ultraman' flies into Guinness World Records for most spinoffs

After nearly a half-century of battling monsters and aliens in every shape, size and form, the beloved "Ultraman" TV series has been certified by Guinness World Records as having the most spinoffs in the world, Tsuburaya Productions Co. announced Sept. 12.

A total of 27 spinoffs of the "tokusatsu" science fiction series, known for its special effects, has been aired since the first series “Ultraman” premiered in 1966, Guinness World Records said.

The 27 spinoffs include “Ultra Seven” (1967), the anime version “The Ultraman” (1979) and “Ultra Galaxy Mega Monster Battle” (2007), in which monsters play leading roles, and the latest “Ultraman Galaxy,” which started in July.

Tsuburaya Productions sent related materials about its long-running series and spinoffs this spring at the request of Guinness World Records, a company official said.

The award gives the production company another reason to celebrate since this year also marks its 50th anniversary.

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Ultra Q Coming To DVD From Shout Factory August 13th!

From August Ragone / Shout Factory

THE TRUTH CAN FINALLY BE TOLD... Had to keep mum for over a year-and-a-half, but ULTRA Q is coming to DVD in the US from Shout! Factory on August 13th! Eiji Tsuburaya's seminal 28-episode science fantasy series, which spurred the creation of ULTRAMAN, is finally receiving its long-overdue release in North America! As with previous Japanese releases from Shout!, I wrote extensive liner notes on the making of the series, which will *not* be in a booklet this time, but rather on one of the actual discs, itself (which you scroll through to read). This essay contains numerous facts about the development, production, and even the lost English Dubbing, never before published in English! But, it's the fans who make these things happen — so please support these releases from Shout! — if you don't support them with your dollars, the bean counters will be lead to believe there is no market in the US for these films and teleseries! So, order "ULTRA Q: The Complete Series" today!

(More After The Break)





“For the next 30 minutes, your eyes will leave your body and arrive in this strange moment in time…”

In the world of Ultra Q, the very fabric of nature is warped into a state of unbalance, and all manner of strange phenomenon and unearthly creatures threaten the very future of mankind! On the scene are a world-renowned scientist and his young friends — a female photojournalist, an aviator, and his co-pilot — who investigate these supernatural menaces. When sheer military might is futile, the intrepid team comes to the rescue, armed solely with their ingenuity and scientific prowess to quell these malevolent forces and restore the balance of nature.



The precursor to Ultraman, Ultra Q is a seminal science-fantasy television series in the monstrous mold of The Outer Limits and The X Files. As deeply ingrained in Japan’s pop culture as The Twilight Zone is in America’s, Ultra Q is available for the first time ever in its entirety on DVD! Eiji Tsuburaya, , the visual effects wizard behind Godzilla, Rodan, and Mothra, creates a spectacular cavalcade of bizarre beasts and mass mayhem in each and every episode of this wildly popular series. Never before broadcast in North America, Ultra Q stars Kenji Sahara (Rodan), Hiroko Sakurai (Ultraman) and Yasuhiko Saijo (Son Of Godzilla).

No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!



GODZILLA IS DEAD!
City Saved By Scientist's Secret Invention
Tokyo, Japan - Steve Martin - United World News - Chicago
(Fiction)

Our tale begins dramatically amidst the smouldering ruins of what was once a great city. Twisted girders, cracked, blistering sidewalks and the skeletal frames of demolished buildings paint a grim portrait of this smouldering memorial to the unknown. Tokyo, once a proud metropolis of six million people, is now a graveyard.

The mind is a curious thing. It takes so much for granted! Freedom, happiness, security....these are things we've lived with and accepted, but rarely appreciated. As I look across the crimson, still-smoking horizon, these ideals seem very far away, for what I see, and smell, and sense...is death. Perhaps I myself am dead, and this fiery, lifeless landscape is actually Hell! I don't know..I don't know anything anymore, except that I, as a man, as a member of the human race, have been dwarfed by a living nightmare. It has proven itself stronger, smarter...more powerful than the Earth itself! My world burns before me, and with it, my very soul.



My name was Steve Martin. I used to be a foreign correspondent for United World News. I was headed for a routine assignment in Cairo when I decided to stop off in Tokyo to see an old friend. But that was days ago...I was a man then.

Now I am part of the human wreckage, the rubble and blood and total destruction of last night. I am in a hospital, and all around me are the dead and the injured. Those who are alive are silent, thoughtless...they know it is only a matter of time before "It" strikes again.


People are walking by me very fast now. I can hardly see their faces. Perhaps it is just as well....what does the face of defeat look like, anyway? It couldn't be more sickening that the cold, blank expressions of the lifeless. But ....wait. That girl coming toward me-I know her! Why, it's..."Emiko, Emiko!"

"Steve, Steve Martin! Are you Badly hurt?"

"After last night I'm lucky to be alive. And your father....is he alright?"

"Yes! He's meeting with the security officials now. Don't move Steve, I'll try to get a doctor for you."

A doctor! Hah! What can a doctor do? Will he bring the city back? Will he bestow life upon upon those trampled and crushed and burned? What can anyone do now...now that Godzilla lives? Emiko means well, as do they all...but tonight he will return. Tonight we will not be as fortunate! Death stalks us all, in the furious, rampaging form of a behemoth such as modern man had never seen prior to last night. But wait - I am wrong? He had never been seen! But no one believed those sightings, those reports of a vengeful monster out of ancient myth and legend....it seems so long ago now, but I can still recall every horrifying moment as clear as crystal. A few days ago things were normal...

A small sailing vessel was drifting peacefully in calm water. Some of the men were on deck, staring into the infinite loneliness and wonder that was the ocean. How old the ocean was, they thought. And how mysterious. Suddenly a stark, glaring light flashed across the deck. The men rose instantly and looked about. Then their eardrums burst and their bodies crumpled before a sound like no other....a heavy, thundering roar like the wail of some unholy foghorn. Flames filled the air. The radio men tried to send for help but there wasn't enough time. In an instant, the vessel had disappeared beneath the cruel, burning waves...


When I finally arrived at the airport the following morning, I was greeted by Shegarito, Dr. Serizawa's trusted assistant. But before we could visit the good scientist, a Japanese officer interrupted our meeting and asked me to come to the security headquarters. Slightly annoyed at the curious request, I asked Shegarito to extend my apologies to Dr. Serizawa and reluctantly followed the officer into a small room. Although I could not understand all of it, I figured out that the reason for everyone's strange behavior this curious morning involved the sinking of that small sailing vessel...

My part in the confusion was finally made clear to me. A friendly, English-speaking Japanese official named Tomo asked me several questions about my flight. He was seeking answers to the perplexing enigma of that ship disaster! What could have caused it? A mine, or a collision perhaps...but when the ship's doomed radiomen sent a message through, it told only of a blinding flash of light.

It was a mystery, alright. The Japanese authorities were trying to solve that mystery by sending out a rescue ship to survey the disaster area.

That rescue ship was never heard from again.

While officials tried their best to control the panic elicited from these strange accidents, news of the disasters finally leaked out. A frightened public demanded an explanation! Scientists and government men were brought together to discuss courses of action and offer solutions. Among them was Dr. Yomane, Japan's foremost paleontologist, whom I had met through my friend Serizawa several years ago. If there was an answer to these mysterious sea disasters, it would come from these men.

After much desperate conversation, Dr. Yomane suggested to the officials that they question the natives of Odo Island, a small bleak, spot of land that was close to the area where the tragedies had taken place. Confused, but receptive, the authorities quickly agreed. I was allowed to tag along.

Odo was an industrious little island in the Pacific populated by several hundred natives who were now paralyzed with fear. These people were the only ones to see some of the fires at sea, as well as locate one survivor of a sinking. His visit, unfortunately, was a short one! As the Japanese officials descended upon the island’s small community, the natives became even more frightened. One babbled what everyone considered to be a “ridiculous” story to Tomo. Nervously, he informed the official that a horrible monster was responsible for all the disasters.

Too much sake, I thought to myself.

That evening I had the unique opportunity to witness a rare ceremony. The islanders were apparently performing an ancient folk-dance, and wore rather frightening reptile-like face masks. Tomo enlightened me as to an old Odo legend, which stated that somewhere off shore there lived a massive creature of incredible strength. Although this sounded silly to me at first, I was curious about the monster’s name and asked Tomo if he knew it. A native answered for him. The thing was called Godzilla.


Much later that night, Tomo and I were sleeping in a tent we had set up at the far edge of the island. Restless, I awoke to notice a peculiar flickering in our lantern. The very ground beneath us appeared to be quivering! Tomo and I wedged ourselves around our tent pole for support as wind and rain began to pound against us. Staring into the furious blackness, we could hear huts falling a people shouting. For this was more than just the wind and rain and lightening. Much more. I wasn’t sure just what it was. No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!

It was decided that a return trip to Odo was necessary if the mystery of these unusual occurrences would ever be solved. Dr. Yomane himself would visit the island to search for signs of unusual phenomena. On the morning of the sailing, Pier “J” swarmed with well-wishers for the doctor and his party. But there was still a feeling of anxiety among the passengers. For every ship that had taken this course had vanished from the face of the Earth. Yes, there was a feeling of anxiety, but perhaps the two exceptions were Emiko and a young marine officer named Ogata. When I had last seen Emiko she had just been engaged to Dr. Serizawa; it was the usual triangle, only this time it was to play an important part in the lives of millions of people.

When the troupe finally arrived the next day, they discovered various large, radioactive openings in the soil of Odo Island. Dr. Yomane was stunned….they were the footprints of a living creature! Suddenly, Emiko pointed out something in the crack of the imprint. It was a trilobite, a three-winged worm thought to be extinct.

The shrill sounds of a native gong rang out across the peaceful morning silence and everyone began running toward the top of a hill. I hastily asked Tomo what was going on, but he simply insisted that we follow. Soon we were swept along with the frenzied natives in that strange exodus toward that mountain peak. From our position in the crowd, we could see that Dr. Yomane and his party were fairly close to the top. Then it happened. At first it looked like the mountain was moving….but this was no mountain. Nor was it anything else I could possibly imagine. Several jagged, pointed spines rose like majestic warriors from behind the hill! The horrified people cried out in fear and melted into the side of the mountain for protection. For this was Godzilla….an incredibly large, unbelievably massive prehistoric beast, and the most frightening thing I had ever seen in my life! Staring at the tiny human beings before it, the creature roared and bellowed in terrifying defiance. It was challenging us, challenging mankind itself for mastery of our world.

At a scientific conference held a few days later, Dr. Yomane, one of the eyewitnesses, lead the discussion. Of course, the question we were all asking ourselves was how this animal could reappear after all these years, and so close to the coast of Japan? The doctor suggested that some rare phenomenon of nature allowed this breed of the Jurassic Age to reproduce itself and, for a long span of time, the beast had no reason to reappear to the world. But now that analysis of radioactivity in the creature’s footprints showed the existence of Strontium-90, a product of the H-Bomb, it was Yomane’s considered opinion that Godzilla was resurrected due to repeated experiments with nuclear bombs.

A short while later I phoned my boss, George Lawrence, in Chicago and eagerly gave him the following headline: SECURITY DECIDES TO USE DEPTH BOMBS AGAINST GODZILLA. It would be the first real test of man’s defenses against this prehistoric foe!


In the midst of all the excitement, I finally contacted my good friend, Dr. Serizawa, but declined to see him that evening when he mentioned that Emiko was visiting. The marriage between Emiko and Dr. Serizawa had been arranged when they were both children, and while the girl wasn’t in love with the great scientist, she had great respect and admiration for him. It proved difficult for her to tell him she was planning to marry the young sailor, Ogata.

But what was more important and, indeed, far more surprising lay in the doctor’s mysterious laboratory. Before Emiko could explain her true feelings, Serizawa insisted she observe his new discovery. A large beautiful fish tank stood in the center of his lab, and the girl seemed enchanted with it. Then, Serizawa placed a strange pellet into the water and pulled Emiko away. Bubbles arose furiously from the capsule, and Emiko screamed in revulsion!

Whatever it was she saw, the scientist made her promise to tell no one of it.

By the end of the day, it was generally assumed that the underwater demolitions had ended the short but terrible reign of Godzilla. There was a feeling of relief throughout Tokyo, even celebration, but both the hope and the celebration were short-lived.

For the massive creature was soon sighted rising from the ocean outside of Tokyo! Within moments the city was aware that Godzilla was inside the harbor, and panic began to spread and mount to uncontrollable proportions. The monster slashed at the ocean as the Japanese military began firing. Their bullets and rockets had no effect whatsoever. With the thunder of some monstrous demon, the creature climbed upon land! It was like the end of the world for the seaside citizens of Tokyo. Godzilla crushed automobiles and small houses beneath his massive feet. An oncoming train was savagely attacked, its steel cars crushed within the ferocious jaws of the prehistoric horror. The monster left a legacy of terror and destruction before it finally turned back toward the sea. But we knew that he would be back soon to destroy us all unless some means were found to combat him.


Tokyo was quick to ready its defenses. The city was surrounded by high-tension electrical towers, and to get to the heart of the area, Godzilla would have to break through 300,000 volts of electricity! The officials were fighting against the clock to have everything ready by nightfall, and a general evacuation of all non-essential personnel was ordered. It was a monumental job, but a job that had to be done. By the early evening hours everyone was off the street. The news office commanded a good view of Tokyo and received all reports directly from security headquarters. Everyone in the city was on a watch a wait basis. The wait….was not a long one.

Like some monstrous denizen of Hell, Godzilla emerged from the ocean depths and walked toward the shore. Here in Tokyo, time has been turned back two million years as the creature stalked defiantly across a well-guarded landscape. He was as tall as a thirty-story building, and we gasped with terror as he approached the city’s main line of defense: the 300,000 volts of electricity strung around Tokyo as a barrier against Godzilla! The monster cautiously neared the wires. Explosion after explosion of electrical power began! It seemed for a while as if, at long last, something had finally worked in stopping the prehistoric leviathan. But then our hopes died with the next fatal blow. From out of the monster’s massive mouth came a stream of radioactive vapor! Spewing fire upon the life-saving electrical towers, the strong, steel girders became soft and weak, and began to melt. I could hardly believe what I was seeing. Now it seemed Tokyo had no defense!

The monster destroyed everything in its path. Nothing could withstand its other-worldly might! Buildings, bridges, aircraft, all were wiped from the face of the Earth by this incredible force of ancient nature. An entire tank battalion was sent out to point-blank firing range. The soldiers who commanded these defenses were incinerated in a matter of seconds! Death loomed over Tokyo. Godzilla roared and screamed his challenge into the fiery night sky, as if to alert man of his numbered days. And before I realized what was happening, the ceiling above me began to collapse, and I was soon buried under the wreckage.

Now, it’s a blurred memory as I lie here in the hospital.


“Hi Emiko”, I moan as the young girl’s vision comes into focus and wracks me from my tormented dreams. Her fiance is with her.

“Ogata!” I exclaim. “Anything new develop?”

Emiko answers before the sailor can even speak. “Nothing new will develop unless….I was shown a terrible secret, and was asked never to reveal it!”

I look the girl squarely in the face, and find my senses returning to me at long last. “Emiko”, I ask soberly, “If you can help, you must! Last night Tokyo was destroyed. Tomorrow it might be Osaka or Yokahama.”

“When I went to see Dr. Serizawa, I had intended to tell him of Ogata and me, but there was something he wanted to show me first…He had been experimenting with oxygen when he came upon a terrible chemical discovery: A way to destroy all oxygen in water, thereby disintegrating all living matter! An amount no larger than a baseball could turn Tokyo Bay into graveyard. Serizawa had found a terrible destructive power and until he could find a counteractive developed from his experiments, he didn’t want the world to know his secret. He swore me to silence!”

Ogata eyes his future wife nervously. “Emiko! We need Dr. Serizawa’s help. There is no other way!”

I nod in agreement, and then watch the young couple leave the hospital room.

I don’t know what went on when Emiko and Ogata went to see the great scientist. I only know that he finally did consent to let them use the weapon, after burning the formula for the deadly discovery in his fireplace. We all stand together now, united in our hope for the future.

The boat; finding the location of Godzilla; the oxygen destroyer; all these are ready. Serizawa is assisting Ogata in placing the weapon deep under water as an announcer aboard the ship eagerly asks the world to “please stand by”.

They’ve been under water for several minutes now. It seems like….wait! Serizawa seems to be having trouble! Ogata radioed that he refuses to come to the surface!


“Ogata, is it working!” Serizawa’s voice crackles over the speaker. He can see the horrendous creature approaching in the distance, already feeling the effects of the deadly weapon. As Ogata is pulled to the surface, he can see his comrade remove a knife and start cutting his own hose! “Live happily with Emiko.” He says.

The sea around us is erupting. We are motionless; still; waiting to see what happens next. Suddenly the monster appears! But he is not the terrifying sight that instilled fear and terror into our very souls as before. Godzilla is now bellowing his death throes. In an instant he disappears beneath the surface.

The menace is gone, and so is a great man. But now the whole world can wake up and live again, and perhaps now, with the example set by Dr. Serizawa, we can do so more wisely.

The original "Godzilla" was first released in Japan on November 3, 1954.

Top Five Godzilla/Kaiju Books

Top Five Godzilla/Kaiju Books

by Armand Vaquer

With Christmas just around the corner, it is worthwhile to take a look at what English language, mass-market books to buy for the newbie or longtime kaiju fan.

Most of these books are still available through various sources such as Amazon.com, eBay, Barnes and Noble, Border's Books, etc.

So if you are wondering what to buy, here's my top five Godzilla books:


Number One. Eiji Tsuburaya: Master of Monsters by August Ragone is the top book to pick up without question. Ragone is thorough in his research on the genius of Japanese special effects with many rare photographs. Toho Co., Ltd. and Tsuburaya Productions cooperated in the production of this book and it shows! Hardcover.




Number Two. Japan's Favorite Mon-Star by Steve Ryfle is a valuable reference book on the history of the Godzilla movies. Although dated (this one cries out for an update as it ends with the 1998 U.S. Godzilla), Ryfle's research on the King of the Monsters makes this a must-have in your book collection. Softcover.




Number Three. Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda by Peter H. Brothers is the first (it came out last year) English language biography of Japan's top director of science-fiction and fantasy films. Although it has no photos and there's some glaring typos, this is a must-have book for G-fans. Softcover.





Number Four. Monsters Are Attacking Tokyo! by Stuart Galbraith IV is a collection of interviews of actors, directors, special effects directors and others organized by topic. Although the organizing could have been better executed (some fans feel it is too disjointed), it is a valuable resource as it includes interviews with some who have since passed on. Softcover.




Number Five. Godzilla On My Mind by William Tsutsui is a tome of what Godzilla means to fans. If you're looking for a filmography, this isn't the book for you. But if you're interested in Godzilla and his pop-culture influence, grab this book. Softcover.

Others


A Critical History and Filmography of Toho's Godzilla Series, 2d ed. by David Kalat. This edition just came out and I haven't read it yet. But, I am told that it is an excellent book on the Godzilla series. It is available at Amazon.com. Hardcover.




The Official Godzilla Compendium by J. D. Lees and Marc Ceracini is long out of print and if one can find one, it is generally pricey. It is a good introductory book aimed at the small-fry fan. It has reached the status of a collectors' item. Softcover.




The Monster Movie Fan's Guide To Japan by Armand Vaquer came out this year and is a travel guide to Japan tailored to fans of Japanese science-fiction and fantasy films featuring movie locations, attractions, transportation and accommodations. Magazine format.

Shout! Factory To Release Gamera DVD



Shout! Factory To Release Gamera DVD

by Armand Vaquer

For years, fans of the Showa Gamera series have been waiting for a quality DVD to be released in the United States. They needn't wait anymore!

Kaiju fandom is abuzz over the news that Shout! Factory is going to release a Gamera DVD May 18th.

Shout! Factory's news release is as follows:

From Japan – the country that brought us such mythical movie monsters as Godzilla, Rodan, Mothra and King Ghidorah – storms Gamera, the titanic terrapin feared by adults and loved by children. On May 18, 2010, Shout! Factory will unleash Gamera, The Giant Monster – Special Edition on DVD for the first time in its unedited original version, with English subtitles — in anamorphic widescreen from an all-new HD master. The DVD includes a 12-page booklet with an essay by director Noriaki Yuasa, a photo gallery, trailers and more. The collectible Gamera, The Giant Monster Special Edition DVD is priced to own at $19.93.

Like all classic monster movies, it is the folly of man that unleashes a ginormous beast upon the world. This time it is literal fallout from the Cold War — a Soviet bomber is shot down over U.S. airspace in the Arctic Ocean, with the massive radiation from the resultant atomic explosion awakening the ancient, gargantuan Gamera. A long-forgotten legend of the lost continent of Atlantis, the 200-foot-long, fire-eating turtle isn't in a good mood, and proving impervious to all manmade weapons, the colossal chelonian smashes a cataclysmic swath across the globe. But when he arrives in Tokyo, a small boy forms an odd connection with him, allowing authorities to unleash “Plan Z.”

The classic Gamera was directed Noriaki Yuasa, who helmed all seven of the original Gamera entries in the Showa era series between 1965 and 1971, and stars Eiji Funakoshi (Fires On The Plain), Harumi Kiritachi, Junichiro Yamashiko and Jutaro Hojo (Wrath of Daimajin). The subsequent franchise was more kid-friendly (yet ironically bloodier) than Godzilla, who became less menacing and more cuddly himself during the Sixties. The Gamera series was creative in the monstrous nemeses that it pitted against the towering turtle, the most famous being the flying, pointy-headed Gyaos, who was resurrected for the successful trio of movies in the Heisei-era series between 1995 and 1999.

Created by the same company who brought Zatoichi to the screen, Daiei Studios’ titanic terrapin is the only true rival to Toho’s King Of The Monsters, able to hold his own at the box office and secure a place in the hearts of kaiju eiga (Japanese monster movie) fans around the world. The original films have woefully been underrepresented on DVD, a especially release featuring the authentic Japanese versions.

About Shout! Factory

Shout! Factory is a diversified entertainment company devoted to producing, uncovering and revitalizing the very best of pop culture. Founders Richard Foos, Bob Emmer and Garson Foos have spent their careers sharing their music, television and film faves with discerning consumers the world over. Shout! Factory’s DVD offerings serve up classic, contemporary and cult TV series, riveting sports programs, live music, animation and documentaries in lavish packages crammed with extras. The company’s audio catalogue boasts GRAMMY®-nominated boxed sets, new releases from storied artists, lovingly assembled album reissues and indispensable “best of” compilations. These riches are the result of a creative acquisitions mandate that has established the company as a hotbed of cultural preservation and commercial reinvention. With its fingers on the pulse of pop culture, Shout! Factory continues to impact the entertainment media landscape through acquisition of top quality programming for home entertainment releases. Shout! Factory is based in Santa Monica, California. For more on Shout! Factory, visit shoutfactory.com


Above, Gamera director Noriaki Yuasa (1933-2004) (left) at G-FEST in 2003. Photo by Armand Vaquer.

August Ragone, author of Eiji Tsuburaya: Master of Monsters, is the Special Features Producer for Shout! Factory's Gamera series.

Japan's Greatest Hero, "Ultraman", Coming Soon To An Electrical Box Near You!

Writtten By: Ken Hulsey
Source: Popular Fidelity

The city of Sukagawa in the prefecture of Fukashima, Japan, has come up with a rather odd way to pay homage to one of it's local heroes, famed special effects man, Eiji Tsuburaya. This strange tribute to the man who helped revolutionise the island nation's film industry, and also helped to create some of the world's greatest monsters, Godzilla, Mothra, Rodan and King Ghidorah (not Gamera though), comes in the form of painting the likeness of the superhero, "Ultraman" (created by Tsuburaya in 1966) on the side of local electrical transformer boxes.


This may seem as strange to us westerners, I would kinda be like putting the image of "Batman" on telephone poles to pay tribute to Bob Kane, but in Japan such an act is quite an honor. Come to find out, these transformer boxes are on just about every corner in Sukagawa, so the "Ultraman" images are literally all over the place.

About "Ultraman":

Ultraman (ウルトラマン, Urutoraman?) is a fictional character featured in tokusatsu, or "special effects" television programs in Japan. Ultraman made his debut in the tokusatsu SF/kaiju/superhero TV series, Ultra Q: Ultraman: Special Effects Fantasy Series, a follow-up to the television series Ultra Q. The show was produced by Tokyo Broadcasting System and Tsuburaya Productions, and was broadcast on Tokyo Broadcasting System (TBS) from July 17, 1966 to April 9, 1967, with a total of 39 episodes (40, counting the pre-premiere special that aired on July 10, 1966).

About Eiji Tsuburaya:

Eiji Tsuburaya (born Eiichi Tsumuraya) on July 7, 1901 – died January 25, 1970, in Sukagawa, Fukushima) was the Japanese special effects director responsible for many Japanese science-fiction movies, including the Godzilla series.

In 1963 Tsuburaya started his own special effects laboratory, and later that year founded Tsuburaya Productions. In 1966 alone, this company aired the first 'monster' series for television, Ultra Q beginning in January, followed it with the highly popular Ultraman in July, and premiered a comedy-monster series, Booska, the Friendly Beast in November. Ultraman became the first live-action Japanese television series to be exported around the world, and spawned the Ultra Series which continues to this day.

Many of you may not know that "Ultraman" is the third most popular character icon world-wide, based on licenses and merchandise sales, behind only Mickey Mouse and Snoopy.

See Also: It's 'Voltron', 'Ultraman' and 'The Power Rangers' Thrown In A Blender For 5432 Film's "Megabot" / It's An Ultra Galaxy Legend Trailer Double Feature / The Ancient Dogoo Girl - Can A Hot Girl With Big Boobs Replace Ultraman? / It's Spider-Man, Iron Man And The Hulk Vs The Decepticons in 'Transformers 3: The War of the Earth' / Is Ultraman Based On A Chinese Solar Diety? / Ultraman: The Next (2005)(Tsuburaya) / The First Trailer From Koichi Sakamoto‘s Mega Monster Battle: Ultra Galaxy Legends - The Movie / Mill Creek Entertainment To Release The Complete Ultraman Series On DVD / Hey Kids! It's Ultraman......Sorta / Behind The Scenes Photos From Norman England's It's All Good / Mothra X MechaGodzilla: Revenge Of The Black Hole Aliens / You Really Haven't Lived Until You Have Seen The Japanese Spider-Man TV Show / DEX Wins The Thai Rights To Ultraman Max And Ultraman Mebius / Pusan International Film Festival Focuses On Asian Super Heroes / Ultraman To Appear At This Years Japanese Film Festival In Kuala Lumpur / Ultraman Showcase 2008 - Ultraman Comes To Malaysia / Ultraman Cosmos vs. Ultraman Justice: The Final Battle (2003) / Hitomi Muto Talks About Her Grandfather Eiji Tsuburaya / Ultraman: Towards the Future (1990) / Ultraman Becomes A Permanent Resident Of The Fukushima Airport / Courts Rule That Sompote Saengduenchai Did Not Co-Create Ultraman / Bandai Aquires A Large Portion Of Tsuburaya Productions

Is Ultraman Based On A Chinese Solar Diety?

Written By: Ken Hulsey
Source: Danwei

Is the Japanese super-hero, "Ultraman" based on an ancient solar deity from the neolithic Hongshan culture in China?

Well, that little question is starting to gain some speed in China after a collector of artifacts learned about the Japanese hero from a young visitor to his home.

Meng Xianqing, a 52-year-old collector of ancient artifacts in Beijing, was recently showing off his collection to a friend and his eight-year-old son. The young man quickly focused in on one item on the shelf and exclaimed, "Wow, a little Ultraman!"

Meng was puzzled by the young man's reaction to a little statue of a solar deity from the neolithic Hongshan culture. The collector had never heard of "Ultraman" and questioned the boy further. The youth then went on to explain that "Ultraman" was a hero from a Japanese TV show that saved the Earth from attacks by aliens and giant monsters.

Sparked by this conversation, Meng would begin to do some research on his own about "Ultraman" and the looting of ancient Chinese relics by the Japanese in the early part of the 20th century. Though his findings didn't point directly to the hero being a direct copy of one of these idols, Meng believes that it may be possible that the hero was 'inspired' by them.

"I couldn't contact the designer of the Ultraman," said Meng. "Additional research is needed to reach any conclusions."

It would be hard for the Chinese collector to talk to the designer of the "Ultraman" because that would be the Japanese special-effects genius Eiji Tsuburaya, the man behind Godzilla and Mothra, and he passed away in 1970.

Could it be possible that Tsuburaya saw one of these idols that had been taken from China and thought that it would make a good design for "Ultraman?"

That is likely to be the topic of debate in China for some time to come.

See the image below to draw your own conclusions (sorry it's kinda small):


See Also: Ultraman: The Next (2005)(Tsuburaya) / The First Trailer From Koichi Sakamoto‘s Mega Monster Battle: Ultra Galaxy Legends - The Movie / Mill Creek Entertainment To Release The Complete Ultraman Series On DVD / Hey Kids! It's Ultraman......Sorta / Behind The Scenes Photos From Norman England's It's All Good / Mothra X MechaGodzilla: Revenge Of The Black Hole Aliens / You Really Haven't Lived Until You Have Seen The Japanese Spider-Man TV Show / DEX Wins The Thai Rights To Ultraman Max And Ultraman Mebius / Pusan International Film Festival Focuses On Asian Super Heroes / Ultraman To Appear At This Years Japanese Film Festival In Kuala Lumpur / Ultraman Showcase 2008 - Ultraman Comes To Malaysia / Ultraman Cosmos vs. Ultraman Justice: The Final Battle (2003) / Hitomi Muto Talks About Her Grandfather Eiji Tsuburaya / Ultraman: Towards the Future (1990) / Ultraman Becomes A Permanent Resident Of The Fukushima Airport / Courts Rule That Sompote Saengduenchai Did Not Co-Create Ultraman / Bandai Aquires A Large Portion Of Tsuburaya Productions / Ultra Galaxy: Dai Kaiju Batoru (2007-2008) / Ultraman Exhibit At The Roppongi Hills Mori Arts Center / Ultraman Turns 41 /Eight Versions Of Ultraman Hit The Big Screen In 2008