Written by Barney Buckley
Email Address – firstname.lastname@example.org
Godzilla 1998 and the Fan Boys
Written by Barney Buckley
Email Address – email@example.com
Why oh why after 19 years?
Why is it that we still have the so-called hard-core Godzilla fans as I would like to call them Godzilla elitists, trollers, or Godzilla fan boys? I know they don’t like being called that, but it is what it is. To me if you are going to stand there and criticize a movie that is clearly a decent Kaiju movie and you go out of your way to say that it is absolutely horrible then you my fans are not a fan of Godzilla only certain aspects of Godzilla.
Now don’t get me wrong I know people are entitled to their opinions, but some of these so-called hard-core Godzilla fans or a little overly opinionated and very harsh with their opinions especially towards the fans that do appreciate the movie. To me this is troubling as I will tell you this there is a ripple in the fan base because of this and these Godzilla elitists only like certain aspects of our Godzilla.
Just because it has a different interpretation as in my opinion that is a refreshing take on Godzilla and I did not mind that it was completely different than any other Godzilla, but when you go on the hate train and simply hate the movie because it is a little too different for your taste that my friends is the reason why this is not a good genre to be in until you people change.
Here’s another thing that gets on my nerves about the so-called hard-core Godzilla fans then want to blame the actual fans who actually like Godzilla 1998 as they are the cause to the whole ripple in the genre or the fan base. It seems the so-called friends that hate Godzilla 1998 want to blame the fans who do like Godzilla 1998 as being the problem as to why there is a ripple in this fandom. You my friends are in denial. I will tell you this I have no respect for people who simply trash a movie because it is completely different and most of the Godzilla films have their quirks, but I do not see you guys trashing on those movies as much as you do this one.
I will tell you this because of all the hate out there based on this movie I am not so much a big fan of Godzilla because of it. It’s literally left a bad taste in my mouth and what I’m trying to say is you people need to get over it and move on after 19 years “Come on People” now I know there’s a lot of people out there that would hate the movie would simply say that I would be contributing to the hate in the fandom one in fact I am not. I am just simply addressing what you haters out there have created.
Anyway I will tell you a story because of all the highly opinionated hard-core Godzilla fans who think its okay to trash people’s comments in Facebook and other social media in such a harsh way that it seems like you fans out there seem to think “how dare you like Godzilla 1998” attitude I will have to say I’ve dealt with this for better part of two years before actually seeing Godzilla 2014. In the certain Facebook that I was in for a better part of two years which I will not name any way I got tired of all the harsh comments and trashing of Godzilla 1998 that I finally left the group after two years. This is the reason why this fandom is the way it is.
After dealing with it for two years as I mentioned earlier it’s left a bad taste in my mouth and I really don’t care too much for all the hate within this fandom and by the time I actually saw Godzilla 2014 I was not really interested in the movie. It has grown on me since though there are some things I don’t like about the movie. There are those fans who want to stand there and compare this movie to Godzilla 1998 and say that this movie is a better movie when in fact it is not, and I don’t mean that in a negative way I mean you’re trying to compare it to apples and oranges. Godzilla 1998 felt more like a Kaiju movie to me then Godzilla 2014.
Now I understand why you would think that Godzilla 2014 for you hard-core Godzilla fans like the original aspects and spiritual nature of Godzilla that we all grew up and learned to appreciate about Godzilla, but that’s not the most important thing Godzilla in himself can change as you clearly see especially in the new anime film Godzilla: Planet of the Monsters, and I want you to go ahead and trash that me just like you did Godzilla 1998 and they were for at least 20 years. The reason why it is a different origin based Godzilla a different interpretation so you need to go ahead and hate that film as well. Go for it!
By the time Godzilla 2014 came out I will say it did lack a lot of things in that film. This is where you guys appreciate this film because this Godzilla as the indestructible nature though we can be hurt as we seeing at the San Francisco Golden Gate Bridge when they shot missiles at his gills and he did have an atomic breath which I thought was cool looking. Just not that destructive only because the Muto and their EMP pulse affected as atomic breath hopefully by the time we see Godzilla King of Monsters which will be coming out in 2019 looking forward to that movie. Because it has my all-time favorite enemy of Godzilla King Ghidorah.
Anyway getting back on track I think you fans are entitled to not like the movie however after 19 years you are still trashing it as if it was shown yesterday you need to get over this and keep your opinions to yourselves as we fans are actually getting tired of your negativity. Anyway as you can tell I am a fan of Godzilla 1998. However I am not a fan of all the negativity that was created within this fandom.
I am a fan of all aspects of Godzilla, so you can say I am a real fan of Godzilla and not being picky about certain aspects about Godzilla. Don’t get me wrong there are certain things that I don’t like about certain Godzilla films but not to the point that I’m going to literally trash in human after 19 years there is something wrong with you guys when you stand there and he movie got much.
I think that’s absolutely immature. Anyway you know how I feel about you guys I tolerate you and that’s that hopefully you guys will someday get pass this probably after some 200 years in the future because after 19 years you still doing it, so I don’t see you change anytime soon. I think most fans who appreciate all aspects of Godzilla wish this aspect of the negativity within this fandom would change, so we need to get past this and actually learn to appreciate all aspects of the Godzilla fandom.
The Big Ball of Confusion?
Written by Barney Buckley
Email Address – firstname.lastname@example.org
“The whole name change controversy between Godzilla 1998 and the new character that was created by the Toho Motion Picture Company and a lot of people want to call it Zilla and for the longest time I thought these were two separate Kaiju however I was proven wrong in a good way and upon further evidence I did have a conversation with somebody who actually showed me that Shogo Tomiyama did in fact change the name because he doesn’t own the rights to Godzilla and I am finally glad that we can put this mess behind me. However everything else according to the DVD copyrights were in fact correct the only thing I was proven wrong about was the name change it is indeed called Zilla. Everything below is a highlight and it does break everything down on every aspect about the movie Godzilla 1998, so go ahead and check it out as you will get a great understanding about the movie and the copyrights as well as the trademarks. Is a very interesting read…”
The “Godzilla and Zilla Name Change” controversy is a very common topic among Godzilla-fans about whether or not the title creature(S) from the 1998 American film release of Godzilla that came out in 1998 have actually been renamed from “Godzilla” to simply “Zilla”. The word “Zilla” was previously used as a mere suffix for any Godzilla incarnation up to that time. However Godzilla (1998) and Zilla are not the same character/creature and Godzilla (1998) does not use the label (Zilla) as proved by available evidence. 1st of all, some people have misinterpreted the official statements of a “Name Change” and taken them literally. It was in 2004 the new character known as “Zilla” was created, and this particular creature was supposed to represent a new variation of the incarnation they call Godzilla (1998) design. Besides the fact that it does have a different name is meant to distinguish it from Godzilla (1998) from which it was based upon, the new name is not given directly to the new creature’s predecessors Godzilla (1998), Baby Godzilla (1998), Godzilla (1998, Animated), Juvenile Godzilla, nor Cyber-Godzilla.
Let us begin examining the evidence pointing to that the claim that both of these creatures are the same character and the same name is merely just a minute and he was created by all of you Godzilla fans out there!
We will begin with some copyright disclaimers based on all the films that were created let us begin with the actual film they came out in 1998 it was released with subsequent VHS and DVD releases of the new film featuring this particular copyright disclaimer:
GODZILLA and the GODZILLA character and design are marks of Toho Co., Ltd. The GODZILLA character and design are copyrighted works of Toho Co., Ltd. All are used with permission.
When Godzilla: Final Wars was released in 2004 and featured a monster icon  and copyright disclaimer for Zilla was featured on the subsequent DVD releases of the film:
Godzilla®, Gigan, King Ceasar, Anguirus, Kumonga, Kamacuras, Ebirah, Manda, Hedorah, Rodan, Minilla, Mothra®, Monster X, Monster X II, Zilla and the Character Designs are trademarks of Toho Co., Ltd.
Now I need to keep in mind that the new copyright for the character “Zilla” is exclusive only to the 2004 film “Godzilla Final Wars” and it does not represent the creature from the 1998 film. The copyright disclaimer and monster icon for the movie Godzilla Final Wars they came out in 2004 and it has creature has not appeared on any other subsequent products but the 2013 IDW-comic Godzilla: Rulers of the Earth. It is since 2004 there has been several re-releases of the 1998 film in DVD, UMD and Blu-ray formats between the years 2004 and 2013, and all of them have the same copyright disclaimer  that was used prior to 2004. The copyright disclaimers should have been changed from “Godzilla” to “Zilla” if the creature in the 1998 film had actually been given a new name. Judging from the looks of it, the 1998 creature is still officially called and recognized as “Godzilla”. It is even called “Godzilla” in its debut film and this would be hard to change, so I need you guys to keep that in mind!
Here is an official statement from Ryuhei Kitamura and Shogo Tomiyama
Ryuhei Kitamura as most of us know him he is the director of “Godzilla Final Wars which this movie came out in Japanese theaters in 2004 and he is also one of the individuals responsible For the Creation of Zilla, where the other was the producer of the film, Shogi Tomiyama. These 2 particular people and a interview by Mark Schaefer on the Penny blood-website in 2004 they did make mention in excerpts from that particular interview relating to the topic discussed about the name change…
The selection of Kitamura to direct this huge project was somewhat unusual for the studio. Toho Pictures is a tight knit family and they almost always use directors that have come up through the ranks of the studio, but this time Tomiyama decided to bring in an outsider to reshape the franchise. There are a lot of expectations riding on Kitamura’s shoulders.
PENNY BLOOD: Welcome to the USA.
RYUHEI KITAMURA: Thank you.
PENNY BLOOD: Why don’t we ever see Godzilla eating people?
[Ryuhei Kitamura laughs.]
PENNY BLOOD: I mean, in the original Godzilla movie, the monster’s natural supply of food has been diminished by nuclear testing in the Pacific. He leaves the depths of the ocean to head towards Japan in search of livestock to eat, right? Yet, we never see him eating anything! Did you ever consider letting Godzilla eat people?
RYUHEI KITAMURA: When I first met the producers they were gathering all kinds of ideas and hadn’t yet decided what kind of Godzilla movie they wanted to make. I gave them three or four ideas of my own, and in one of them my Godzilla was eating people. I had a scene where he grabs a train, tips it up, and empties the passengers out into his mouth. Shogo didn’t respond to my suggestions. (LAUGHS) I don’t think he liked that idea very much.
SHOGO TOMIYAMA: Godzilla doesn’t want to destroy human bodies. He wants to destroy human civilization. It’s true that originally Godzilla did come to Japan to eat livestock, but Toho Pictures soon realized that they’d have to reconsider how Godzilla existed if they were going to expand the film into a series. The company needed to decide whether Godzilla was a living breathing creature, or something else. The decision was made to make Godzilla something else. He was much more than just a large creature that went around eating livestock.
PENNY BLOOD: So you’re saying he’s God-like?
SHOGO TOMIYAMA: Closer to that, yes. Godzilla is closer to being a God. He’s not just a living animal or a monster.
PENNY BLOOD: That’s why the Japanese refer to Godzilla as a “kaiju” instead of a monster? He’s more of a mystical creature. Then would you consider Godzilla to be a good or bad God?
SHOGO TOMIYAMA: The fact is that humans cannot control or judge the Gods. They have their own will. They have their own way. In Japan there are many Gods. There is a God of Destruction. He totally destroys everything and then there is a rebirth. Something new and fresh can begin. Godzilla is closer to being that kind of God.
PENNY BLOOD: You were quoted as saying, “that you renamed Hollywood’s 1998 version of the monster ‘Zilla’ because they took the God out of Godzilla.” When I read that quote, I interpreted it to be a slam against Hollywood’s Godzilla (1998.) I’m getting the impression now that your statement was referring to the “spiritual interpretation” of Godzilla in Japan verses Hollywood’s “monster interpretation.” It really wasn’t meant as a putdown. Is that correct?
SHOGO TOMIYAMA: Yes, because Hollywood’s Godzilla is just a normal monster He’s not a God. Hollywood treated Godzilla as a live monster or live animal. They shot him down with missiles and all that.
PENNY BLOOD: Quite a few fans hate that version of Godzilla. What did you think of the Hollywood movie? Were you disappointed with Hollywood’s interpretation of your star performer in Godzilla’98?
SHOGO TOMIYAMA: No. There was always very good communication between Tokyo and Hollywood. We knew exactly how they were going to do it, and we knew what Godzilla was going to look like. So, as a movie there’s no complaining.
RYUHEI KITAMURA: I liked the film. I like most of that director’s films.
[Roland Emmerich was the director of Godzilla (1998.)]
PENNY BLOOD: This new film is part of the ‘Millennium Series,’ but you made the decision not to continue the storyline of the last movie, Tokyo SOS. Godzilla Final Wars has a totally drop that story in favor of a different storyline.
RYUHEI KITAMURA: That’s because I didn’t like the more recent Godzilla movies. I think Toho understood where I was coming from, too. The audiences for Godzilla movies were decreasing every year. Last year’s Tokyo SOS was the worst. So, Shogo knew he was missing something, and decided to bring me in. We had a first meeting and I just spoke my mind. I was really honest and told him what I thought about the Godzilla movies. I hadn’t been to the theaters in ten years. I’d seen the more recent Godzilla films on TV and didn’t like them. I mean, the last three or four Godzilla movies have been shown in the theaters together with kid’s animation. Why would anyone want to go see a Godzilla movie if it’s being shown alongside a little mouse cartoon? It seemed like the company was only making Godzilla movies for kids and the diehard Godzilla fans, not for the general audience.
PENNY BLOOD: The first Godzilla was kind of scary.
RYUHEI KITAMURA: Yeah, but they weren’t making films like that anymore.
PENNY BLOOD: So what was your new approach to Godzilla?
RYUHEI KITAMURA: I told the producers, “I don’t like the way Godzilla movies look. They’re too bright. There’s too much light on Godzilla. He looks like a man-in-a-suit. The set looks like miniatures. If you’re going to film miniatures, they have to look real.
PENNY BLOOD: So, how did you shoot it?
RYUHEI KITAMURA: More power and more speed. This film is going to be like an Ultimate Championship Fight. I wanted to make the monsters fight like that. Punching, weaving, and using the elbows.
SHOGO TOMIYAMA: Ryuhei had a point. He wanted Godzilla to move faster but remain big and intimidating at the same time.
PENNY BLOOD: (To RYUHEI KITAMURA) I know that the Godzilla fans are very particular about every minor detail concerning the look and character of Godzilla. Did the studio present you with a list of character traits that you had to stick with, or were you able to pretty much do what you wanted in this film?
RYUHEI KITAMURA: Pretty much whatever I wanted. The only thing they said was, “Please, not too much blood. Please don’t have Godzilla eating people.” It’s true that a lot of children watch these movies, but I kept asking the producers, “What about the Lord of the Rings? There’s lots of violence and blood in that movie, and kids love it!” I asked them that everyday but they just kept saying, “Lots of children are going to see the film, so you can’t be too violent.”
PENNY BLOOD: A lot of the filmmakers involved with Godzilla worked their way up through the ranks at Toho Pictures. Here you are, a new guy coming in from the outside, and you end up directing the biggest Godzilla film the studio had ever done. Did you feel any resentment from the older filmmakers?
RYUHEI KITAMURA: No, not at all. The Special Effects Director, Eiichi Asada, knows everything about Godzilla. My favorite Godzilla is 1974’s Godzilla vs. Mechagodzilla. Eiichi Asada was the Assistant Director on that film. He knows everything and has more experience with Godzilla then me. He was an excellent guy to work with and we got along fine.
PENNY BLOOD: How do you direct a man-in-a-rubber-suit?
RYUHEI KITAMURA: That’s the Special Effects Director’s job. We do it with a second unit. We’re in the same studio. He’s shooting the man-in-a-rubber-suit and the miniature stuff. I’m directing the actors and live action stuff. Eiichi Asada was such a great guy. We were talking about the movie from the beginning. He’s seen my films and knows my tastes. I made storyboards for the shooting and just gave them to him. So, everything I wanted to do is in the storyboards. He just looks at it from the technical side. He has lots of experience in special effects, so sometimes he’ll also suggest new ideas.
PENNY BLOOD: How did you build the film? Did you start with the story, the monsters, or the action sequences?
RYUHEI KITAMURA: The producers gave me an eight-page synopsis. Basically, the storyline was already there. It said, “Aliens attack earth using eight monsters.” So I asked “Why eight? What’s the record?” They told me, eleven. “Then we should go for a new record instead of eight!” So we decided to go with more than eleven monsters.
PENNY BLOOD: What’s the final count, then?
RYUHEI KITAMURA: That’s a secret.
[AUTHOR NOTE: We’ll keep it a secret too. It’s more fun that way.]
PENNY BLOOD: How did you decide which kaiju would be in the film? Why didn’t you put Mechagodzilla in the film, for instance?
RYUHEI KITAMURA: It depends on what kind of story you want. Mechagodzilla just didn’t fit into the story I wanted to tell.
PENNY BLOOD: Did you consider a rematch between Godzilla and King Kong?
SHOGO TOMIYAMA: The rights for Kong weren’t available.
PENNY BLOOD: Did you increase the size of the kaiju to fight Godzilla?
RYUHEI KITAMURA: All the kaiju are about 100 meters.
PENNY BLOOD: So you kept all the creatures about the same size?
RYUHEI KITAMURA: Yes.
PENNY BLOOD: Did you play with that scale during production? How seriously did you calculate the scale of the monsters when you’re filming and building the miniatures?
RYUHEI KITAMURA: No, we filmed whatever looked good. That kind of exacting detail makes a movie boring. That’s the type of thing only Godzilla freaks think about.
PENNY BLOOD: (To RYUHEI KITAMURA) I heard there’s a rumor circulating that Quentin Tarantino and Robert Rodriguez will be producing your new movie. Is there any truth to that rumor?
RYUHEI KITAMURA: No. I don’t know where that rumor started from.
PENNY BLOOD: (To RYUHEI KITAMURA) Will we ever see a sequel to your cult zombie flick, Verses?
RYUHEI KITAMURA: They’re keeping me busy, but yes, I want to do it eventually. I’m sure I’ll do it in the near future, but I don’t know when.
PENNY BLOOD: (To RYUHEI KITAMURA) Do you plan on staying with monster movies and fantasy films?
RYUHEI KITAMURA: No.
PENNY BLOOD: I heard that there were some famous non-Japanese directors that wanted to do a Godzilla film. Is there any truth to those rumors?
SHOGO TOMIYAMA: There have never been any direct talks with any of these directors. We are aware that some well-known filmmakers have expressed interests in directing a film. These young filmmakers grew up with Godzilla movies. I’m sure there are many directors that would like to do a kaiju movie.
PENNY BLOOD: You’ve said Toho is going to retire Godzilla after this film for ten years. What would happen if another studio came along and they wanted to produce their own version of Godzilla? Could that still be an option?
SHOGO TOMIYAMA: If a better story comes along that tops Godzilla Final Wars, and some other studio besides Toho wanted to consider producing the film? Then we might consider it.
PENNY BLOOD: Hey, I’ve got a great idea for a Godzilla movie!
SHOGO TOMIYAMA: (LAUGHS) There are as many ideas for Godzilla movies as there are fans!
PENNY BLOOD: One last question, who would you consider Godzilla’s most dangerous adversary?
[Shogo Tomiyama thinks for a moment…]
SHOGO TOMIYAMA: Right now? I’d say, Pikachu. Hopefully, Godzilla’s new film will finally win the hearts of children back from his most dangerous advisory ever: Pokémon.
[Roland Emmerich was the director of Godzilla (1998.)]
These particular statements above are easily misinterpreted by fans as evidence that these Toho-representatives had officially renamed Godzilla (1998) to Zilla. This misconception is given more detail in the statement by Keith Aiken in 2014 (which you can read below Matt Frank’s response following this section).
Here is the official statement given by the artist Matt Frank (who works on the ongoing IDW comic “Godzilla: Rulers of the Earth” which was released on June 26, 2013) Mr. Franks had commented on the myth on May 9, 2013 and stated that “Toho makes 0 distinctions between “Zilla” and “Godzilla 1998” with the exception of title alone”  indicating Toho (like most of us) consider Zilla to be a variation of Godzilla (1998) and that the creatures go by different names and he also states “that any future incarnations of the character be referred to here after as “Zilla.” “Indicating that former incarnations are still called “Godzilla”, like they were being called originally, and will be continually.
Below is another full statement which he posted as a response to a dispute going on in the comments section of one of his published artworks located on the website DeviantArt; so I have been skimming the last several pages and have noted that several fellow Deviants are carrying on some sort of extreme flame-war and have noted several instances of deliberate trolling. I am stepping in now to kindly ask that everyone ease up and not sit there and bait each other over and over again. Healthy debate is fine but aggressively insulting one another is not going to dominate my DeviantArt comment threads. If I have to step in again, I will start banning people.
And for the record, Toho makes zero distinction between “Zilla” and “Godzilla 1998” with the exception of title alone. The film itself is recognized as “Godzilla,” as is the animated series. “Zilla Jr.” is a fan-created name to emulate “Godzilla Junior.” Ever since 2004, Toho’s official stance has been that any future incarnations of the character be referred to hereafter as “Zilla.”
Also, for the record, the animated series Zilla is not within our net of licenses, nor do I think we would be able to obtain it.
Note also how Matt here refers to the animated version of Godzilla (1998) as “Zilla” due to his own personal preference, and how “Zilla Jr.” is clearly stated to be a fan-name (for those who didn’t already know). However, Matt’s statement is slightly contradicted in the statement below.
Now here is the official statement from the webmaster to the website they call “Sci-Fi Japan” his name is Keith Akins and this is what he had to say…
On August 17, 2014, Keith Aiken (a person of special interest in Godzilla -related circles) states this in a reply on the Facebook-page of Sci-Fi Japan ;
Devlin and Emmerich said that their Godzilla was said in its own timeline with no connections to events from any other Toho movies. The Godzilla in the movie is the first giant monster ever seen, the fishermen got the name from an old Japanese legend of a sea monster.
And to clarify a common misconception, the monster in the 1998 movie is not ‘Zilla’. The character is still copyrighted and trademarked by both Toho and Sony as ‘Godzilla’, and that’s not going to change since Sony paid for the Godzilla rights and owns the international film rights (outside of Japan) forever. Toho couldn’t change the name if they wanted to, and they don’t want to since having a major Hollywood production based on their character was/is very important to the company.
For decades, Toho has created variations on their characters with unique names, origins, powers, etc. But this didn’t change the names/copyrights of previous versions… Mechagodzilla ’74 isn’t now named ‘Kiryu’, King Ghidorah didn’t become ‘Kaizer Ghidorah’, and the original Mothra wasn’t renamed ‘Rainbow/Aqua/Eternal/Leo/Armored/etc’. Zilla is a variation of the 1998 Godzilla – according to Toho, Zilla is a separate creature that resembles a monster that once attacked NYC – the same way that G’98 is a variation of the classic Godzilla.
I’m not talking about whether GODZILLA (1998) was a good movie or whether the monster was a good representation of Godzilla (I would vote ‘no’ on both) but stating how Toho officially views the movie and character. For further proof, last month Toho released the 1998 movie on Blu-ray in Japan as GODZILLA (not ZILLA) and included it as part of their “Godzilla 60th Anniversary” releases with their own Godzilla films…
On August 18 he added (debunking the rumor that the 2001 Japanese film Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack made any official connections to the 1998 film as well as that the fan-wiki Wikizilla is containing false and misleading information) ;
Kaneko definitely intended the early line in GMK to be a joke… he didn’t like GODZILLA ’98 and took a little jab at it. In early 2002, I was invited to a private screening of GMK at Sony Pictures’ studio and the Sony execs burst out laughing at that scene.The Wikizilla article on the name change is inaccurate. It quotes from an interview I did with producer Shogo Tomiyama in late 2004, but misattributes something I wrote as coming from Tomiyama, and then misunderstood what I wrote. I’ve spoken with Tomiyama, I’ve talked to reps at Toho and Toho LA, and I worked for Sony Pictures so I was able to find out directly how Toho and Sony officially handle the 90[‘s] film and character, and it’s no[t] the way many fans claim it to be. It’s been almost 10 years since Zilla appeared in FINAL WARS, and yet Toho continues to maintain the Godzilla copyright and name for the 1998 film and monster, and they continue to reissue that film in Japan as GODZILLA… most recently on Blu-ray on July 16, 2014.
Trademark Still Active
A registered trademark monster icon (mentioned in the two first paragraphs in the section below) , apart from the standard version representing Godzilla (1998) , was given to the 1998 creature and registered the same year as the 1998 film was released. This monster icon appeared on products and merchandise promoting the 1998 film (which went on both before and after 2004), sometimes alongside the standard icon used for Godzilla (1998). The logo and word mark of the icon have been renewed and are still active and would be treated as if the Godzilla (1998) incarnation is still belonging to the Godzilla-character. The standard icon appeared again in 2007 with the release of the GODZILLA: LIMITED EDITION 2-DISC soundtrack, released by La La Land Records and containing musical score from the 1998 film GODZILLA. 
In this section I’ll try to make things as clear as possible regarding the trademark confusion. Below is information provided by Trademarkia regarding the specific trademarks GODZILLA, GODZILLA, BABY GODZILLA, and ZILLA;
On May 17, 1994, the logo mark for “GODZILLA” was filed. On April 11, 1995, it was published for opposition. On August 25, 1998, it was registered. On November 19, 2008, it was registered and renewed.  It is listed as “LIVE (Circa: 1994)”. 
On May 17, 1994, the word mark “GODZILLA” was filed. On June 6, 1995, it was published for opposition. On December 15, 1998, it was registered. On August 11, 2008, it was registered and renewed.  It is listed as “LIVE (Circa: 1994)”. 
On January 26, 1998, the word mark “GODZILLA” was filed. On July 28, 1998, it was published for opposition. On March 23, 1999, it was registered. On December 31, 2005, it was cancelled (section 8).  It is listed as “DEAD (Circa: 1998)”. 
On June 17, 1998, the logo mark for “GODZILLA” was filed. On July 27, 1999, it was published for opposition. On April 20, 2002, it was abandoned.  It is listed as “DEAD (Circa: 1998)”. 
On June 17, 1998, the logo mark for “BABY GODZILLA” was filed. On August 3, 1999, it was published for opposition. On April 27, 2002, it was abandoned (no statement of use filed).  It is listed as “DEAD (Circa: 1998)”. 
On November 14, 2006, the logo mark for “ZILLA” was filed. No available information on registration. On November 27, 2007, it was published for opposition. On March 21, 2011, it was abandoned (no statement of use filed).  It is listed as “DEAD (Circa: 2006)”. 
On November 14, 2006, the word mark “ZILLA” was filed. On September 16, 2008, it was published for opposition. On December 2, 2008, it was registered. On December 2, 2014, it had an estimated renewal deadline. On December 16, 2014, it was accepted and acknowledged (partial section 8 & 15).  It is listed as “LIVE (Circa: 2006)”. 
Some individuals do the mistake of using this information to support the “name change”-myth by assuming that; 1) because the word mark of GODZILLA is cancelled; 2) the logo mark of GODZILLA is abandoned; 3) the logo mark of BABY GODZILLA is abandoned; 4) the word mark for ZILLA is active; this must mean that the title “ZILLA” applies for Godzilla (1998) and Baby Godzilla (1998) aswell. But there’s no official documentation whatsoever to make or confirm this erroneous connection. This type of logic is no different than if, for example, you were to look at two different species of flowers, and you notice that one is old and one is young, and you then go on to conclude that the younger one must have originated from the older one. This is of course a weak and false conclusion and thus adds more criticism to the “name change”-myth.
Toho Kingdom and Sci-Fi Japan separates Godzilla (1998) and Zilla
If the aforementioned reasons aren’t enough indication of Godzilla (1998) and Zilla being different characters, this should help add more to the notion. The popular fan-website Toho Kingdom treats Zilla as a different or separate creature/character from Godzilla (1998) , Baby Godzilla (1998) , Godzilla (1998, animated) , and Cyber-Godzilla , and makes clear that Zilla’s only film-appearance has been in Godzilla: Final Wars (2004) and not in GODZILLA (1998) or Godzilla: The Series (1998-2000).  The site also correctly presents the latter creatures by their actual titles of “Godzilla”.
Sci-Fi Japan is another popular website which knows better and actually separates Godzilla (1998) and Zilla, as can be observed in any articles where these two characters are mentioned.
Hollywood Walk of Fame
On November 27, 2004, (in celebration of the Godzilla 50th Anniversary and Godzilla: Final Wars which was announced as the last Godzilla-film to be produced by Toho) the Godzilla-character received a star on the Hollywood Walk of Fame, and the time capsule included clearly states (even by this time) that the creature in the 1998 film is part of the Godzilla-character (with Zilla being merely a variation of the 1998 version of Godzilla);
Beloved by people of all ages, Godzilla has starred in 28 motion pictures including the blockbuster film produced in Hollywood. 
Fan-names aren’t official
As was stated earlier by Matt Frank, “Zilla Jr.” is a fan-created name based upon the introduction of Zilla in 2004 and meant to represent the animated version of Godzilla (1998) from Godzilla: The [Animated] Series. Fan-created names of course (by definition) aren’t officially licensed names and thus should not be treated as such. Additional fan-names are “Zilla Senior”, “Baby Zilla” (not to be confused with the term “Baby ‘Zilla” which is a stylized short-name), “Juvenile Zilla”, and “Cyber-Zilla”. Regarding the acronym GINO (Godzilla In Name Only), this was a fan-name coined by film critic Richard Pusateri of G-Fan Magazine on May 18, 1998, because of how different Godzilla (1998) was from Toho’s traditional Godzilla. 
Here is further proof given to me by Keith Aiken himself about the whole name change thing. is merely a myth. This is what he said in his own words!
The problem with this debate is you’re arguing semantics. Many fans don’t seem to understand how Toho handles their monster characters. They basically treat them like actors that play different roles in different stories; that’s why Godzilla, Mothra, King Ghidorah, etc. have different origins, powers, sizes, etc in different films. Some of these variations have unique names (Aqua Mothra, Mech-King Ghidorah, etc.) but that doesn’t change the status of the previous incarnations…. The original 1961 Mothra isn’t now called Rainbow Mothra, Fairy Mothra, or any of the other names that have been used for other versions of the character.
The 1998 Godzilla and Zilla are handled the same way. The “Godzilla” copyright and trademark on the monster in the 1998 TriStar film is co-held by Toho and Sony Pictures so Toho can’t just change it. And Toho doesn’t want to change it because they’re a business, and having big Hollywood productions using the “Godzilla” name is good for business.
So Shogo Tomiyama did not rename the 1998 Godzilla. He didn’t have that authority, and he understands the business side. What he and director Ryuhei Kitamura did was introduce a variation of that character as Zilla. Toho’s press materials for FINAL WARS describe Zilla as a new monster similar to (rather than the same as) one that had attacked NYC, so Toho made a distinction between the two versions from the start. And when I interviewed Tomiyama right before the world premiere of FINAL WARS he referred to the 1998 Godzilla as the “American Godzilla” not Zilla.
Toho stance is very clear for anyone he cares to look. Last year for Godzilla’s 60th anniversary they released all of the Godzilla films on Blu-ray and the 1998 film was included by Toho as GODZILLA, not Zilla or anything else (the Blu-ray cover has the title in both Japanese and English)…
And this month Toho and the satellite service WOWOW are showing all of the Godzilla films on HD television. Both the 1998 and 2014 American versions are included, and the titles for both are given as “GODZILLA”…
There is absolutely zero doubt what the name of the 1998 film and character are according to Toho.
The result we get from going through these specific points is that while Godzilla (1998) and Zilla use the same type of design they go by two different names and appears in two different movies (which takes place in two different fictional timelines/universes owned and created by two different companies) altogether, and ultimately they are two different characters. We also come to understand that Godzilla (1998), Baby Godzilla (1998), Godzilla (1998, animated), Juvenile Godzilla, and Cyber-Godzilla are still part of the Godzilla-character (as a variation) and will stay that way permanently and their names cannot be changed. This confirms that a direct name change (as some people imply or state have occurred) is a myth. This obviously means that any individual or website* holding on to this myth of calling Godzilla (1998) and its many incarnations for “Zilla” as fact will be spreading a lie.
* Wikipedia is an example of a website (which not only can be; edited by anyone and everyone; controlled by groups of people or administrators and their shared/biased views) which includes articles such as Godzilla (1998 film) and Zilla (Toho) which currently adds to confusing and misleading readers into believing this myth (especially when not faced with the actual facts).
Written by Barney Buckley
Email Address – email@example.com
It would be May 20, 1998 that Godzilla will actually open up and 7363 movie theaters are across United States and that is a new world record. It would be a few days later that Godzilla’s suitmation actor Haruo Nakajima and Kenpachiro Satsuma were in Chicago attending AG con 98 convention that was technically unofficial convention midway through the actual screening of the American remake it would seem that Satsuma literally got up and walked out moderating these words “it’s not Godzilla. It does not have his spirit,” this is what he said to the fans at the convention. It is completely understandable as to why he would say that and this is because he was the suit actor for most of the Heisei Series Godzilla’s
Roger Ebert had wrote in the Chicago Sun-Times with his prevailing opinion he calls this particular Godzilla “a cold-hearted, mechanistic vision, so starved for emotion or wit.” But the film’s most vociferous attackers by far were the unabashed, self-proclaimed Godzillaphiles or Kaiju fans. These are the fans of the lite Godzilla as an icon literally to heart after waiting many years to see this particular beast in all its glory and Americanized version the anticipation was a disappointing one.
After waiting years to see their hulking hell-beast stop cities and exhale radiation breath via modern special effects, the double cheese instead got an outside he wanted the boroughs underground, eats fish instead of nuclear reactors, runs away from the military, blows when instead of flames, makes Google eyes with Matthew Broderick’s character and is easily killed with a few missiles.
The public been accepted at least not to the degree that the studio had hoped. Godzilla did in fact grow $74 million door in his first six days of opening. And that is probably partially due to Sony’s pre-release “size does matter” height and campaign that they build up on which led many people to believe that this film could break the $90 million Memorial Day weekend record set by the movie the lost world. But it would be 2 to 3 weeks that the actual movie and its box office takes a plummet to $23 million and then $10 million by July Godzilla was out of the top 10 by September it accumulated domestic gross had fizzled out to around hundred $37 million in the United States alone.
The film had the six biggest gross ups the summer of 19 98 trillion by Bruce Willis is asteroid flick Armageddon, Steven Spielberg saving Pvt. Ryan, the comedy there’s something about Mary, and Eddie Murphy’s Dr. Doolittle remake and another asteroid pitcher that they call deep impact with Morgan Freeman. It is a fact that Sony does maintain that Godzilla was profitable and the studio pretty much downplayed the extensive media coverage retrying that the film was a huge flop even though this particular film did not produce sales like Independence Day did.
According to this movie the biggest losers who lost the most money on that you want and 50 merchandise licensees laid out hundreds of millions of dollars for rights to sell movie tie-in products. It was according to the Los Angeles times that Sony’s major Godzilla promotion partner which included Taco Bell, Hershey, Duracell, electric arts and trend Masters, invested a combined $150 million into marketing campaigns and hopes to reap the benefits of this monster windfall.
On the Godzilla Forums the official Godzilla Internet website http://www.Godzilla.com Dean Devlin did in fact responded with a curt counter-salvos “our movie did what it’s supposed to do. Were all happy about it. If you don’t like that, to hell with you,” he told one critical fan about a week after the film’s release that particular G board was closed and not due to the endless critical postings but because “this border started to be used by others against us,” a Centropolis official said. In the weeks following after the movies actual release an embarrassing fact did emerge. Due to the enormous amount of special-effects work on the picture, Roland Emmerich finished his final cut of Godzilla at the 11th hour and essentially shifted straight from the editing room to the printer in order to make the May 20 release date. After test raining out Independence Day, Roland Emmerich had re-shot that felt Andy (in the original cut, Randy Quaid destroyed the alien spaceship with his crop-Dr. plane; this was redone so that Quaid was flying a fighter jet).
Koichi Kawakita and What He Had to Say
It was in 1994 that the special-effects director of the Toho Company Koichi Kawakita said he felt reassured that the TriStar is Godzilla would stay true to his Japanese roots. “[TriStar] will alter Godzilla’s personality too much from what it had been in his recent films,” Koichi Kawakita told this to Asiaweek.
We now go four years later America dropped another bomb on Japan Godzilla was released in Tokyo in July 1998 to generally bed reviews and to the dismay of the fans who have been even closer ties to the beast than the American counterparts felt especially betrayed a particular fan of Godzilla Yoshiyuki Kasuya who is 38 years old stood in line at dawn to attend a 7:20 AM showing of this particular film on that day told the Los Angeles Times that Godzilla had been transformed into something unrecognizable. He quoted “that’s not Godzilla… He got killed with four missiles, but the Japanese Godzilla is almost bulletproof. And the Japanese Godzilla is handsome, but the American Godzilla is not,” another fan also made mention his name is Masato Mukohata who was 16 years old simply said he quoted “my dreams were crossed.”
Koichi Kawakita and the Godzilla’s creator at Toho remain silent during the public outcry and it was Masahiko Suzuki who is a Toho spokesman defended the movie and said it was unfair that some Japanese were suddenly claiming Godzilla as their own, after having dismissed the monster as childish for years. “Hollywood realized the sophisticated computer graphics and other technically impossible things here in Japan,” “the film is enjoyable even for long-time Godzilla fans,” he said perhaps the most insightful comment came from Shesuke Kaneko he is the director of the Daiei’s Gamera: Guardian of the Universe and Gamera 2: Advance of Legion and Gamera 3: the Incomplete Struggle he had this to say and he quoted “it is interesting the US version drawn about trying to escape missiles… [Americans] seem unable to accept a creature that cannot be put down by their arms.”
All kidding aside this particular film opened on a record 385 screens in Tokyo and set a new all-time high for opening-day ticket sales in Japan with roughly 500,000 moviegoers paying about $13 for tickets surpassing the previous record of about 350,000 set by in 1997 the lost world. In the United Kingdom Godzilla made about $25 million and overall it had grossed about a $40 million in overseas markets by the summers and. With a combined that includes the United States total of about $275 million industry analysis estimates it would pull in around $350 million by the end of its worldwide theatrical run.
The Future of Godzilla Movies
At the end of the movie you do see a Godzilla hatching out of an egg during the destruction of the Madison Square Garden during an interview while the actual film was being filmed Dean Devlin does make mention repeatedly said that the deal between Centropolis Pictures, TriStar pictures and Toho laid the foundation for two sequels. Devlin said the first film with part one of a projected trilogy, although the second and third installments of the story arc had not been written yet. This is what he had to say and he quotes “there is an aspect to (Godzilla’s) mythology which we do not explore on the first spell that can take us into a new direction for the second and third,” Devlin said.
By the end of the summer of 1998 he was reported by the Los Angeles Times and elsewhere had quoted unnamed Sony officials as saying they still believe Godzilla could become a franchise and a second film would indeed be made, probably for the release of the year 2000. Other unconfirmed rumors have circulated as to who would actually write direct the next picture sources close to Sony indicate that Devlin and Emerick would not be asked to make the sequel as if they were involved at all it would most likely be an executive decision.
The plot for the second movie would widely be rumored that in Godzilla two, the lone surviving baby would grow up and face off against an old nemesis probably King Ghidorah, on the West Coast of the United States. During an interview with The Philadelphia Inquirer Roland Emmerich said another possibility was a story about “Godzilla was (as in a lots of them) as to what this meant theory was offered in September 1998 by anonymous (and supposedly well-connected) source on the Godzilla news website http://www.monsterzero.org it would start off in a few years down the road in the world has reverted back to the age of the dinosaurs… People are hiding in terror as Godzilla’s role and run the planet.” Other rumors have been speculated that Patrick Tatopoulos is design would be scrapped in any sequels and the king of mosses will look more like his old self.
On September 12, 1998 the animated series of Godzilla that they call “Godzilla: the series would premiere on the Fox TV network and would be shown on a weekly basis and it was based on Roland Emmerich’s Godzilla however it would be a huge hit and it picked up exactly where the film and it according to episode one does begin with the animated replay of Godzilla cherries in a taxicab onto the Brooklyn Bridge and subsequently being killed. Nicholas portrayed as a determined young hero rather than a nerdy geek of the movie immediately guys the military team (led by Maj. Hicks, voiced by Kevin Dunn, who played the same character in the film) back into the server to search for any remaining Godzilla eggs. Nicholas witnesses the hatching of a baby Godzilla and the young lizard developed a mother like attachment to Nicholas along with returning scientist characters Elsie Chapman and (costly sneezing) Mendel Craven, dedicated himself to studying the creature. The young Godzilla is more well-behaved than its parent entity quickly grows to full size necklace must help the board being killed by the military. In a subsequent episodes, Godzilla is portrayed as a fear, misunderstood creature though not an outright villain, and he battles various mosses from around the world, using his cunning and green atomic breath to defeat the baddies.
Jan De Bont: the Unimagined Godzilla Film
Written by Barney Buckley
Email Address – firstname.lastname@example.org
This story was created from the information that Keith Aikens of Sci-Fi Japan had taken a long time and effort to write and give us the information, so thank you Keith for doing this!
Godzilla 2014: The Start of It All
The motion picture company Warner Bros. and legendary pictures did eventually create an adaption of Godzilla that most fans today can appreciate. This particular movie was released in the United States on May 16, 2004 with a total budget of $160 million this particular movie is an adaption of the longtime running Toho Company franchised Godzilla. This particular movie is coproduced by legendary pictures and it was directed by the not so famous Gareth Edwards did a low-budget film called “Monsters” and they brought him on board simply because he was a big fan of sci-fi giant monster movies and Godzilla was no exception to this rule. Why did they bring Gareth Edwards on board other than the fact that he’s a big fan because he is a big fan he would give the many disappointed fans out there that Saul and did not appreciate the movie Godzilla 1998 that was directed by Roland Emmerich and it was produced by Dean Devlin this particular film was a serious disappointment to Japanese Godzilla fans.
Godzilla 2014 would receive mixed reviews from the critics as well as the audience however it was classified as a box office success and we will be garnered with a sequel that will come out in 2018 1/3 movie that will come out in 2022. There were generally positive reviews based on this film based on the very 1st American release of Godzilla that is pretty much totally accepted by all audiences around the world. In October 1992 TriStar pictures (a subsidiary of Sony pictures entertainment) did in fact announce a deal with the Toho Company to produce an American Godzilla film with a list actors as well as screenwriters and directors which if it proves to be successful it would potentially launch a series of sequels. It would be on May 19, 1998 it would be 5 ½ years after the official announcement that TriStar is Godzilla would finally open on a record-breaking 7363 theaters were screens across the United States alone.
The Godzilla Movie That Most Fans Did Not Want.
The new rendition of Godzilla that would come out in 1998 was co-written and directed by Roland Emmerich and the producer Dean Devlin this would be the very same team that would create a blockbuster movie Independence Day that came out in 1996. This particular movie ran into certain discrepancies when it came to a budget however by the time Roland Emmerich and Dean Devlin came on board this particular budget went out to $130 million and it also included a year-long advertising campaign that would cost the company another $50 million. They would literally push this particular movie to the ultimate heights that was widely expected to break box office records and become the top grossing film of the year. However initially when people started seeing this film they were unimpressed by the filmmaker’s interpretation of Godzilla as I was for better part of a year seriously disappointed in this film but I soon got over that. I learned to appreciate the movie for what it is! The reason would be it is because when Roland Emmerich met with the Toho top brass they created a Bible for this particular movie of the do’s and don’ts of what he can do with the movie and he honored it however as he progressed into the movie he totally did things his way and did not go by what the Toho Company wanted in their Godzilla. Anyway by the initial release of the film it was quite successful however it did drop off after people have seen the movie the TriStar is Godzilla did eventually finish its US theatrical run with a total of $136 million the form box office bring in the worldwide total to $374 million respectively. According to the industry analysis did not fare as well as they would like it to do? It was technically classified as a financial bomb and the reason they say this is because this film did not deliver what the audience expected as well as a licensees and merchandising companies expected.
Even after all this entire travesty the TriStar Motion Picture Company wanted to initially consider moving forward with the next movie but eventually they abandoned their proud plans and they eventually let their Godzilla film rights revert back to the Toho Company in 2003. This would allow Warner Bros. and legendary to make a new deal with Toho in 2010 and that’s how we got the new movie Godzilla 2014.
The 1st Attempt
As many fans and people are aware Roland Emmerich and Dean Devlin’s version is not the 1st attempt as it is the 2nd attempt and we all know what happened with that attempt there was another version just before this that fell through the cracks. It would be on July 1994 that the TriStar motion picture company the studio is so would sign on the director Jan De Bont in case you’re wondering who this particular director is he has done films such as the movie Twister which starred Bill Paxton and Helen Hunt this is a great movie. Other movies like Speed which starred Keanu Reeves and Sandra Bullock about a boss that has a bomb on it and if the bus and it’s speed drops below 55 it goes boom this is also another great movie. This particular director would come on board with the screenwriters Ted Elliott and Terry Rossio who did screenplays for the movie parts of the Caribbean and the entire series so these guys know how to write a good action type movie.
According to their script this would be an updated version of Godzilla with a new opponent that they call “the Gryphon” there is also additional sketches and scopes as well as storyboards that were drawn up for the designs of the sets and locations are also created as well as a production team was assembled for this movie. Also I’d like to add there was casting choices that were discussed during the construction of the 1st set and then after a while everything fell apart as the TriStar motion picture company would eventually cancel this project, and believe it or not it was over a budget dispute with Jan De Bont simply because he wanted a bigger budget for his movie.
In between the years of 1992 and 1995 the announcement of the cancellation and sudden death of Jan De Bont’s Godzilla film which eventually would be covered by a handful short articles and news bytes within the film industry and through the years after the creation of the film there would be information and images that would gradually reveal itself in bits and pieces over the years and it came to the point that many Godzilla fans would have loved to seen Jan De Bont version of Godzilla over Roland Emmerich and Dean Devlin’s version. According to the fans this would have been a missed opportunity or a once-in-a-lifetime opportunity to bring the iconic monster to cinematic life with the latest affects technology however we would never get to see this.
It is during the filming of Godzilla 2014 that it may have softened the anger of most fans who have seen Godzilla 1998 as we all know that the spiritual of this Godzilla disappointed fans. This particular Godzilla by Roland Emmerich and Dean Devlin was more like a very large animal running through Manhattan rather than Godzilla. By the time Godzilla 2014 came out it would eventually police those who were offended by the Godzilla 1998 movie release.
Some Interesting Facts about What Transpires in Godzilla Films
as of the year 2004 it would be at least 50 years that the original Godzilla came out 1954 had been launched on the Japanese monster movies fans of the world and to celebrate this particular milestone the American Cinematheque in Los Angeles California did in fact host the Godzilla 50th anniversary tribute film at the Egyptian theater in Hollywood on June 24 through to the 29th in the year of 2004. In this particular event we do see screenings of more than a dozen Godzilla and Toho movies plus there was a special guest appearance from the director of Godzilla against Mechagodzilla and Godzilla: Tokyo SOS director Masaaki Tezuka and also special-effects director Yasuyuki Inoue and Akinori Takagi was also the special-effects director for the show and Heisei series of Godzilla films.
The Continuation of Godzilla Films
Now we visit the Stan Winston Studios in case you’re wondering what this is this is the actual studio that is Oscar-winning special-effects Film Company that does a lot of the famous creatures and characters as well as movie machines in modern cinema today. As most people have taken a tour within the Winston studio where the visitors met with Mr. Winston himself as they take the tour they were shown some pretty amazing models and as the group mangled and looked over the various life-size figures of the Terminator, The Predator, Alien and Face Hunger and even Jurassic Park velociraptor’s as well as the spinous source and T Rex is for the movie.
They also came across something pretty pretty cool it was a mock at all of the character of a particular film that never made it to the silver screen it was the actual Marquette of the Gryphon that was actually supposed to be created by the TriStar motion picture companies on made Godzilla film. Naturally if you are in a group of Godzilla fans they were actually surprised and excited to see this particular beast as this almost was a costar that the kingdom monsters would have faults. Keith Aiken took this tour did in fact as the vice president Brian Gilbert if the studio still had their Godzilla Marquette. They answered with an exciting yes we still have although they had to pour out of storage for us to see it later on during the tour. However he was eventually sent out that the Marquette could be seen but could not have any pictures taking up it was for the upcoming John Favreau movie Zathura which came out in 2005.
Fans of the Unmade Film Godzilla by Jan De Bont
Steve Ryfle had originally been covering this particular movie and his development as well as expanded overviews in this highly anticipated bulk of his called “Japan’s Favorite Monday-Star” which is a book I do have and I will be giving some further information at that book into this particular story. Another fan favorite of this particular movie is the comic book artist Todd Tennant (All-American Kaiju, it came from beneath the sea… Again) did in fact provide some information and leads and is a longtime enthusiast for this particular unmade film. Todd is currently collaborating with Terry Rossio on an American Godzilla 1994 online graphic novel based on the Ted Elliott and Terry Rossio Godzilla screenplay if anyone is interested in the visual representation of this graphic novel it is definitely worth a look because I had checked it out and it is quite interesting so far.
The Movie Synopsis to Jan De Bont’s Godzilla
In a remote location somewhere on the frozen coast of Alaska, a salvage ship excavates a nuclear reactor core that were illegally dumped at sea long ago by the Soviet Union. Suddenly, something goes awry and a huge explosion destroys the ship. On the shoreline, giant snowbanks mysteriously catch fire and a huge crevice opens in the ground, streaming and eerie red-black fluid. In the middle of the night, Dr. Keith Llewellyn, a government scientist, is flawed to the site of the accident, where the military has launched a top-secret investigation into the giant Fisher in the ground (there is a scene where he regretfully leaves behind his wife, Jill, and young daughter Tina, both of whom figure in the store later). Soldier’s part away drums full of this mysterious red-black liquid which, tests show, resembles an embryonic fluid (the substance fetuses gestate upon in the womb). In the underground cavern, Keith sees what is 1st appears to be a huge stalactite formation lot, upon inspection, it’s actually the claws of a huge creature embedded in the settlement. Keith finds the head of the perfectly preserved creature is a huge dinosaur and clients atop its model to look down the length of its 247 foot long body. Suddenly, the beast opens his eyes it’s alive! And breaks free from the ice. Everyone in the cavern is crossed and the beast destroys the entire military care, then heads south into the sea. Soon thereafter, the dinosaur appears at the Kuril Islands off of Japan and destroys the entire village. It is seen by fishermen who believes it is Godzilla, a legendary monster.
Now we fast forward to 12 years later Aaron Vaught, a particular scientist whose theories about dragons and dinosaurs have made him a best-selling author, and Marty Kenoshita is his assistant sneaks into the Japanese mental hospital to visit the fishermen who saw Godzilla. The fisherman shows Vault’s drawings of Godzilla, images that come to him in his dreams. In one picture, Godzilla is locked in battle with a monster that they call the Gryphon. Meeting and Martin to theorize that this monster Godzilla actually does exist, he must have an adversary. Just then, military police arrived to escort Vault and Marty out of the country. The men think they’re being busted for sneaking into the hospital, but I assume the government has admission for them.
Meanwhile in rural Kentucky, a huge fireball plunges into Lake Apoka, you really raining fish and frogs on a nearby town. Jill Llewellyn, Keith Llewellyn’s widow, is now director of the top-secret St. George project in Massachusetts, a military effort to find the beast that called the Alaska disaster. Thomas was last seen 6 years ago, when it destroyed an oil tanker Jill is not pleased to learn that Vaught, the Dragon enthusiast, whom she dismissed as a folklorist, will be co-director of the project with her. Jill superiors hold Vaults popularity will help the project get funding from Congress. In the midst of this conflict, Jill gets a call from the base police: Tina, now 16 years old is being detained for trying to steal a car. The relationship between the workaholic mom and rebellious teen is loving, posturing.
Back at the “Godzilla womb” sites in Alaska, were a military installation have been established, 2 military guards see streams of curious light coming from a yet-undiscovered ice K and illuminating the sky.
At the same time, a mysterious alien probe that is metallic, yet alive and it is stirring at the bottom of the Lake Apopka in Kentucky. Flowing like liquid chrome, the program enters a cave, wraps dozens of bats and absorbs them into its own matter. The creature forms dozens of “pro-bats,” evil creatures with 12 foot wingspan’s that sail out of the cave and into the night sky. Vault, Marty, and Jill all fly to Alaska and discover that the red-black fluid have been flowing from Godzilla’s will, and Erin deduces that this day is or was supposed to be, anyway Godzilla’s birthday, had the monster not been released prematurely. The trio enter a newly open ice K, which is lined with intricate and organic formations. A strange reminiscent of an ancient civilization with advanced biotechnology. No one notices when a microscopic alien organism swims down and burrows into Marty’s neck, not even Marty.
Another chain of events: in Kentucky a stable of milk cows are slaughtered overnight, their carcasses removed of their lives and organs; in the Pacific ocean, 3 fishing boats are capsized when Godzilla, pursuing a giant school of fish, passes between them at 40 kn. Although the siding is reported when Godzilla passes between an oil tanker, and the military figures he is headed for San Francisco.
Jill and Vaught go to Presidio, where command post is set up, but Marty has become ill and is taken away for medical care. 2 missile carriers, a battleship, and a submarine are sent to intercept Godzilla, but the monster easily destroys 2 planes, then submerges and throws one of the missile carriers out of the sea, cracking it in directly and have. Godzilla finishes off the ships by emitting a fiery breath that turns the hull into molten metal. The military consider using a small nuclear bomb to stop Godzilla, but Vaught believes it won’t work: Godzilla is a living, breathing nuclear reactor evidenced by the fact he breeze not flame, but something so hot it actually ionizes oxygen. Jill concludes that the red-black fluid that in case Godzilla was not food, but actually a tranquilizer that kept the monster in hibernation. Burrows of this fluid are brought to San Francisco and a plan is concocted to stop Godzilla use in the red-black stuff. Firetrucks spray the surface of the water entering the bay with this particular fluid and as Godzilla arrived, he swims right into the trap. And slowly comes ashore, then, roaring weakly, collapses on the south side of the Golden Gate Bridge uses specific super-helicopters the military transports Godzilla, suspended from cables, to Massachusetts, where it is stored in a huge hangar, the tail sticking out at one end. One night, young Tina sneaks into the hangar and suddenly realizes that mom’s job for the past 12 years has been hunting the beast that killed her dad. Gina, wise beyond her years, says Godzilla is a force of nature and should be respected. Her mother sends Tina to Manhattan to stay with an aunt for a while.
At a military hospital, Marty’s infection is consuming his internal organs, and has turned his face into a flat eyeless surface. Whatever has invaded his body is taken over, and begin speaking through him. Before he dies, Marty tells Jill about an alien race colonize in the universe by sending out probes that create a “doomsday beast” of the local genetic material and by the time the alien colonists arrived, the beast has already conquered the planet. In ancient, biotech earth civilization guarded itself against these invaded by creating Godzilla out of dinosaur genes, placing him in suspended animation to awaken when the alien probe arrived and kills it before it can reproduce. Meanwhile in Kentucky the alien probe-bats keep absorbing critters and bringing them back to the cave, where a mysterious creature is slowly taking shape. Vault deduces that Godzilla was headed for the spot where the huge fireball landed, and immediately goes to Kentucky. There, Vaught is driven to Lake Apopka by Nelson Fleer, a local storekeeper (who keeps using the phrase, “weird shit,” for comic effect). The men don diving gear and explore the lake bottom, and discover a tunnel that leads to a series of case. Vault finds what 1st appears to be a giant Paul and, upon further inspection, proves to be a test to the Gryphon, a giant monster with the body of a cougar, wings of a back, and a tongue of snakes, created by the alien probes out of the smaller creatures. The doorman monster is awake and when Fleer client is one of the diving tanks against Iraq the men submerge and swim for safety, and a huge monster’s roar is heard behind them; all seems normal for a moment until the monster rises with a war and takes to the air. Flying north, the monster terrorizes Clarksburg, Virginia, where he derails a train, kills people, and fires energy bolts that destroy a gasoline storage tank. Back in Massachusetts, Godzilla census his arrival’s appearance and his awaken, despite a constant stream of this particular fluid being force-fed to him. The great beast destroys the hangar and walks to the shoreline, where he drops down on all fours begins to go into the water.
The arch-enemies are headed straight for each other and if they hold course, there set for a showdown in New York City. As Manhattan is evacuated, Jill tries to desperately drive into the city, hoping to save Tina. When Godzilla steps on the Queens Midtown Tunnel, Jill is briefly trapped underwater, but she swims the safety and, just as she reaches dryland, Godzilla’s foot comes down, narrowly missing her. As the battle of the mosses begin, Jill finds Tina and I try to figure out how to get off the island safely.
The Gryphon takes flight and crashes into Godzilla, knocking him down to the shore. Godzilla wraps his tail around the frame of an under-construction building, then pulls the Gryphon near and bites down on its leg. The Gryphon’s wounds heal instantly, miraculously, and the beast then retaliated with energy bolts that not Godzilla back into the row of buildings. The Gryphon keeps charging, scratching Godzilla with its talons. Helicopters, circle the city, while the Gryphon flies overhead, hunting Godzilla. The 2 beast again slam into one another and begin to wrestle, tumbling into the skyscraper. The Gryphon double-case Godzilla in the belly, sending him flying into another building, which falls on both monsters. Vault says Godzilla can’t be the Gryphon because of the restraining device implanted in the monster’s neck by the military, which gives him a constant dose of the fluid and prevents them from breathing fire. Using gunship helicopters, the military divert the Gryphon while Vaught and Fleer remove the device from Godzilla’s neck ladies started next to the building. From a helicopter, then men are loaded onto wires onto Godzilla, but the Gryphon blasted the chopper and the men are stranded on top of the monster. As Fleer and Vaught rig explosive to destroy the restraining device, Jill and Tina stall the Gryphon briefly by crashing a gasoline tank into the monster. The restrainer is removed from Godzilla just before the Gryphon arrived: now Godzilla fires his breath at his opponent, wounding him, and pursues the fleeing Griffin more vigorously.
The battle royal takes place in the East River. Godzilla breeze fire across the water surface, creating a steam cloud that belies the Gryphon and causes it to crash into the Brooklyn Bridge and get tangled in the cables. Godzilla bites one of the Gryphon’s wanes off but the monsters healing properties instantly reattach the limb. Then the Gryphon climbs skyward, turned around, and paradigms. Godzilla waits for his file, then suddenly bends forward at the last moment and the Gryphon is sliced open on Godzilla’s dorsal place. Godzilla puts his adversary into the river, rips his head off and sets it on fire through the entire body is now burning in the East River. Godzilla, though badly wounded, Pretorius leg and sets out for the city. Just move in to kill the wounded beast, but Jill convinces the military commander to call off the strike. She has finally forgiven the monster. From the shore, Jill, Tina, Aaron, and Fleer watch Godzilla go home.
Some Interesting Facts about This Movie Script and the changes that were made according to the script!
1.The story takes place in 1999, on the eve of the millennium. The dialogue was rewritten to give the film a Norse, X-Files feel. At one point, a date clock on United Nations building is damaged, and the inverted numbers read “666”
2.Several characters are, consolidated or eliminated such as Marty Kenoshita is nixed. Junji is a twentysomething Eskimo fisherman in Alaska, rather than an old Japanese man. Instead of Marty’s neck, the alien parasite implants itself in Junji’s Eye.
3.The reactor-core excavation scene is deleted. The story opens with a shot of the alien probe, far out in space, zooming towards the earth. On the Alaskan coast Junji and his young son, Hiro, our ice fishing. Spots of red “blood” appear anywhere on the ice, and a huge crevice opens in the snow, flowing with red liquid.
4.Godzilla is not prematurely freed from the ice; he reawakens just at the alien probe lands on earth. The probe lands in the state of Utah, not Kentucky.
5.When Godzilla breaks free from the ice cave, only glimpses of the monster are shown, rather than his entire body as in the previous version. Jill and Junji are the only survivors as the monster wipes out the Arctic outpost; the military cover of the monster’s appearance, bulldozing snow over the footprints and labeling the incident as an earthquake. Junji is held prisoner in a hospital ward to prevent him from telling anyone what he saw, a monster he recognized as “Gojira”
6.Fleer is a white-trash recluse who says, “I hate people.” His “weird shit” slogan is changed to “weird stuff.”
7.The nature of Aaron Vaught and Jill’s relationship is changed. Vault, a former student of Jill’s dead husband, offers to help Jill find out what really happened to Keith. Vaught suspects a massive cover-up, and that the earthquake was called by a huge Dragon. He says, “it’s hangar 18 all over again,” and “exactly like Roswell back in 1947” in this version the military thanks Aaron is a crackpot one just persuades the brass to bring Aaron on the Godzilla team.
8.During the final battle, a week and wounded Godzilla swims to Ellis Island. There, he stepped on a fireworks depot, creating a barrage of colorful explosions that continue as he kills the Gryphon rips his head off and spikes it on the liberty torch.
9.The military move in to Jill Godzilla, but Jill any others, aboard a helicopter, intercepting missile, as the damage helicopter falls in the air, Godzilla catches it and places the wreck on the stature of the liberty’s crown, saving the heroes.
Now in my personal opinion all the script changes were made this movie seem a little more stupid.
So more information based on Jan De Bont’s Godzilla
According to the script of Terry Rossio and Ted Elliott screenplay you have to ask yourself how difficult would it be to actually create a credible Godzilla scenario for the modern-day Western audiences there are many possible directions that we can go into without really exploiting the whole “cheese factor” as I mentioned earlier with the script changes above that deftly would have been more cheesier if they went that route this is why prefer the original script over these changes.
In my personal opinion the Gryphon does not sit well with me simply because his sounds and comes off a little stupid as it is mythological and assess in my personal opinion of Godzilla’s going to fight a different Kaiju and needs to be an actual monster and not something created. This is just something I’ll see Godzilla actually fighting there are better ideas out there for a Kaiju that Godzilla can fight.
Let’s get back to the original concept of the story of all the American Godzilla scripts written to date this particular story was a most faithful to the original character and the tone of the Toho classic Godzilla films. The particular “giant monster meet space aliens” films of the 1960s like Monster Zero and Destroy the Monsters are true classic monster versus alien movies. By attempting to transform Godzilla from an all-powerful villain into an earth defending hero within the span of one film this is something that took the Toho’s Godzilla more than a decade, Terry Rossio and Ted Elliott probably tried to do too much. This is what they assume in all honesty I think is you have already read the actual script I think they would’ve done well for today standard in my opinion. Also I like to add there was another flaw in that Godzilla shares considerable amount of screen time with the Gryphon and isn’t always the star of the show. Inevitably, the writers overzealous likely contributed to the skyrocketing budget and the eminent derailment of Jan De Bont tenure as the director of Godzilla. According to Terry Rossio and Ted Elliott the TriStar picture company or studio officially estimated that this particular film would have cost $180 million to shoot this particular Godzilla script as it was written.
It would have taken more than 500 computer-generated effect shots that were originally planned by comparison James Cameron’s true lies (1993) had only about 150 such shots the most ever until then at that time. There particular 1st choice when it comes to special effects was the company Industrial Light and Magic these are the actual creators of the computer animated dinosaurs in the movie Jurassic Park. However it is reported that industrial light and magic did in fact turn down the job because officials there felt that the amount of computer affects required to make an all-digital Godzilla plus a computer-generated explosions as well as fire and water effects and the Gryphon’s morphing transformation, was just a little too much for one company to handle. In October 1994 it was officially announced that the effects would be done by Digital Domain, the super special effects house founded a year earlier by director James Cameron, creature creator Stan Winston, and IBM. Stan Winston Studios in Van Nuys California was contracted to design the new Godzilla and the Gryphon and to create a life -like robotic version of both of these monsters as it has been done in the Jurassic Park dinosaurs.
Godzilla was reportedly $38 million-$50 million and the cost of the entire film would have put it around $100 million and $120 million making it the most expensive film to date. The movie Waterworld with Kevin Costner this particular movie broke records with a cost of $200 million budget. And keep in mind this is also the very 1st attempt at the TriStar Motion Picture Company would take a 1st crack at a Godzilla film that literally fell apart.
By the fall of 1994 Jan De Bont sent his crew to a town in Oregon along the coast to construct a set of the Japanese fishing village. He was originally going to plan to shoot Godzilla’s attack on the Kuril Islands that included Godzilla in the storming affects the particular effect will be added later on via computers. It is at this point in time that the principal photography and cast hadn’t even been selected yet and would’ve helped to eliminate the bars and the special effects technology. As they were filming by doing all of this they would have used it in a teaser trailer shown in theaters across the country in the summer of the fall or fall of 1995 if all went well. Jan De Bont will begin shooting March 1995, and the picture would hit theaters by the summer of 1996 the Oregon sets were built but no footage was shot. At this point in time that is when the TriStar motion picture company decided to halt the actual film until 1996 when a turnaround hard Roland Emmerich and Dean Devlin and we end up getting this Godzilla film instead and in my opinion I would love to have seen Jan De Bont’s version as I am sure a lot of people would’ve been much more pleased with the version rather than what they got.
An Understanding of Godzilla 1998
Written by Barney Buckley
Email Address – email@example.com
Released on May 20, 1998
Running Time 139 minutes
Movie Company-Sony release of TriStar pictures presentation of a Centropolis Entertainment Production in association with Fried Films and Independent Pictures.
This is a story about a lizard that is exposed to French nuclear testing in the South Pacific and mutated into a new, gigantic species of reptile that obviously can reproduce asexually and does threaten the existence of man here on planet earth. It is dubbed “Gojira” by a very superstitious Japanese sailor who happens to bastardize the name Godzilla bastardize reporter on TV. The beast eventually makes his way to Manhattan were wreaks havoc all through the city and is chased by Apache helicopter forces and somehow manages to slip into the East River and down underneath the Madison Square Garden where he lays all his eggs and suddenly all of the eggs hatch we have a bunch of baby Godzilla’s floating around only to be destroyed by jets and that Godzilla in the way that injuries the taxicab altar New York City only to get stuck on the Brooklyn Bridge himself and the very same jets managed to kill him on the Brooklyn Bridge.
How It All Began
It was back in 1992 when Sony pictures Japan decided to take on creating a new film that they will call Godzilla so they acquired the rights from the Toho Company and create a new movie for an American release. After acquiring the rights to Godzilla it would literally be four years in the making and they can’t seem to get this movie off the ground on sale they hired Roland Emmerich and Dean Devlin alongside them would be special effects director Patrick Tatopoulos they would eventually sit in on a Tokyo conference room with the members of the Toho Motion Picture Company and their top brass. This would include Shogo Tomiyama and Koichi Kawakita who if you don’t know did all the special-effects for most of the Heisei Series Godzilla films over there in Japan. The producer and special effects director are now meeting what would be known as a historic meeting with the future of TriStar pictures new movie they call respectively Godzilla and this is a proposed fell that had languished in Hollywood’s development hell for the past four years that I have mentioned.
Because of the success of Roland Emmerich sci-fi blockbuster Independence Day it did spell out and knows uncertain terms that he would be given the faltering project. However the only way this would happen is if the Toho Company and the TriStar picture company would give him and Dean Devlin the producer and writing partner who was actually hospitalized in Germany and could not attend the meeting because of that absolute creative control over this movie. Also the Japanese would have to accept the new look of Godzilla that was designed by Patrick Tatopoulos.
The man of the Toho Company were very hesitant about the looks of the new Godzilla and there were also adamant about how the image and to ensure that their monster a folk hero is a homeland was respectably treated by the American studio. As a matter of fact the Toho Company literally sat down and in writing they wrote a series of commandments establishing the parameters of the King of monsters on stage visual and personal effects to the monster. The first part of the commandments was that Godzilla’s birth must be a result of nuclear explosions. Godzilla also has to have a four clause on its hand and feet. Godzilla also has to have three rows of dorsal fins or dorsal plates along the spine and Godzilla cannot eat people and also the most important fact Godzilla cannot die and as we already know that wasn’t the case.
According to Time magazine this entire commandments were compiled into a 75 page Bible written and legalized by the Toho lawyers. It was also followed by a letter that this Bible ensures that any American Godzilla would largely resemble the Japanese namesake, but Emmerich’s agenda was to convince the monsters Corporation guardians to relax the reins. There was a certain point within the meeting there Roland Emmerich unveiled a sculpt Marquette all Patrick Tatopoulos is new Godzilla design and the Toho man of the Toho Company reacted with such stunned silence the creature was upright walking you toward reptile, but whereas the old Godzilla was stocky plotting city flattener this was a very sleek design and they were not pleased with this.
Roland Emmerich proceeds to explain to the Japanese guys the biggest difference would be that this creature is very lean and very fast and he also told them “guys, we could do this like this, all we don’t do it at all… You’ll have to find someone else.” The meeting was immediately disbanded and Emmerich was told he’d received Toho decision tomorrow. Much to their surprise the Toho Company’s chief executive Isao Matsuaka Jaden the green light for the project at 10 AM the next day. According to Dean Devlin later told special-effects magazine that “they [Toho] took a long time in deciding… And then they said, “We love this look, we love your idea and we back you 100%. Go do it.”
Because this Godzilla so drastically redesign that it really seem like a rebirth of Godzilla. This is what Patrick Tatopoulos said in time magazine and he also said “the Japanese told me that the new Godzilla is miles away from the old creature but that I kept the spirit,” over the next year and a half Roland Emmerich made his Godzilla film full of loopholes that barely masked the fact he violated key points in the Toho Bible. Among the key points that he violated were is that his souped-up lizard did in fact eat people off camera, several Godzilla babies devoured the soldiers in a full grown beast tried to swallow her taxicab fool people and the creature definitely does die however a hatchling manages to survive at the end of the film ensuring the survival of this particular species.
Perhaps the worst part about the whole entire film is that Roland Emmerich did away with Godzilla’s atomic breath substituting it with a hurricane-force gaseous snort that ignites when it comes in contact with fire. Despite a huge hype machine that led the masses to expect an incredible reworking of the Japanese favorite monster Roland Emmerich film was really a remake of The Beast from 20,000 Fathoms. Plus it also riffs carbon copies of the Jurassic Park what none of that film’s terror or pathos. The ending however was stolen or the idea was stolen from it is about a big creature that gets trapped on top of the famous New York skyscraper the Empire State building and falls to his death due to airplane shooting at him this particular ending is not that much different he get shot by missiles from F-18’s and eventually dies on the Brooklyn Bridge.
Most significantly this movie fast to supplant memories of the old Godzilla films and on the contrary the American public became openly nostalgic for the real thing even though it did rose upwards to $300 million in theaters worldwide the film was largely viewed as a failure. Long before Roland Emmerich and Dean Devlin got their hands on this Godzilla TriStar pictures had developed another screenplay actually hired another director and had a very different approach in mind.
In the Beginning
This is how it all began the actual deal between TriStar pictures and the Toho Company for an American release of Godzilla was announced way back in October 1992 it would be more than four 5 ½ years before Roland Emmerich spell would appear on screen. The TriStar picture company agreed to pay the Toho Company and-front fee of $400,000 plus other, undisclosed terms for rights to make a big budget Godzilla film. The actual deal reportedly came from Godzilla’s longtime representative Henry G Saperstein. Saperstein had not coproduced a Godzilla movie since the terrible Mechagodzilla which came out in 1975 however the monster was still making money for him in the early 1990s his United Productions of America was the official licensing agent for Godzilla merchandising in the United States.
This particular company controls the TV and home video rights to several Toho/UPA titles including Godzilla Versus Monster Zero, War of the Gargantuan, and Frankenstein Conquers the World. Saperstein often refers to Godzilla as “the golden goose,” was determined to see that the monster, at long last, lay a gigantic golden eight. For about 10 years Saperstein pressured the Toho Company to make one Godzilla film here in America as he told FilmFax magazine back in 1994. Regretfully Saperstein did die in July 1998 two months after Godzilla was released in the theaters.
Reliving a Legend
As of May 1993 it was announced that the screenwriters Terry Rossio and Ted Elliott had eventually done a rewriting and reimagining on the animated Disney feature Aladdin that came out in 1992 they were hired to write an original Godzilla script. Terry Rossio and Ted Elliott seem an odd choice for such a big assignment especially in comparison to the other high profile writers that were actually considered. This would include heart kingpin Clive Barker who reportedly came up with the story ideals that the studio considered “too dark” (LOL) and the predator screenwriter Jim Thomas and John Thomas. It would be throughout the entire year of 1993 that there was no mention about a director although Tim Burton and Joe Dante were actually considered however it was rumored to be a Studios top candidate and probably because both had previously paid homage to the King of monsters. Burton gave Godzilla and King Ghidorah can’t cameos and pay raise big adventure and actual footage from Godzilla versus bio entity was later inserted into his movie Mars attack!.
Joe.in fact expressed skepticism about the viability of the project telling Starlog magazine back in 1993. The TriStar picture company have quite a job ahead of them trying to turn Godzilla into what they’re talking about, which is a movie that will attract major stars. I don’t know what you do with this time-warm plot that can be new enough to make it something special. As you can see the patterns here are not totally please with the actual script writing of Terry Rossio and Ted Elliott as they both turned into their first draft script on November 11, 1993 there were still no word as to who withheld the picture. It would be by the spring of 1994 that there were rumors of the project have been turned down by everyone on TriStar’s short list of directors. This would include Ridley Scott, James Cameron, Robert Zemeckis and prophetically it would later turn out to be Roland Emmerich.
Who at this time just recently made the movie Stargate. The studio also tried to talk to second string directors and that would include Sam Raimi did the Evil Dead movies, Barry Sonnerfield who did the movie “The Addams Family” and Joe Johnston who actually did the movie “The Racketeer”. Anyway to make a long story short tandem goal with Roland Emmerich and Dean Devlin and they decided to go ahead and create their own script in their movie and thus we got the movie that so many people are disappointed with because it. It did not have the spirit of Godzilla simply because it in go by the Toho Company’s Bible if they went with the Bible I am sure things would’ve been a lot different today
Written by Barney Buckley
Email Address – firstname.lastname@example.org
Early Designs for Godzilla 1998
Stan Winston would actually create a design that was faithful to the Godzilla design that the Toho Motion Picture Company would accept. In October 1992 TriStar pictures formally announced that they did acquire the rights to Godzilla and Sony pictures would actually produce a trilogy of Godzilla films. They also promised that it would “remaining true to the original series-cautioning against nuclear weapons and runaway technology.” After TriStar Pictures made the announcement many of the original Godzilla filmmakers expressed support for the film and that would include Haruo Nakajima who is the actual soon after four Godzilla from 1954 to 1972 as he stated “I’m pleased, I hope that a competition will spring up between Toho and TriStar, Koichi Kawakita who is a special five directors for the Heisei Godzilla films he stated “I have great expectations. I’m looking forward to seeing you, not only because I direct special effects were Godzilla films but also because I am a movie fan,” Teruyoshi Nakano who is a special five directors of the late Showa Series Godzilla films stated, “I’m pleased that a new approach will be taken” and Ishiro Honda was the director of various show of Godzilla films also stated, “it will probably be more interesting than the ones being produced right now in Japan.
Apparently Mr. Honda was not a fan of the Heisei Series Godzilla films.Patrick Tatopoulos designs Inc. is the actual company that created the Godzilla that was in the film that came out in 1998. Patrick hired more than 170 of Hollywood’s freelance special-effects craftsman’s, sculptors, mold makers, foam and electrical technicians, mechanical designers, and suit makers. To build several different mechanical versions of this Godzilla. With the majority of emphasis on the CGI technology it is interesting that a more hyper- tech version of the so-called “suitmation” technique that was used by the Toho Company was employed for this particular movie in some scenes. Patrick Tatopoulos’s group built for Godzilla suits all and 1/24 scale and they all stood around 7 feet tall and two of them are highly detailed “hero suits” were used in the scene when Godzilla first climbed out of the subway system near the Flatiron Square building and again when Godzilla versus the Madison Square Garden photograph at very high speed à la Tahoe to create the illusion of size and bulk and to other less detailed stone suits that were used for glimpses of the monster crashing through the buildings.
There is one scene and it is very vague to view it is a scene were Godzilla’s dorsal plates tear through the skyscraper during his initial New York rampage the suits were warm by two stun actors trained for at least three months to perfect Godzilla’s movements. Like the Toho Company’s Godzilla suits the stuntman’s head were located inside of the neck of the suit and were equipped with electronics so that the eyes and mouth and nostrils moved by remote control.
To achieve that arch look as Godzilla is bent over the actual suits were fitted with heavy-duty metal leg extenders enabling the actor to stand about 6 inches above the ground and his feet were bent forward in addition seven baby Godzilla costumes were built each with these particular leg extenders and the search weighed around 100 pounds and the CGI was used to multiply these into one hundredths of little Godzilla’s on the loose.
Patrick Tatopoulos and his crew also built a 1/6-scale and animatronic Godzilla that was actually spoke from foam and stood about 30 feet high. This is actually larger than the enemy Tronic T Rex that was built by Stan Winston Studio for the movie Jurassic Park. Because of the gigantic size of this particular robot it was built from the torso are and except for servo control I, eyelids, and nostrils it’s movements were operated by a pre-program computer-controlled hydraulic motors. This big robot Godzilla was to be used in several different scenes blot, in the end, it was only used when Godzilla grabs a tractor-trailer truck in his drawls, for Godzilla’s face-to-face meeting with Matthew Broderick the only time that this monstrous facial features and skin texture are truly shown up close and personal.
Among the other props that was built by Patrick Tatopoulos’s team there was a 30 foot section of Godzilla’s tale which is seen striking the Japanese fishing boat. There is a 1/1 scale set of three talons that were used when Godzilla attacked the Japanese fishing ship. It ripped right through its hull. There was also a full-size set of Godzilla toes that had an 11 foot spread in between them brutally used when the camera man “Animal” got stuck in between them when Godzilla’s foot compression down.
CGI Rendering Shots of Godzilla 1998
In contrast to a few appearances of Patrick Tatopoulos’s Godzilla suits and robots made it in the film there were 185 shots of Godzilla rendered via CGI. The rec cargo ship that washes ashore in Jamaica was a digital rendering, also another CGI rendering was the part of the Brooklyn Bridge door Godzilla’s death scene, plus several other Godzilla footprints on the roadside, various helicopter shots submarines and other images as well. Also many of the buildings seen in the chopper versus Godzilla chase through New York City and the steel canyons were constructed by CGI.
Miniatures and Models and Parts of the Set for the Movie Godzilla 1998
It seems that Roland Emmerich is no stranger to do anything in miniatures or pyrotechnics that involved on-camera destruction prime example of this would be “Independence Day” it was loaded with glorious explosions as well as miniature models of the Empire State building, White House, Citicorp building in Los Angeles and Godzilla is no exception to this rule. The most impressive destruction is the actual Flatiron building, in case you’re wondering what this building is it is a triangle shaped architectural landmark located on Fifth Avenue and Broadway.
In one particular scene is hit with bombs intended for Godzilla and the actual scale miniature is at 1/24 scale and it is 300 pound manager that was said to be so impressive that it actually composited into the live-action background plate and several pre-destruction shots. They also built a 1/24 scale section of the Chrysler building which in fact in the movie the dome is actually blown off by our Apache helicopters and there is another section of the Metropolitan Life Building with a Godzilla burled hole directly into the center of it. There is a very similar scene in the movie Godzilla 2014 I think it’s in one of the trailers is very similar to that.
There is a particular scene in the beginning of the movie where you see Godzilla destroying the Japanese floating fish factory modelers constructed a 35 foot replica of the ship the product was originally built as an oil supertanker but when constructed of it. It was almost done Roland Emmerich and Dean Devlin revise the script believing Godzilla would have more incentive to attack a fish loaded vessel instead of attacker.
Another pretty amazing fact is there is a water tank that is located at Universal Studios lot it is called “Lake Falls” this particular tank of water was you originally constructed for the movie Virus is located on the outskirts of Los Angeles at the climax of the film there is footage that shows the actual Brooklyn Bridge was combined with a stand and birdshot in downtown Los Angeles any model of the 400 foot section of the bridge was erected and filled on vacant land at an airport in Torrance California.
The underground scenes that you see in the movie replicating the damage wrought upon Pennsylvania Station and subway tunnels by Godzilla borrowing this particular set is one of the several sense that was erected in the 40,000 square-foot stage XV on the Sony lot (touted as the world’s largest soundstage) it took 12 weeks to build and utilizes tons of lumber and Styrofoam to re-create the twisted rocking concrete another huge set the interior of the Madison Square Garden after it’s turned into Godzilla’s nest stood a reported 80 feet from the floor to the ceiling now this is pretty impressive.
Godzilla: The Series is an American animated television series which originally aired on Fox Kids in the United States. The show premiered on September 12, 1998, and is a direct follow-up to the 1998 Hollywood Godzilla re-imagining.
In the series, Zilla Junior battles a large group of giant monsters. The show tracks Zilla and team H.E.A.T. around the planet battling new mutations and other super-natural beasts.
The series not only had Zilla battle several other kaiju, such as a Giant Bat, but also face a fleet of invaders known as “Tachyons” in a tribute to Destroy All Monsters, and an eccentric billionaire rival of Nick’s. See the List of monsters from Godzilla: the Series for more details on the creatures featured. In an ironic twist from the original Godzilla TV adaptation, in the 1998 film, Zilla breathes fire, while in the series, his son breathes Atomic Breath.
Notably, Malcolm Danare, Kevin Dunn and Michael Lerner reprise their roles from the film..
Using an art style similar to that of Adelaide’s previous productions Men in Black: The Series, Jumanji and Extreme Ghostbusters, the series follows the Humanitarian Environmental (or Ecological, in “Area 51”) Analysis Team (H.E.A.T.), a research team led by Dr. Nick Tatopoulos (voiced by Ian Ziering) as they battle giant monsters which frequently appear in the wake of the events depicted in the film. Godzilla, the only hatchling of its species to survive in the movie, imprints on Nick and becomes the chief weapon summoned against the other monsters encountered by the human characters.
The series also introduces two new characters: Monique Dupre, a French secret agent assigned by Philippe Roache to keep an eye on Godzilla and H.E.A.T., and Randy Hernandez, an intern of Nick’s who specializes in computer hacking.
Where is the connection?
Godzilla 1998 by Dean Devlin and Roland Emmerich is one of those movies that seriously disappointed that Japanese hard-core Godzilla fans. I for one fell into that category momentarily and I found a way to accept the movie for what it is. Dean Devlin and Roland Emmerich did a superb job on this movie in the way that this creature is truly unique and separate from all the other Godzilla’s.
It definitely stands alone and I have to say that I’ve learned to accept the movie for what it is even though we did not have the true elements that we all know Godzilla to have. When I walked out of the theater after seeing this movie I said to myself that was not Godzilla. Then I did some serious thinking through the years and realize that the approach that they took on this movie was a realistic approach to a monster but an oversized lizard.
I like this concept because it did take a realistic approach and the one thing that bothers me most about this is the actual connection between the movie and the animated series. Are important to the animated series Godzilla 1998 went on a rampage and was supposed to be this terrible monster that was destroying New York City and I see that the movie at all. What I saw was an overgrown lizard running away from the military and destroying everything in its path and eventually it was killed, so the whole Godzilla 1998 the movie he was a bad guy I don’t remember that.
He was more misunderstood than anything else anyway they had to make a certain connection, so that Dr. Nick Tatopolis ran into one of the eggs that hatch and somehow connected with Nick and it escapes into the river only to come back almost full grown and this is where the series begins. It goes on work Godzilla is now a good guy and he finds many different kinds of Kaiju’s which to me don’t really look like the kind used that you would see Godzilla fight. This is their interpretation and is not a bad thing! Anyway this is where I made the connection and where they seem to think that the Godzilla that died was actually a horrible monster and that was not the case.
Characters of Godzilla: The Series
Godzilla on the Empire State Building as depicted in the opening to Godzilla: The Series.
Godzilla (voiced by Frank Welker) – A giant mutant marine iguana (not a dinosaur) and the only surviving offspring of the first Godzilla that attacked New York City in 1998. Due to Nick’s presence at his hatching, “Godzilla Jr.” has imprinted on Nick as his parent, and as a result he is very protective of him. Nick also has the ability to control Godzilla to a certain extent, which allows the humans to use him as a weapon against other mutated monsters. He always seems able to sense when Nick is in trouble, and is quite willing to follow him and the rest of H.E.A.T. all over the world. Unlike his biological parent, he seems to be incapable of asexual reproduction (possibly because he is not yet fully mature), yet capable of breathing radioactive fire, much like Godzilla from the original Japanese franchise.
(This version exists in its own continuity, though Toho, the creators of the original Godzilla, later incorporated a lookalike into their own continuity under the name “Zilla”.)
Dr. Niko “Nick” Tatopoulos (voiced by Ian Ziering) – Leader of H.E.A.T. and the “adoptive father” of Godzilla. Nick fiercely protects Godzilla and other mutants from both foreign and domestic governments. He is portrayed as younger and with longer hair then he is in the movie, as well as less absent-minded.
Dr. Elsie Chapman (voiced by Charity James) – One of the original members of Nick’s team; often sarcastic for what she think pass as humor, and partly interested in Mendel. She specializes in studying the behavior of Godzilla and the other monsters.
Dr. Mendel Craven (voiced by Malcolm Danare) – The team’s engineer and chemist. He is slightly cowardly (as his last name implies) and prone to numerous strong allergies, but is often resourceful. He is also enamored of Elsie. Although initially fearful of Godzilla, over the course of the series he comes to trust the monster as an ally.
Randy Hernandez (voiced by Rino Romano) – An intern working under Nick, and like him, is Godzilla’s defender. He calls Godzilla “the big guy”, and sometimes “the G-man”, and he has referred to him as “Mr. G” and “the Lizard King”, each on one occasion. Hugely talented in all fields of technology, but extremely lazy and somewhat laconic. He has a crush on Monique, but is always refused when he attempts to court her.
Monique Dupre (voiced by Brigitte Bako) – A French Agent of the DGSE specializing in hand-to-hand combat and infiltration. She is originally sent to have Godzilla killed, but becomes a member of H.E.A.T. after being assigned to supervise Godzilla indefinitely. She generally seems cold and impassive, but on occasion shows genuine care and concern for her teammates and Godzilla.
N.I.G.E.L. (voiced by Tom Kenny) – Short for “Next Millennium Intelligence Gathering Electronic Liaison”. N.I.G.E.L. is an analysis robot created by Mendel and reprogrammed by Randy to have various quirky personalities, from Texas cowboy to Shakespearean. A running gag on the show is that he is damaged or destroyed in almost every episode presumably to be rebuilt or replaced later (evidenced by Craven’s remark in the episode “End of the Line” that he should “just buy spare parts in bulk”).
Major Anthony Hicks (voiced by Kevin Dunn) – Major of the Sandy Point Military Base of New York, who played a key role in the first Godzilla’s defeat. Though he is at first skeptical of the new Godzilla, over time he develops a soft spot for the creature, whom he views as a hero due to Nick’s attachment to the creature that allows the humans to use him to fight against other mutant monsters.
Audrey Timmonds (voiced by Paget Brewster) – Nick’s college sweetheart and somewhat untrustworthy girlfriend, whose career as a reporter often leads to conflict with him.
Victor “Animal” Palotti (voiced by Joe Pantoliano) – New York’s Channel 8 News cameraman and Audrey’s working partner. He is always willing to help film Godzilla and other giant monsters, his only worry being how his wife Lucy (unseen in the show) will react.
Mayor Ebert (voiced by Michael Lerner) – The Mayor of New York City, who is determined to keep it safe from mutation-related threats.
Philippe Roache (voiced by Keith Szarabajka) – The leader of the French secret service. He led the team hunting down the first Godzilla and later sent Monique to kill the second, but relented when the creature saved lives.
Cameron Winter (voiced by David Newsom) – A former classmate of Nick in college. He is a devious technological mogul whose desire is to control Godzilla for the fulfillment of his ulterior motives.
Dale, Bill and Hank (voiced by Ronny Cox, Tom Kenny, and Bob Joles) – Game hunters that came to New York to hunt for Godzilla. They serve as villains in the series. Dale is the leader of the group, Bill is the middle man, and Hank is the idiot of the trio. The three of them would usually try to hunt Godzilla, which usually ends with them being thwarted by H.E.A.T. or ending up in legal trouble. Their names are a parody of the characters from King of the Hill.
Leviathan Aliens – An ancient race of psychically powerful extraterrestrials. One of their spaceships, called the Leviathan, crashed on Earth sometime before the Ice Age and remained hidden until modern times. They attempted to conquer Earth by mind-controlling several mutations – including Godzilla and their creation, Cyber-Godzilla (created from the corpse of the first Godzilla) – but were ultimately defeated by H.E.A.T and a freed Godzilla, and forced to retreat. Their invasion plan is similar to that of the Kilaaks in the 1968 Godzilla film Destroy All Monsters.
Crustaceous Rex – A mutant crustacean (with some cephalopod-like features) which feeds on tar. It also appeared later in the “Monster Wars” trilogy and “S.C.A.L.E.” Currently on Monster Island.
Giant Squids – Giant squids of indeterminate origin, although it is believed they may have the same origin as Crustaceous Rex and the first Godzilla.
Nanotech Creature – An amorphous colony of nanobots designed to dissolve petroleum and other non-biodegradable forms of waste. Every meal made it grow larger and stronger, and it threatened to devour all of New York.
El Gusano Gigante – A worm (though it looks like a giant caterpillar) that fed off of a rare poisonous plant. When it mutated it grew to an enormous size, and developed other features such as spikes, claws and jaws full of teeth. At first Godzilla struggled to fight it, but when he used his atomic breath on it, it shriveled and shrunk. It reappeared later in the “Monster Wars” trilogy.
Cyber-Flies – Insect-like robots created by Cameron Winter to implant his control device on Godzilla, only to be destroyed.
Huge Sewer Rats– A swarm of giant mutated sewer rats that appeared in New York. Later a single surviving rat appeared in the “Monster Wars” trilogy.
Cryptocleidus – A pair of plesiosaur-like creatures mutated by the Leviathan aliens from their namesake species. One of them later appeared in the “Monster Wars” trilogy.
Reptilians – Guard-dogs supposedly created from the DNA of dinosaurs by the Leviathan aliens.
Crackler – An electrokinetic creature created when an insomniac named Sidney Walker underwent a new sleep treatment which involved amplifying the Theta waves in his brain. The Crackler feeds on electricity and is essentially a manifestation of Walker’s suppressed anger. When Walker was awakened and overcame his frustration on how he was treated, the Crackler vanished for good in the middle of a fight with Godzilla.
Queen Bee – The queen of a giant bee colony discovered on an island whose unnaturally large and healthy flora fed off the radioactive ashes of a local volcano. One of her giant worker bees later reappeared in the Monster Wars trilogy.
Quetzalcoatl – A legendary, fire-breathing bird-like reptile that lived in a volcano in Mexico. It looks similar to an Archaeopteryx and may also be a tribute to Rodan.
Ice Borers – Mole-like predators discovered in Antarctica. Their high body heat allowed them to burrow through ice by melting it.
Loch Ness Monster – A mosasaur whose ancestors survived the extinction of the dinosaurs and entered stasis during the Ice Age, ultimately to live in the Loch. When her baby was captured by Dr. Hugh Trevor, she aggressively attacked his facility until Godzilla helped to reunite her with her offspring.
Giant Albino Yeti/Robo-Yeti– A huge, white-furred Yeti/gorilla-like beast. It was revealed to be a robot created by a Japanese scientist as a counter to the mutation epidemic. It was destroyed helping Godzilla defeat the King Cobra.
King Cobra – A gigantic mutant cobra that was found in Japan. Instead of venom, it secretes a gluey substance to trap its prey. It later appeared in the “Monster Wars” trilogy and “S.C.A.L.E.” Currently on Monster Island.
Termite Queen – The ruler of a mutant termite colony found to be consuming the Amazon Rainforest.
Giant Bat – A giant bat that has the ability to emit powerful sonic waves from its mouth. It later appeared in “S.C.A.L.E.” Currently on Monster Island.
Cyber-Godzilla – A cyborg created by the Leviathan aliens from the cadaver of the first Godzilla. It appears in the “Monster Wars” trilogy (though the first Godzilla appears only in the pilot episode and two of the “Monster Wars” episodes, he is mentioned by H.E.A.T. and the military from time to time). Armed with blue atomic breath and shoulder-mounted blasters, he was nonetheless eventually “killed” by Godzilla Jr., his biological son. Possibly inspired by Mechagodzilla (his origins are also similar to the character’s third incarnation, Kiryu).
Chameleon – A monster created by Cameron Winter from a combination of Godzilla’s DNA and a chameleon’s. Like a real chameleon, it can change its color to blend with the surroundings. Winter attempted to use this creature to frame Godzilla for rampages through New York.
Bacillus – A giant, mutant germ. It infected Godzilla with miniature replications of itself, which nearly killed him by attacking his brain stem. After Nick and Monique entered his body and eradicated the infection, Elsie developed a formula to weaken the giant Bacillus. Unable to produce a protective endospore, it was destroyed by Godzilla.
Giant Mutant Widow Spider – A black widow spider mutation of immense size, whose multitudinous offspring attacked military bases. It is possible that the Giant Mutant Widow Spider and her young were taken to Monster Island since they were just paralyzed, not killed. At one point, Elsie nicknames the creature “Mommy Longlegs”.
Techno-Sentient – A mysterious object from outer space that landed on Earth. It was able to fuse itself with any mechanical device it encountered.
Silver Hydra – A cnidarian-like creature which stalked an abandoned mining field. It could spray a liquid that would slowly encase its victims in silver.
DNA Mimic – A shapeshifting creature capable of turning into a facsimile of anything it touched, including humans and Godzilla.
Lizard Slayers – Anti-Godzilla weapons created by Cameron Winter and piloted by Dale, Bill and Hank.
Swamp Beast – A monster able to throw mud at an opponent, trapping it. Appears to have developed from a Surinam toad.
Fire Monster – An insect-like creature which had the power to surround itself with flames. This creature may be an allusion to Destoroyah, in which case it may also be an ancient arthropod from prehistoric times.
Norzzug – An ancient sphinx-like monster from Saudi Arabia, reawakened by archaeologists who were cleaning it with a rust-removing agent.
Giant Mutant Hummingbirds – Giant hummingbirds that attacked San Francisco, California, whose food supply was polluted by chlorofluorocarbons, enabling their immense size. Their feathers have a mirror-like effect, rendering them invisible to the naked eye when in flight. Possibly now kept on Monster Island, since Godzilla’s victory against them left them merely stunned, not killed.
Sub-Zero Manta Ray – A mutated manta ray that could fly and breathe supercooled air. When Godzilla and H.E.A.T. encountered it, it was looking for a cold environment in which to enter hibernation.
Medusa – A mutant anemone who was the star attraction of Tobias Wilson’s travelling mutant circus. She can turn herself into a liquid form and drain water sources and living creatures. After escaping, she threatened to drain away all the water on Earth until contained by H.E.A.T. with Godzilla’s help. Her name may refer to the mythical monster or to a variety of jellyfish (which, like anemones, are cnidarians).
Scorpio – A mutant scorpion trained to perform at Tobias Wilson’s mutant circus. It looks very similar to the Ts-Eh-Go scorpions H.E.A.T. would later encounter.
Giant Gila Monster – Another mutant creature owned by Tobias Wilson’s mutant circus.
Megapede/Giant Cicada – A giant centipede/cicada hybrid that was destroying farms in Chicago, Illinois. Upon reaching its adult state, its mating calls interfered with radar signals. May have been inspired by Mothra and Battra.
Giant Centipede – A mutant centipede that battled the Shrewster in a monster arena.
Ts-Eh-Go – A mutant scorpion created by the U.S. military, code-named the “First Wave”. Later, the “Second Wave” – a swarm of smaller scorpions – were unleashed.
Nightmare Scorpion – A scorpion with a skull-like face that appears in a fever-induced dream Randy suffers from during the team’s search for Ts-Eh-Go.
Armillaria – A mutant fungus that could suck the amino acids from any living organism. Godzilla defeated it by throwing it into a range of sand dunes, where no sustenance was within reach.
Shrewster – A mutated masked shrew that was fused to a tornado. It later appeared in “Cash of the Titans” where it fought the Giant Centipede. Possibly on Monster Island.
Skeetera – A mutated mosquito that could absorb the powers from other creatures by drinking their blood. Currently on Monster Island.
D.R.A.G.M.A.s – Short for Democratic Resurgence Against a Global Mechanized Armageddon, the D.R.A.G.M.A.s were genetically-engineered creatures created to replace technology. In the future they were indestructible and had overrun the world, but the young born in the past were easily defeated by Godzilla.
Mutant Jellyfish – Despite its name, this was actually a bug-like mutation that had acidic saliva.
Komodithrax – A mutant komodo dragon that fell in “love” with Godzilla, who became a surrogate father to her egg. She can breathe blue fire.
Giant Turtle – A mutant turtle that battled Godzilla and Komodithrax. It had a mace-like tail, similar to those of ankylosaurs and glyptodonts.
Thorny Devil – A mutated thorny devil located in Area 51. It can shoot poisonous spines. Its upper body was covered in armor that Godzilla’s fiery breath could not penetrate, but its underside proved to be more vulnerable.
Giant Armadillo – An giant armadillo mutation located in Area 51.
Desert Lizard – A mutant lizard located in Area 51.
Desert Rat – A mutant rodent located in Area 51.
Deep-Dweller – A mutant frogfish who lived in total darkness.
Rhinosaurus – A mutant rhinoceros genetically engineered by Cameron Winter’s company for Maximillian Spiel’s shows.
Giant Water Beetle – A mutant water beetle that sprays ammonium nitrate from its nostrils.
“Flying Gigan” – A strange, flying creature that appears in the main titles. Named after the alien cyborg Gigan from Toho’s Godzilla films.
The 3-part mini-series, “Monster Wars”. was a direct homage to the Godzilla film, “Destroy All Monsters”.
Despite being popular among young boys, the show couldn’t complete its second season run due to the infamous Digi/Poke (Digimon vs. Pokemon) War where both Fox and Warner Bros. were licensing various collection/game type animes, such as Digimon, YugiOh, and others. This show got lost in the scrimmage.
The episode “Dead Loch” marked the final role for ‘Roddy Mcdowall’ who died a few weeks after completing the episode.
The Role of the recurring villain, Cameron Winter, was Ian Ziering’s first choice to play. He would eventually play the main character, Dr. Nick Tatopoulos
Jason Priestley was the original choice to play Dr. Nick Tatopoulos.
The Ultimate Guide to Godzilla: The Series
Here is a pdf formatted version of the Ultimate Guide to Godzilla: The Series. This book was written by Bob Johnson and with the help of Keith Aiken. This pdf has everything you want to know about the series.
Godzilla: the Animated Series Stats
- Height: 180 feet
- Length: Not Available
- Mass: Not Available
- Running Speed: Moderate
- Swimming Speed: Moderate
- – Atomic Ray: Cyber-Godzilla can fire a deadly beam of radiation from his mouth, capable of igniting enemies and destroying tanks.
- – Missiles: Cyber-Godzilla can fire missiles from the launchers that are located on his spines.
- – Sonic Deflector: Using the disk hidden with his chest plate, Cyber-Godzilla can capture and deflect sonic-based attacks.
- First Appearance: Godzilla the Series: The Monster Wars Part 2
- Other Appearances: Godzilla the Series: The Monster Wars Part 3 (1999)
- Human Kills: Not Available
- Fight Record: Wins: 1, Losses: 1, Ties: 1
- Home World: Earth
A huge mutant marine iguana (not a dinosaur) and the only surviving offspring of the first Godzilla that attacked New York City in 1998. Due to Nick’s presence at his hatching, “Godzilla Jr.” has imprinted on Nick as his parent, and as a result he is very protective of him. Nick also has the ability to control Godzilla to a certain extent, which allows the humans to use him as a weapon against other mutated monsters. He always seems able to sense when Nick is in trouble, and is quite willing to follow him and the rest of H.E.A.T. all over the world. Unlike his biological parent, he seems to be incapable of asexual reproduction (possibly because he is not yet fully mature), yet capable of breathing radioactive fire, much like Godzilla from the original Japanese franchise.
(This version exists in its own continuity, though Toho, the creators of the original Godzilla, later incorporated a lookalike into their own continuity under the name “Zilla”.)
- Height: 180 feet
- Length: Not Available
- Mass: Not Available
- Running Speed: Moderate
- Swimming Speed: Moderate
- – Atomic Ray: Cyber-Godzilla can fire a deadly beam of radiation from his mouth, capable of igniting enemies and destroying tanks.
- – Missiles: Cyber-Godzilla can fire missiles from the launchers that are located on his spines.
- – Sonic Deflector: Using the disk hidden with his chest plate, Cyber-Godzilla can capture and deflect sonic-based attacks.
- Weaknesses: None
- First Appearance: Godzilla the Series: The Monster Wars Part 2
- Other Appearances: Godzilla the Series: The Monster Wars Part 3 (1999)
- Human Kills: Not Available
- Fight Record: Wins: 1, Losses: 1, Ties: 1
- Home World: Earth
- Type: Alien / Mutant
History: When the Leviathan warship was raised from the murky depths of the ocean, the aliens that had embedded their minds in Dr. Sopler and Hoffman began to take over their bodies and minds. They began to spread to other humans, one of them being Dr. Elsie Chapman of H.E.A.T. As the aliens began to take over Earth’s monsters, they also activated their main weapon. The weapon was a cyborg, created using the very body of the 1998 Godzilla. As the rest of H.E.A.T tried to save Elsie, Cyber-Godzilla was activated and ordered to attack. As Cyber-Godzilla attacked, the newer Godzilla came in for a fight. Before the actual battle could happen, the aliens used their own mind control and took control of Godzilla and forced both of them to retreat back to Site Omega. After the monsters all came to the island, it didn’t take them long to be sent to attack.
Cyber-Godzilla was sent to Tokyo and quickly reduced the once great city to rubble with his beam and missiles. Not even the Japanese Self Defense Force could take down the great machine. After the monsters were freed from their slavery, Cyber-Godzilla was forced to go back to Site Omega, where he was confronted by the Giant Bat. The bat put up a fight, but the Sonic Deflector reflected the creature’s own sonic attack and knocked him out. As the cyborg bellowed in victory, he was confronted once more by Godzilla, this time the aliens had no control, and the fight was on. As Godzilla charged, one of the alien ships blasted him back, knocking him out for a few moments until Nick could revive him.
After Godzilla rose, Cyber-Godzilla fired off his own missiles, and after the dust cleared, Godzilla was no where to be found. As Cyber-Godzilla walked over, an atomic ray fired from a large hole in the ground and blasted the robot back. During the fight, alien ships attacked and accidentally hit Cyber-Godzilla, knocking off his robotic arm. Godzilla and his cybernetic father continued to fight and the monster king began to gain the upper hand and knocked the machine into the water followed by a point blank blast. As Cyber-Godzilla was knocked down, Godzilla pounced on it and began to tear apart the cyborg’s circuitry with his jaws. As the alien forces retreated, Cyber-Godzilla was defeated, never to be seen again.
A cyborg created by the Leviathan aliens from the body of the first Godzilla. It appears in the “Monster Wars” trilogy. (Though the first Godzilla appears only in the pilot episode and two of the “Monster Wars” episodes, he is mentioned by H.E.A.T. and the military from time to time.) He was killed by Godzilla Jr., allowing his parent to rest in peace. Inspired by Mechagodzilla (and may have inspired the third rendition of that character, Kiryu).
Godzilla: The Series Synopsis
In September of 1998, a few months after Tri-Star Pictures’s release of Godzilla, their film version of the King of the Monsters (covered elsewhere on this site), Roland Emmerich and Dean Devlin’s production company, Centropolis, produced an animated Godzilla series for syndication (initially aired on the FOX network in America), which is directly based on the film, and in fact continues directly from the end of the movie. The first animated small screen foray for Godzilla since the Hanna-Barbera series premiere 20 years earlier (and also covered elsewhere on this site), the Kaiju King once again began carving a unique niche in American pop culture.
As noted above, the series is a direct sequel to the movie, and in fact the first two-part episode picks up literally right where the film leaves off.
The character of youthful biologist Dr. Nick Tatopoulos remains the main human protagonist of the series, and several other characters from the film are also brought into the series as regulars, as well as new one’s being introduced. Some characters from the film, such as Audrey Timmonds and Animal, also appear, but are given more limited roles, and are not featured in the majority of episodes in the series (though they receive more air time in season two). Two characters from the film, along with two new characters created exclusively for the series, are led by Tatopoulus as part of the monster-hunting scientific team known as H.E.A.T. (I still don’t know what the acronym stands for at this writing *sigh*), and they travel about in a very sophisticated aquatic vessel known as the Heat Seeker.
The two regular characters brought in from the movie for comprising the H.E.A.T. team are female paleontologist Dr. Elsie Chapman, who is a smart ass rival to Timmonds as a romantic interest for Tatopoulos, and pudgy, meek, ultra-neurotic technologist and communications expert Dr. Mendel Craven, who not only has the hots for Elsie, but is also known for concocting numerous failed schemes to enable the team to control Godzilla directly, though his inventive ingenuity and surprising degree of bravery when the situation warrents it is very often an invaluable asset to the team. The two new H.E.A.T. members introduced in the series are Randy Hernandez, a wise-cracking black Portuguese graduate student and computer whiz, and Monique Dupre, a dangerously skilled and enigmatic member of the French Secret Service who replaces Phillipe Roache from the film, albeit on Roache’s behest, to monitor the activities of the team and Godzilla himself.
Though she proves extremely useful to the intrepid group on many occasions, her loyalty is never certain (as she only answers to Roache, and often disobeys him as well). Finally, in the series Mendel designed and built a small non-humanoid robot known as N.I.G.E.L (Next-millennium Intelligence Gathering Electronic Liasion), who possesses an extremely sophisticated artificial intelligence system, and who is able to act almost on its own volition following certain pre-programmed instructions to perform various important missions for the team. Such missions generally encompass the performance of trouble shooting missions in dangerous environments that the human members of H.E.A.T. cannot go, to keep tabs on Godzilla’s whereabouts, to call the giant saurian to assist the team when necessary, and to act as an information gathering device for the team. N.I.G.E.L.’s artificially pre-programmed personality simulations vary from episode to episode, courtesy of Randy constantly reprogramming it in order to irritate Mendel, and the robot manages to get destroyed in almost every single episode (three times total in one particular show!). Thus, many fans of this series have noted that N.I.G.E.L. appears to be this series’s answer to the character of Kenny from South Park.
Other characters who were brought in from the film in a recurring role are the aforementiond Audrey Timmonds, ex-girlfriend of Tatopoulos and determined journalist looking for her big break (and sometimes willing to take foolish chances along those lines, and as such she is a character cut from the same thematic mold as Lois Lane); Victor “Animal” Palotti, the also recklessly brave New York City-born Italian-American camera-jockey who accompanies Timmonds on her news-seeking forays; Major Anthony Hicks (Colonel in the movie), a veteran Army commander who was originally charged with the task of eliminating Godzilla, though he is later convinced by Tatopoulos into concentrating the defense efforts of his military team against the other and more dangerous monsters, and he thus becomes an important ally (if occasional impediment) to the H.E.A.T. team; and Phillipe Roache, the shadowy and lethal operative of the French Secret Service whose purpose is to make sure, on behalf of the French government, that the new Godzilla doesn’t became a threat as the original one (from the movie) did, and who secretly sets up the H.E.A.T. team with their Heat Seeker vessel, as well as occasionally providing the team with behind the scenes assistance. Roache was also the party who sent Monique Dupre to spy on them.
The series itself is about the Tri-Star version of Godzilla, completely ignoring any connection to the Toho mythos of either the Showa or Heisei Era movie series (the Centropolis animated G-series came and went prior to the Millennium G-series). As a result, for those who wish to know the origin of this version of Godzilla, please refer to the section of this site covering the live action Tri-Star film.
For an extremely detailed description of every conceivable aspect of this animated series, please refer to the wonderful, nearly book-length article composed by Bob Johnson for G-FAN #44.
Thus, the premise of the series is as follows.
Right after the first Godzilla is slain by the armed forces, Nick Tatopoulos warns the military that they had better check to make certain that all of the monster’s eggs were really destroyed. While assisting in the search, Tatopoulos stumbles upon the single egg that was mysteriously laid separate from the main nest. When the Baby Godzilla hatches, he sees the lone Tatopoulos and somehow bonds with the scientist (much as a baby chicken or duck will do with a human being if no adult of its species is present when it hatches).
The Baby Godzilla escapes into the New York City harbor and rapidly begins growing to adult size.
Unlike the first of his species, Tatopoulos discovers that this new Godzilla (whose appearance is identical to that of the first Godzilla in the film) is not only a learning creature of high intelligence, and not limited to simple instinctual responses as are most denizens of the animal kingdom outside of the human race, but for some reason (never scientifically explained), its determined by Tatopoulos via analysis of a sample of the new Godzilla’s DNA that this version of the monster will not reproduce. Although the not yet fully-grown monster is attacked and wounded by the military, he still manages to escape again before growing to full size.
Soon afterwards, Tatopoulos and his team begin discovering the existence of new dai kaiju, most of which are also radioactive mutations (why they all suddenly began appearing at nearly the same time, however, was never explained). When Tatopoulos is endangered by one of the mutant monsters, Godzilla promptly appears and protects the scientist, and could also be directed into performing other feats, such as rescuing other team members and individuals, under Tatopoulos’s direction. Following Tatopoulos via scent to various locations, the scientist pleads the case to the military that with the new monsters showing up on a regular basis, they would do well to have at least one of the creatures on humanity’s side.
Thus, the second Godzilla is spared further harassment by the military, and Tatopoulos and his team gain a very valuable ally in their continuing study of this new wave of monstrous mutations.
The series ran for two seasons on the FOX network, for a maximum of 40 episodes, though not all of these episodes were aired, and at this writing Centropolis has not yet released any of the episodes to home video.
The rest of the series is primarily a combination of Tatopoulos and company discovering and dealing with a new monster menace, inevitably leading to Godzilla’s conflict with the kaiju threat, or with attempts by capitalist and military elements to exploit Godzilla for their own invariably sinister purposes. More unusual elements also appear in the series, such as two very notable attempts by a powerful hostile alien race to conquer the Earth by utilizing the many mutant kaiju that exist there as unwitting minions in their schemes, and much more government intrigue was featured as the series progressed. Many of the scripts for this series were quite inventive, and sometimes even thought-provoking (though a few incidental bad episodes were also to be thrown into the mix, of course).
Curiously, the series, despite being based on Emmerich and Devlin’s horrid rendition of Godzilla (and produced by the same two individuals), is quite good, and this show ironically displays what Tri-Star might have done with their film if only Emmerich and Devlin stuck to producing, and laid off of the writing and directing chores.
Godzilla has the same abilities, as well as appearance, of his film counterpart, only now he has a clearly defined incendiary breath power. Happily, as in the film, Godzilla retains his classic Toho roar in the series (something he didn’t retain in the Hanna-Barbera animated series, and this is the only thing that Emmerich and Devlin did right with their silver screen version of the Kaiju King). He apparently possesses greater intelligence than the monster in the movie, and in a fashion similar to the current Daiei film version of Gamera, this rendition of Godzilla can best be described as an anti-hero, albeit one who rarely wreaks the same kind of havoc that he opposes. He’s not a deliberate defender of humankind per se, but he’s not a threat in any way, either (the other monsters in the series fill that role, as well as the aforementioned alien race and various rogue government and capitalistic elements out to exploit Godzilla for their own purposes), and thanks to the kaiju’s bond with Tatopoulos and the creature’s natural territorial rivalry against the other monsters, he often inadvertantly ends up playing the savior of the human race.
The writing in the series is usually much better than the script composed for the film, and the character of Nick Tatopoulos is much better realized and respectable here in comparison to the live action portrayal by actor Matthew Broderick in the movie. The other characters are well fleshed out, and several of the episodes have explored different aspects of their individual character and personal lives. Despite the humor in the interactions between the characters, the tone of the series is generally serious, again unlike the movie it was based upon.
Despite the fact that the series was run on Saturday mornings on the FOX network, and thus carried a TV-Y7 rating (blah), Centropolis did a wonderful job with it, displaying the same amount of respect for their version of Godzilla as Warner Bros. did for Batman in their various animated Batman series’ during the 1990’s. The storylines are all semi-adult, the action is intense, the monster fight scenes are violent and sometimes even graphic, and blood is even occasionally drawn (though nowhere near is much as you would see in the Aeon Flux series of MTV’s now defunct, wildly experimental Liquid Television anthology show, or in a typical Japanese anime). Thus, despite the show’s “kiddie” rating, like the aforementioned Batman series from WB, it will most likely be enjoyed by teenagers on up, rather than being watched primarily or exclusively by older children, unlike the much less sophisticated though considerably longer-lived live action Power Rangers franchise of TV series (before their wane in popularity, that is).
The opening title credit sequence, particularly the shot of Godzilla’s luminous red eye walking alongside the moving car on the bridge, and the accompanying musical score, are excellent and extremely foreboding. The animation is very well done, almost in league with Japanese anime (minus the characteristic saucer-sized eyes of the human cast), and Godzilla is well realized onscreen. Surprisingly, despite the fact that Roland Emmerich and Dean Devlin are the producers of this series (and no doubt making a fortune off of the royalties), the show isn’t particularly politically and patriotically correct (then again, this series was produced and ran its course prior to 9/11), and the military and capitalists are oftentimes depicted in a realistic rather than idealistic manner, e.g., too often short-sighted and primarily interested in acquiring power and acceding to the dictates of the infamous “bottom line” (*hears an audible “grrrr, shut up, Chris, you dunno what you’re talking about!” from the conservative readers out there*). Then again, let us remember that Mssrs. Emmerich and Devlin didn’t actually do any scripting on this series, so let’s be thankful for that.
The only really regrettable thing about this series is that it’s not live action. Budgetary limitations shouldn’t be cited as an excuse, however, since Japan has a long tradition with live action TV series featuring dai kaiju, beginning with Ultra Q in 1965, and continuing with Ultraman and its innumerable spin-offs extending right up to the present, and also including other classic Japanese dai kaiju heavy series on the small screen, such as Space Giants, Johnny Sokko and his Giant Robot, etc [the latter two being the American titles of said shows]. America has never produced a regularly featured TV series with a dai kaiju focus, with the sole and disappointing exception of the late 1990’s Ultraman: The Ultimate Hero, an American update of the classic Japanese series from Tsuberaya Productions, which was very short-lived, very poorly received by sentai fans across the globe, and not even widely seen in North America (the entire short run of the latter series is very affordably available from Video Daikaiju for those Ultraman completists or Kane Kosugi fans who would like to have a full run of the show featuring the ‘Ultraman Powered’ version of Japan’s famous sentai hero for their video library).
The only other American series I can put in this category would be Saban’s cheap bastardizations (one might say caricaturizations) of various popular Japanese sentai shows, such as the aforementioned lengthy Power Rangers franchise, V.R. Troopers, Dark Rider, and Big Bad Beetleborgs (ugh!), all of which were designed only for very young, undiscriminating audiences (undiscriminating in a culturally theoretical sense, of course). Of all the Ultraman TV series, only the original Ultraman (1966), Ultraseven (1967), and Ultraman Tiga (1996) have thus far been aired in America, and the last two have been quite severely chopped up to greatly limit the amount of onscreen violence, had new theme songs and opening title sequences added (I must admit that I really like the American opening theme song for Ultraman Tiga, despite that show’s very short run on American TV), and suffered many alterations of the dialogue, storylines, and scene sequences in order to make them more “kid friendly,” according to (UGH!) American network standards so as to ensure a TV-Y7 rating for each, more’s the pity.
Godzilla: The Series would have been a wonderful opportunity for a live action American dai kaiju series, but the animated show is good enough. It’s certainly not of the quality or sophistication it would have been had it been produced as an animated feature in Japan, but for an American production, it’s rather decent.
Below is a complete episode guide to Centropolis’s animated Godzilla: The Series, featuring brief synopses of each episode produced, followed by a bit (and sometimes more than a bit) of commentary where I feel such was warranted. I am indebted to the folks who maintain the Centropoholics web site (yep, believe it or not, Centropolis actually has a bunch of fans!) and scribe Jerry Apgar for much of the info to be found in this episode guide, as well as my own personal observations of the series. Please note that the episodes were sometimes aired out of order by FOX, some episodes were not aired at all on that station, and the names of the monsters were often not provided in the shows themselves, but do appear in the scripts for those episodes, and will thus be included in the guide below.
1) NEW FAMILY [Part 1]
After the original Godzilla [from the Tri-Star film] is killed in New York City by the military, Dr. Nick Tatopoulos insists that the militia search for any possible remaining eggs. One egg was indeed remaining, having inexplicably been laid in a different area of the demolished building than the rest, and it hatches.
Upon his encountering the infant Godzilla, Tatopoulos discovers that it’s evidently less hostile than the previous Raptor-like hatchlings, and in fact this creature develops an instant empathic rapport with the young scientist. Thus, Tatopoulos resolves to study this creature, and he assembles a small but diversely talented group of trusted friends who he knew from his college days into an organization known as H.E.A.T. in order to conduct the studies. It is then that he realizes that this new Godzilla is markedly different from both the original Godzilla and the other hatchlings, in that he will not reproduce, and will likely not be a threat of any sort to human beings. However, the creature swiftly achieves a huge size, and as ships mysteriously disappear off the coast of Jamaica, Godzilla is blamed, and the military commander Major Anthony Hicks is contacted and told that the creature is at the newly founded H.E.A.T headquarters.
Once discovered, the new Godzilla is attacked and injured by the military, and promptly retreats to the ocean, much to Tatopoulos’s consternation.
2) NEW FAMILY [Part 2]
After believing that the new Godzilla was killed by the military under the direction of Major Hicks, Tatopoulos convinces his newly established H.E.A.T. organization to stay together in order to investigate the other mutated creatures that he expects to appear across the globe, and they agree, beginning their investigations with the aforementioned ship disappearances in Jamaica.
Once there, they not only discover a mysterious viscous and organic substance that vaguely resembles tar, but they are also attacked by a gigantic multi-tentacled, cephalopod-like creature, which is obviously another mutation. They also discover a giant crab-like crustacean called ‘Crustacious” [in the script only], that appears to be feeding on the viscous substance.
However, just when it appears that all is lost, Godzilla suddenly re-appears, now grown to full size, having completely healed from the wounds delivered to him by the military, and evidently having been drawn to that area of the world via his bond with Tatopoulos (he must be one hell of a fast swimmer to get from New York City harbor all to the way to the Carribean that quickly, unless he covertly followed the H.E.A.T. crew the entire journey over there). Godzilla then battles and evidently destroys the multi-tentacled kaiju in defense of Tatopoulos, and also defeats Crustacious. Finally, directed by Tatopoulos, he finds the ships pulled beneath the surface, and rescues them, with their respective crews alive and intact (lucky them!).
As a result of proving himself to be non-hostile and eminently useful to the human race, as well as under the general control of Tatopoulos, the young scientist advises Major Hicks to cease his assaults on Godzilla, since there will undoubtably be more mutated kaiju appearing in the future, and it would do them well to have at least one of the creatures on the side of humanity. Hicks grudgingly agrees, but resolves to keep an eye on the team and their monstrous ally.
3) TALKIN’ TRASH
A new form of microrganism is created and designed via genetic engineering to consume oil spills and other man-made pollutants in New York City, only to mutate and become an enormous, ever-growing mass of protoplasm that devours everything in its path. H.E.A.T. comes to investigate the bizarre life form, and finds it to be seemingly unstoppable, prompting them to call Godzilla to the rescue. Godzilla also proves unable to stop the creature, however, and H.E.A.T. ends up resolving the problem by infecting the protoplasmic kaiju with a computer-generated virus [?!] that weakens it, enabling Godzilla to completely destroy it.
H.E.A.T. travels to Central America to investigate more creature sightings, and encounters a dangerous, subteranean burrowing monster known as “El Gusano Gigante,” which is Portuguese for “Giant Earthworm,” as the creature resembles an enormous hybrid of an earthworm and a slug, with tendrils protruding from its facial area. The creature utilizes its facial tendrils to absorb organic mineral nutrients from the human beings that it ensnares, thereby causing them to fall deathly ill as a result. The military devises an experimental chemical weapon, which it hopes will neutralize the creature by attacking the radioactive aspect of the beast, but Tatopoulos advises them not to use the weapon until it’s further tested.
As the gigantic annelid attacks, Godizlla appears on the scene to defend Tatopoulos, and as the two beasts battle, the Central American military decides to launch their chemical weapon. When it’s released, Godzilla becomes seriously ill, but the Gusano Gigante actually absorbs the chemical and grows larger and stronger as a result [and coincidentally very convenient, if rather formulaic, as a plot device!]. As Godzilla is forced to retreat to the sea in order to heal, the Gusano Gigante rampages anew.
Finally, H.E.A.T. manages to concoct a counter-agent for the chemical to cure Godzilla, who then attacks the Gusano Gigante, and uses his incendiary breath to dry the creature’s body to such an extent that it shrinks into a miniature form, which quickly retreats into the ground, having been rendered effectively harmless.
5) WINTER OF DISCONTENT
Tatopoulos is contacted by another old college buddy, Cameron Winter, with an offer of hiring H.E.A.T. Allegedly towards this end, Winter entices Randy to plant an experimental, computer-operated device upon Godzilla that, unbeknowest to Randy and the rest of H.E.A.T., is actually for the purpose of controlling the kaiju. Winter is revealed to be a mercenary who wishes to hire out the services of Godzilla to the highest bidder, and he accepts an offer to destroy a certain Army base in exchange for high financial remuneration.
Luckily, however, Randy is able to rectify his mistake by hacking into Winter’s personal computer system and deactivating the device granting him control over the Kaiju King.
6) CAT AND MOUSE
A colony of huge, mutated rats appear in New York City, wreaking havoc on the sprawling metroplex at night. Soon, the problem is escalated as Godzilla appears and begins to attack the rats in defense of his territory, thus causing more destruction to the city.
Tatopoulos arrives to investigate the situation, and encounters three rednecks who arrive in the city to kill Godzilla [when have rednecks ever been renowned for their intelligence?]. Tatopoulos and the inbred trio find themselves menaced by the mutant rats, until Godzilla finally wins his war with the lethal rodents by locating their underground nest and burrowing directly out to the sea, thus causing a torrent of water to pour into the burrow and drown all of the mutant vermin.
Tatopoulos takes his H.E.A.T. team deep beneath the sea in order to investigate the mysterious disappearance of noted research scientist Dr. Alexander Preloran and his own team. There they discover a hidden spacecraft belonging to a race of advanced, hostile non-humanoid aliens, who hope to (what else?) conquer the Earth with the help of (what else?) a pet giant monster, a dinasauroid beast called Cryptocleidus.
H.E.A.T. locates the captured Dr. Preloran and his team, and together they discover a way to thwart the aliens, as Godzilla battles and defeats Cryptocleidus.
8) WHAT DREAMS MAY COME
A powerful gigantic monster known as the Crackler, due to its ability to discharge crackling bolts of destructive electricity-like energy, suddenly appears in the middle of New York City, and begins wreaking havoc, only to mysteriously disappear in the midst of an attack. Godzilla shows up to battle the Crackler during one of its rampages, only to discover that the latter kaiju appears to be composed of pure energy of some sort, and is thus able to absorb the former’s incendiary breath to become even stronger.
Upon investigating the Crackler, H.E.A.T. discovers that the kaiju is actually the inadvertant creation of the subconscious mind of a man named Walker. They soon notice, however, that the power of the creature is keyed to Walker’s emotional state; when he becomes angry or uptight, the Crackler weakens. Thus, Randy causes Walker to completely loose his temper, which in turn causes the Crackler, who is composed of pure psionic energy, to permanently vanish.
H.E.A.T. journeys to an island in the course of one of their creature investigations, and there encounter not only mutated carnivorous plants, which attack large animals, including human beings, but also discover that the island is ruled by a swarm of gigantic bees, all under the direction of an ultra-huge queen.
Godzilla himself engages the queen, as H.E.A.T engineers the destruction of the island to protect the outside world from the menace of the giant bees, and both Godzilla and H.E.A.T. escape from the island just in the nick of time.
10) BIRD OF PARADISE
Mexico is under siege from a mutated beast that resembles a gigantic winged lizard, which is named Quetzalcoatl after the mythological Aztec deity whom it also resembles [by coincidence, of course]. H.E.A.T. investigates, and discovers that the flying beast is guarding a nest whose eggs are soon about to hatch, thus creating the threat of numerous such creatures terrorizing the planet.
However, Godzilla soon arrives, and after a great battle, the flying monster is defeated, and the nest destroyed.
Yet another scientific research team disappears, this time in the South Pole [geez, these research teams are a royal pain in the posterior, but what would sci-fi and horror series and films ever do without them!], and yet again, H.E.A.T. travels there to investigate, suspecting another creature problem [just think of all the work that H.E.A.T. would miss if not for vanishing research teams!].
Once again, H.E.A.T.’s hypothesis proves correct, and the problem turns out to be a group of huge, carnivorous mutations known as the Ice Borers, who are evidently able to generate a high level of internal heat, thus enabling them to burrow deep into the ice.
H.E.A.T. seems to be in big trouble until, once again, Godzilla is called upon to save them, and he makes short work of the Ice Borers [that big lizard sure does get around when Tatopoulos needs him].
H.E.A.T. journeys to Loch Ness in Scotland, in order to search for (what else?) Nessie, the famed Loch Ness Monster herself. This is because the famed Loch Ness Monster has eschewed her usual shy mein in order to inexplicably attack a Scottish scientific institute.
As Godzilla is called upon to route the enraged lake monster, it turns out that the reason for the creature’s ire is one Dr. Trevor, a scientist employed by the research institute that has captured Nessie’s baby to sell to the highest bidder [as noted earlier, this series certainly did play up the Evil Capitalist theme].
It also turns out that the Loch Ness Monster is a unique type of sea lizard who returns to the fresh water loch [which is actually a Scottish word for “lake”] every 20 years to spawn, only to have her offspring kidnapped this time around [perhaps Nessie is a hermaphrodite, like Godzilla, which would explain much about the beast as described in this universe, though she couldn’t have been a product of radioactive mutation, like Godzilla, due to the great age of her species; also, why didn’t anyone else ever come across one of her eggs in the past if she just lays them right on the shore of the loch, which hundreds of people walk across each year?].
Tatopoulos directs both the H.E.A.T. team and Godzilla to rescue Nessie’s progeny, and after this was done, she peacefully returned to the sea [though since Loch Ness was cut off from the salt water environs of the sea long ago, it remains a mystery how she found her way to the loch in the first place.
H.E.A.T. arrives in Japan [finally!] during the course of one of their investigations, only to encounter what appears to be a gigantic ape, who then proceeds to menace the team. Godzilla is called upon to defend them, and during the battle it’s discovered that the anthropoid kaiju is actually a giant robot (likely inspired by Mechani-Kong from the Toho film King Kong Escapes) designed and controlled by Japanese scientists, particularly the master female engineer Dr. Ifukube, as a special defense against the epidemic of giant mutations to plague the island nation, and was simply attempting to drive off the H.E.A.T. team for nationalistic competitive reasons [ah, you just gotta love what the concept of nationalism does for the spirit of cooperation among humanity; *hears another audible “ggggrrr, please spare us your pie in the sky musings, Chris!” from all conservative and “moderate” visitors to my site*].
It turns out that Japan is being menaced by a giant, snake-like mutation known as King Cobra, who appears and quickly takes Godzilla out of the fight by spitting venom in his eyes and blinding him. Now the Japanese team is forced to throw their competitive nationalistic ideology aside and join with the H.E.A.T. team against King Cobra, and they direct their giant robot ape to battle the serpentine kaiju [don’t worry, I won’t attempt to “read into” this plot point as being indicative of a deliberate veiled metaphor in favor of global cooperation amongst all humanity that was snuck into the script by the screenwriters!].
After a lengthy and fierce battle, King Cobra manages to defeat the simian automaton. However, during that conflict, Tatopoulos finds a way to reverse the effects of the venom, thus restoring Godzilla’s eyesight. The Big G quickly re-enters the fray, and promptly takes out King Cobra by crushing the snake beast’s head in his jaws.
14) BUG OUT!
Tatopoulos discovers that Godzilla is undergoing unusual changes, growing physically smaller, and also acting nastier and less subject to his control.
Upon further investigation, he discovers that the source may be related to reports of giant mutant termites in the Amazon Rain Forest. Upon traveling there, Randy concocts a device that emanates audio signals of a specific frequency, which creates mass confusion among the termite colony. As a result of this, Godzilla returns to normal.
15) MONSTER WAR [Part 1]
The hostile, non-humanoid alien race from the starship Leviathan (presumably a loose English translation of the ship in their own lingo) institute another plan to take over the Earth [why can’t you just find a suitable planet that is uninhabited by sentient life, you morons?]. The aliens begin this plot by targeting the members of H.E.A.T., as well as other researchers working with them via telepathic assaults, which causes them to fight amongst each other, thus removing them as an impediment to the aliens’ takeover of the Earth.
In the meantime, Tatopoulos and Godzilla head to Africa to investigate reports of the Bat, which is (as its name implies) a mutation that resembles a gigantic member of the chiropteran family.
16) MONSTER WAR [Part 2]
During the search for the Bat, H.E.A.T. discovers that many of the previous mutations which they and Godzilla battled are still alive, and have now re-appeared as a result of the aliens taking control over each of the creatures as part of their plan to conquer the planet. The aliens soon have all of the mutations under their control, including Godzilla, and they use the kaiju, backed up by several marauding alien ships, to beat humanity into submission by attacking the major cities of the world.
In the meantime, under the direction of the aliens, Elsie designs and builds a cybernetic version of the Big G known as Cyber Godzilla (obviously inspired by Mechagodzilla) by using the remains of the original Godzilla, to further bolster the aliens’ might, and which enables them to better control the new Godzilla.
17) MONSTER WAR [Part 3]
Tatopoulos finds a way to free the H.E.A.T. team from the telepathic control of the aliens via disrupting the tachyon emissions which the octopoid extraterrestrials use to control minds [actually, tachyons are hypothetical sub-atomic particles, mentioned frequently in sci-fi shows such as the various Star Trek series, which have the unique property of traveling backwards in time, and thus have nothing to do with psychic phenomena, but instead tend to be present in time travel phenomena and chronal anomalies of various sorts; it would have been more realistic to have the aliens utilize technology that generated psions, another very hypothetical particle, which is said to carry psychic energy, and is believed by some parapsychologists to be responsible for various psychic phenomena such as telekinesis, precognition, telepathy, etc., and thus could indeed affect organic brains in such a manner as to control them].
Now free from alien control, the H.E.A.T. team desperately seeks a way to remove Godzilla and the rest of the mutations from the control of the aliens, as the world crumbles around them before the alien assault. Finally, most of the mutations outside of Godzilla (who is under additional control via the Cyber Godzilla), are indeed freed from alien control, and it’s discovered, much to the world’s delight, that the mutations begin instinctually attacking the deadly alien spacecrafts on sight, due to perceiving them as a territorial rival (imagine that!).
However, the aliens attempt to counter this reversal of fortune by directing both Godzilla and Cyber Godzilla to attack and defeat the defensive mutations, thus possibly salvaging their take-over attempt after all. Nevertheless, Tatopoulos is able to break the Cyber Godzilla’s control over the Big G, as the latter’s bond with the young scientist proves stronger than the artificial ‘bond’ he formed with the Cyber Godzilla. Consequently, the Kaiju King attacks and defeats Cyber Godzilla in battle, as H.E.A.T. discovers a means of disabling the remaining alien spacecrafts, and as a result of this team work, the invasion attempt is completely thwarted.
18) AN EARLY FROST
When it appears that Godzilla has gone savage, and is now attacking New York City in the same manner as his predecessor did (in the Centropolis film Godzilla), Major Hicks is once again called upon to destroy the Kaiju King.
To figure out the reason for Godzilla’s errant behavior, H.E.A.T. joins Hicks in the search for the Big G, where they discover that the real culprit for the attacks is a shape-shifting kaiju that was being controlled by their old nemesis Cameron Winter. Unable to prove this imposture, Major Hicks is given orders to destroy Godzilla, but Randy and Monique convince him to join the real Godzilla in destroying the shape-shifting kaiju instead.
During the resultant melee, Winter once again escapes.
19) WHAT A LONG, STRANGE TRIP IT’S BEEN
A new and deadly mutation, a plant-like creature known as Bacillus (who may have been inspired by Biollante), appears and begins wreaking havoc, prompting H.E.A.T. to call upon Godzilla. During the battle, Godzilla is seriously injured and rendered catatonic as the result of being injected with a highly dangerous form of mutated bacteria by Bacillus.
In order to save their kaiju ally, Tatopoulos and Monique travel within Godzilla’s body in order to carefully exterminate all of the mutant bacterium. Now fully healed, Godzilla attacks Bacillus anew, and eradicates the creature with his incendiary breath.
20) WEB SITE
On yet another investigation to the Caribbean [the fringe benefits of working for that team are excellent!], H.E.A.T. discovers a nest of huge, mutant spiders, which are controlled by a single spider that is much larger than the rest [this is unusual, since spiders are independent organisms and do not live in hives or colonies as various insects, such as bees and ants do, and are thus not ruled by a “queen,” which is a fact that was also ignored by the spider-paranoia flick Arachnophobia]. As Godzilla battles the huge “master” spider (possibly inspired by Spiega), danger strikes when Craven utilizes a new (and ludicrous) device designed to enable him to “communicate” with Godzilla, which actually has the dangerous (and embarrassing) result of causing Godzilla to retreat, thus leaving the island and the H.E.A.T. team once again at the mercy of the spider infestation.
However, working with Major Hicks, H.E.A.T. conveniently concocts a chemical that defeats the smaller spiders, and Tatopoulos is able to direct Godzilla to return and defeat the “master” spider.
21) WEDDING BELL BLEW
Elsie is suffering from a family problem of a personal nature, along the lines of sibling rivalry: her sister’s wedding is soon to take place, and she is chagrined due to the disproportionate amount of attention and familial adoration that her sister has received in contrast to her. Further, she feels that her family has little respect for her choosen vocation, i.e., her activities with H.E.A.T. [that must be quite a hard family indeed to show a lack of appreciation for a daughter who has routinely risked life and limb for her planet by investigating and battling dangerous, life threatening giant monsters, and even helping to thwart an alien invasion! Her sister must truly be the world’s most talented ass-kisser].
Meanwhile, a distress call alerts H.E.A.T. to the emergence of yet another mutation on the loose, a gigantic flying kaiju that emits a freezing beam from its maw. After tracking the creature down and battling it, H.E.A.T. calls upon Godzilla, who rids the world of the beast by creating a powerful whirlpool, which sucks the manta-like kaiju down to the ocean floor [!!!].
Having witnessed this battle, Elsie’s family finally gives her the respect and credit that she deserves [it’s a shame that her part in defeating the alien invasion wasn’t enough].
A strange object descends from outer space, and merges with a child’s remote control truck. The object turns out to be a being that can somehow assimilate technological machinery within itself, thereby taking on the attributes of said technology. Hence, the entity becomes progressively larger and more powerful, thus being labeled the Juggernaut [not to be confused with Cain Marko!].
Finally, the entity assimilates the machinery of a nuclear warhead, and prepares to launch the warheads on Baghdad. This draws the attention of H.E.A.T. and Godzilla, though in the course of the battle, Craven is captured by the Juggernaut. As a result of this, Craven is able to tap into the entity’s CPU, and allow Randy access to the Juggernaut’s internal systems. Though the two of them are unable to de-activate the entity, they are nevertheless able to deter its launch so that it ends up exploding harmlessly into space.
While conducting another creature investigation in the valley of Blind Rock, Wyoming, H.E.A.T. meets up with a girl whose brother went missing after he entered an abandoned mine in the area where the sightings took place. Upon entering the mine themselves, the group discovers one of the strangest mutations they have yet encountered, a huge two-headed kaiju known as the Silver Hydra, on account of the fact that it has the ability to spurt a silvery fluid that hardens once it surrounds a living being, thus transforming them into the equivalent of a silver statue, a fate that obviously befell the girl’s brother.
Tatopoulos discovers that icy mountain water dissolves the silvery substance spewed by the Silver Hydra (isn’t that convenient!), and armed with this knowledge, they proceed to rescue the kaiju’s victims who were encased in the substance, including the girl’s brother. As Godzilla battles the Silver Hydra, H.E.A.T. floods the mine with the cold mountain water, and the Big G hurls the beast into the water, thereby destroying it, and ending its threat to the valley.
24) TRUST NO ONE
Monique learns from Major Hicks that a bizarre new life form was created via genetic engineering, and was now left abandoned in an old laboratory in Brazil. She convinces her allies in H.E.A.T. to go and investigate, and they soon discover that the creature is actually a DNA absorbing beast known as the Mimic, which can, as its name suggests, take on the exact physical and behavioral attributes of any living creature that it comes in contact with.
The Mimic thus imitates the appearance of all of the H.E.A.T. members in turn, and paranoia reigns as everyone in the group must continuously be wary of each other as they search for a means of destroying the creature, since nobody may be who they appear to be. Finally, the Mimic imitates the size, appearance, and power of Godzilla [so much for the law of conservation of mass!], and the two Big G’s battle it out, fighting each other to a standstill in the process.
Tatopoulos must figure out which Godzilla is the genuine article, as the weapon he was working on was now complete. Managing to successfully discern the Real McCoy, Tatopoulos utilizes the weapon, and destroys the Mimic.
25) LIZARD SEASON
Cameron Winter returns to take yet another shot at H.E.A.T. and Godzilla, this time enlisting the aid of the three redneck, would-be-killers of the Big G from the previous episode “Cat and Mouse,” and equipping them with powerful machines of destruction (sometimes referred to as ‘Battle Mechs’–another thank you to Doc Psy from Centropoholics:).
Godzilla, H.E.A.T., and a military unit commanded by Major Hicks battle the machines and destroy them, and the three violent hicks are arrested.
26) THE BALLAD OF GENS DUMARAIS
While covering the news at the Mardi Gras, Audrey Timmonds and Animal interview wealthy business mogul Paul Dimanche, who represents one of the oldest and richest families from the French Quarter in the Big Easy.
However, Audrey discovers that several of Paul’s businesses in the city are being attacked by a mysterious kaiju, and she summons H.E.A.T. to deal with the problem. Upon investigating, they discover a huge mutation from a nearby bayou that is under the control of Paul’s relative Georges, the leader of a rival business faction of the Dimanche family, who perceives Paul’s faction as being a threat.
H.E.A.T. manages to foil Georges Dimanche’s plot with the assistance of Godzilla.
27) RING OF FIRE
As a result of an oil platfrom in the Gulf of Mexico exploding, a kaiju seemingly composed of living fire emerges [but don’t ask me how!]. As this Creature of Living Fire goes on a rampage in the area, looking for more combustable substances upon which to feed, H.E.A.T and Godzilla intervene. However, the Creature grows larger and more powerful as a result of absorbing and feeding off of Godzilla’s powerful incendiary breath.
Despite this revolting development, H.E.A.T. manages to discover a way to cut off its fuel supply, thus causing the fiery kaiju to shrink to a managable size, and to be taken back to their headquarters for scientific analysis. The Creature soon escapes, however, and must once again be battled into submission by H.E.A.T. and Godzilla.
After a group of archeologists tinker with and oxidize a Sphinx statue of a being known as Norzzug [hmmm, that doesn’t sound like an Egyptian name to me], the protector of a certain area of Egypt, the Sphinx becomes animate, and goes on a rampage, seeking out various oil repositories, which it uses as a fuel source [it’s too bad that George Bush Jr. wasn’t President at the time, since he would have sent the entirety of the U.S. Armed Forces at poor old Norzzug to save his family’s beloved oil, and then probably found an excuse to go to war with Egypt to secure control of that oil in the process!].
H.E.A.T. comes to the rescue, along with a military unit commanded by Major Hicks, and the two conceive of a trap to capture the Sphinx, while Godzilla engages the stone kaiju in battle. Tatopoulos discovers that the Sphinx is vulnerable to salt water (imagine that!), and he directs Godzilla to throw the creature into the ocean, thus ending its threat.
Further, and disappointingly, the ending of this episode was a complete plot re-hash of the aforementioned episode “Shafted,” where Godzilla defeats an enemy by knocking it into the water (its fatal weakness), which, again, was also the ending of “The Earth Eater” episode of the Hanna-Barbera Godzilla series!
Another new and dangerous mutant species appears on the scene in the form of a species of gigantic hummingbird that attack planes flying over San Francisco, attracting the attention of H.E.A.T.
Worst of all, this mutant avian species of kaiju are able to render themselves invisible via the hummingbird trait of flapping their wings faster than any other bird species in the world [in real life, hummingbirds can indeed flap their wings faster than any other type of bird, and are also the only ornithological species that can easily hover in place or fly backwards]. As a result of their ability to cloak themselves so as to be invisible to the unaided eye, Godzilla is unable to see the creatures in order to attack them.
However, Randy and Craven work together to build an enormous visor that, when worn by Godzilla, focuses his vision so that he is able to perceive the mutant hummingbirds when cloaked, thus enabling him to successfully attack and defeat them.
30) FREAK SHOW
A traveling carnival arrives at Madison Square Garden, and it’s run by a crooked ringmaster known as Theodore P. Bunkum, who specializes in putting various captured mutations on display for public amusement.
Bunkum places a hefty bounty on Godzilla, determined to add this most famous mutation to his carnival side show, and this incites H.E.A.T. to attend one of his shows, where they are quickly appalled by his treatment of the various mutations featured in it.
His present star attraction is the semi-gelatinous, multi-tentacled female mutation whom he refers to as Medusa, who feeds on organic fluids that she obtains from other living creatures, and this kaiju is able to alter her molecular solidity at will, possessing the ability to change into a mobile liquid form when needed. However, the constant cruel treatment enacted upon Medusa to get her to perform upon command by Bunkum and his personnel proves to be more than the beleaguered creature can take, and she quickly breaks loose and goes on a rampage, gaining her nutritional requirements by draining several human beings dry of much of their bodily fluids.
Godzilla is called upon to drive Medusa away from human civilization, and H.E.A.T. resolves to oppose and shut down Bunkum’s unethical show for its treatment of Medusa and other such beasts.
H.E.A.T. investigates a gigantic caterpillar-like mutation known as the Megapede, who is rampaging through the neighbor states of Illinois and Indiana. Godzilla is called upon to render assistance, but the Megapede sprays a form of poisonous foam, and also has poison producing spurs along its many legs, both of which serve to keep the Kaiju King at bay.
The mega-insect finally climbs atop a building, forms a cocoon, and transforms into a huge winged insectoid creature with the habit of disrupting radar frequencies by rubbing its wings together, thus wreaking much havoc. H.E.A.T. concocts a poison neutralizing foam, which it spreads on the kaiju’s wings, allowing Godzilla to attack and defeat the creature more easily.
Comments: In this episode we have yet another giant mutant insect that is a biological implausibility [okay, okay…every mutant creature that appeared in this series was a biological implausibility, but insects and other life forms with chitinous exoskeletons reaching gigantic size were particularly implausible, for reasons heavily discussed elsewhere on this site, including this section, though the possible explanations for how giant insects and arachnids may be able to “actually” exist were also provided elsewhere, and should be considered, for what they’re worth].
The Megapede seemed likely to be inspired by Mothra and Battra, both of whom began their existences as gigantic caterpillars, and then formed a cocoon and metamorphosed into colossal winged insects (moths, in their case).
32) WHERE IS THY STING?
Both H.E.A.T. and Major Hicks learn that an old comrade of the Major named Colonel Charles Thompson has been overseeing black ops military funded scientific experiments designed to create enormous, genetically altered scorpions for use as bio-weapons, in a multi-level program referred to as the First Wave.
The largest scorpion produced by this experiment, however, breaks loose from the military’s control, forcing H.E.A.T. to send Godzilla after the arachnoid beast. However, Godzilla is given supreme opposition, not only from the beast’s lethal stinger, but also from its ability to spray poison at a distance from that aforementioned stinger.
Finally, H.E.A.T. works together to discover a way to cause the more easily-controlled smaller scorpions to attack the larger one, after which Godzilla annhiliates the entirety of the First Wave with his incendiary breath. Despite the chewing out that Col. Thompson receives from Major Hicks, the former nevertheless orders the Second Wave of the experiment to commence.
33) UNDERGROUND MOVEMENT
During its latest creature investigations, H.E.A.T. splits up into two teams, one of which investigates a group of mutant parasitic organisms in Florida, whereas the second group handles a case of a giant, mutated, and rapidly growing multi-tentacled fungi-like creature in Michigan.
Comparing notes on defeating both of these dangerous and interelated mutant manifestations, Godzilla is summoned by Tatopoulos to battle and destroy the fungoid kaiju.
34) THE TWISTER
H.E.A.T. tackles a gigantic mutant shrew-like creature, which has somehow merged itself with an artificially generated, experimental tornado, enabling it to transform itself into a living vortex at will (Elsie wittily dubs the whirling beast ‘The Shrewster’).
In order to maintain its ultra-fast, whirlwind powers, the Shrewster is forced to rapidly consume three times its body weight per day, thus causing it to greedily devour every organic food source in its path, effectively making it an extremely dangerous menace. Because of its ability to transform itself into an organic tornado, Godzilla is unable to get at the beast, and Tatopoulos ends up trapped in the Shrewster’s vortex. However, soon after becoming trapped, he activates a device that Craven crafted, which was designed to dissipate the vortex’s cyclonic forces, and this succeeds.
Now bereft of its whirling dervish-like power, the giant mutant shrew is defeated in combat with Godzilla.
35) S.C.A.L.E. (Fist of Godzilla)
H.E.A.T. and Godzilla are busy combatting the world’s newest mutation menace, a gigantic mutant mosquito with the ability to adopt the natural weapons of any foe whose blood it drinks (probably by absorbing their DNA, and adding these chromosomal attributes to its own personal genome series, possibly via an odd form of RNA), when their mission is interfered with by a bizarre and fanatical animal rights organization known as S.C.A.L.E. (an acronym for Servants of Creatures Arriving Late to Earth). This organization, led by a woman named Alexandra Hamilton, and also referring to itself as the Fist of Godzilla, is determined to preserve the lives and freedom of every mutation that has appeared on Earth, and this includes opposing H.E.A.T.’s opposition to these creatures.
After subduing the giant mosquito, H.E.A.T. accompanies Major Hicks to a hidden, government run atoll referred to as Monster Island, where they learn that the government has stashed several captive mutations for both scientific research and to protect the outside world from their rampages. Audrey Timmonds and Animal stow away on the trip, hoping to get an exclusive expose’ on this remarkable little secret of the government, but S.C.A.L.E. also follows, as they resent the confinement of the mutations to this single island under government scrutiny.
Once they arrive on the island, S.C.A.L.E. strikes and releases the numerous kaiju captives on the atoll, forcing H.E.A.T., Hicks’s military forces, and Godzilla to battle these creatures into submission.
36) FUTURE SHOCK
During an investigation of an aquatic mutant menace, H.E.A.T. (sans Craven) vanishes during a violent storm out to sea as Godzilla is occupied battling the mutant menace in question.
Upon their recovery, the team discover that they have accidently been jettisoned 23 years into the future as the result of an inadvertantly generated chronal disruption, and there they discover a devestated world with only scattered remnants of humanity still in evidence. Upon investigation of this future world, they meet up with a weathered and hardened future version of Craven, who, surprised to see his old comrades, informs them that the world is devestated as the result of a military bio-weapons experiment gone awry over two decades earlier, and the destruction they witnessed was the handiwork of immenesly powerful, rapidly reproducing flying monsters known as the Dragma, who were initially created to help control the rising mutation populace of the world (i.e., the old tactic of ‘fighting fire with fire’). The experiment worked too well, and after the mutations were eliminated, the Dragma’s powerful, genetically inherent territorial nature prompted them to break free from the military’s control and turn on humanity, who was the dominant species on the planet. The armed forces of the world, H.E.A.T., and Godzilla were brought to bear against the Dragma, who proved too powerful for all of them. The world’s military forces were now scattered about and largely disorganized, Godzilla was slain by the Dragma, and all the members of H.E.A.T. except for Craven were now deceased. A future version of Major Hicks existed on this timeline as well, having managed to survive the previous battles, and he was still coordinating the remainder of the human armed resistance movement against the Dragma.
The “present” version of H.E.A.T. did their best to lend a hand to the resistance movement of the future, and bonded very well with the temporal counterpart to their good friend Craven, though it appeared to them that the cause of humanity on this timeline was hopeless. With the future Craven’s assistance, they were able to return to the present time period, where they sought out the government installation where the first Dragma was now in the process of being created. The beast was indeed released, but this time around, H.E.A.T. resisted this anti-mutation measure, which they now knew would end up causing the destruction of human civilization, and they directed Godzilla into battling and defeating the sole Dragma of this time period, and putting the entire project to a halt. As a result of this, they prevented that particular alternate future from manifesting on their timeline, and they also gained a huge degree of further respect for their somewhat timid friend Craven, after seeing what a great hero he had the potential to become when faced with the most trying circumstances imaginable.
37) END OF THE LINE
During a vacation together on a cruise ship, Tatopoulos and Audrey Timmonds find themselves under attack (by coincidence, of course) by a gigantic, sea going mutant turtle. The two manage to escape from the ship unscathed, and seek safety on a nearby tropical island. Once there, they discover a gigantic mutant lizard that resembles a colossal komodo dragon [in real life, komodo dragons are a dangerous, land roving species of monitor lizard, which routinely reach lengths of ten feet or more, normally feed upon pigs and other large animals, and are indigenous to the Galopagos Island chain, which was the spot of Charles Darwin’s early and revolutionary studies of evolution in the 19th century).
Much to their surprise, Tatopoulos and Audrey also discover that Godzilla, who arrives on the island while following Nick, is attracted to this giant female lizard (who is referred to in the script as ‘Komodithrax’). The giant turtle soon appears on the atoll as well, and Godzilla and Komodithrax team up to battle the kaiju menace. Local military forces also arrive to attack the three beasts, but Major Hicks manages to put a stop to this. However, this proves to be too late, as, tragically, Komodithrax and the savage giant turtle plummet to their apparent deaths off of a cliff in the course of the battle, and a saddened Godzilla leaves the island along with Tatopoulos and Audrey.
38) AREA 51
H.E.A.T. travels to the infamous military installation known as Area 51 for their latest creature investigation, where they discover that a giant mutant armored lizard called the Thorny Devil is on the loose, whose aforementioned armor proves resistant to Godzilla’s incendiary breath. Upon investigating further, the H.E.A.T. team discover that Area 51 doesn’t actually house the bodies of deceased extraterrestrials and confiscated alien technology, as widely rumored (see below), but was actually used to house and study a previous generation of mutant beasts created as a result of the atomic bomb tests conducted in the desert areas of the American Southwest during the 1950’s. They befriend a prominent scientist employed by the base, who Randy also finds himself romantically attracted to.
In the meantime, Godzilla finds himself hard pressed to defeat the armored Thorny Devil, until the cunning Kaiju King manages to knock the creature on its back, and then uses his incendiary breath on the beast’s unprotected underside, thereby finally managing to defeat it.
39) CLASH OF THE TITANS
When H.E.A.T. is heavily occupied during a creature investigation, Godzilla is abducted by a wealthy group of individuals with advanced resources who capture and confine several mutations to a private enclosure on an island, where the creatures are then forced to battle each other mono-a-mono as a pay-for-view spectacle for the decadent amusement of interested viewers.
As Godzilla is forced to battle a huge quadrapedal kaiju in the Arena known as the Rhinosaurus, H.E.A.T. rockets off to the Big G’s rescue. However, upon their arrival, Tatopoulos, Randy, Elsie, and Monique are captured and released into the pen with the various mutations, their plight designed to add to the spectacle for the unethical paying viewers [this event must have been very close-circuited to a select handfull of very rich viewers, as it was certainly very illegal, not only for the controversial detainment of the mutations for the purpose of fighting each other, but definately for kidnapping human beings and deliberately putting their lives in danger…it’s a shame that the series never explored the issue of the legality of deliberate human civilian contacts with the mutations, or what their status in this world was from a legal standpoint in terms of various human beings hoping to exploit them for their own purpose, something that was done previously and publicly with Theodore P. Bunkum in the episode “Freak Show”]. With the assistance of Craven, Godzilla is released from the control of his captors, and he promptly enters the area where the H.E.A.T. members are trapped, and quickly defeats the various mutations that threaten them there.
Godzilla and the H.E.A.T. members soon escape from the deadly Arena, and the Kaiju King then tosses one of the mutants into the area where the man who orchestrated his capture is stationed, thus subjecting him to the same threat that he forced his captives, human and monster alike, to endure.
40) TOURIST TRAP
H.E.A.T. encounters a crooked, opportunistic Evil Capitalist named Milo Sanders, who runs a tour ship that provides customers with the opportunity to see and experience the mutations first hand, which he refers to as his “Manhatten Monster Line” [yet another logical example of a corrupt and financially powerful human being exploiting the existence of the mutations on his world for his own personal gain, a theme explored very often, and usually very well, by this series].
In the meantime, H.E.A.T. finds itself up against one of the kaiju mutations that the tour ship encounters to its peril, a deadly, flesh-eating aquatic beast known as the Deep Dweller, who resembles a cross between a shark and a frog [possibly patterned after the real life Megamouth shark, a rarely seen, very large species of deep water shark that is characterized by its enormous jaws, though the Megamouth, unlike the fictitious Deep Dweller, is actually non-aggressive towards human beings].
During all of this conflageration, Sanders sneaks aboard H.E.A.T.’s personal monster-hunting craft, the Heat Seeker, hoping to stealthily document a “conversation” between Godzilla and Tatopoulos, for the future benefit of his profit-oriented business. As luck would have it, he is discovered by Audrey Timmonds and Animal, who are also hidden aboard the Heat Seeker doing the exact same thing! As a result of this, the two end up thwarting each other’s efforts towards this goal.
Finally, Godzilla is called upon to tackle the Deep Dweller, and the King of the Kaiju successfully manages to drive the dangerous aquatic beast to a distant location in the Atlantic Ocean, thereby saving the customers on the tour ship.
In a remote location somewhere on the frozen coast of Alaska, a salvage ship excavates nuclear reactor cores that were illegally dumped at sea long ago by the Soviet Union. Suddenly, something goes awry and a huge explosion destroys a ship. On the shoreline, giant snow banks mysteriously catch fire and a huge crevice opens in the ground, streaming an eerie red-black fluid. In the middle of the night, Dr. Keith Llewellyn, a government scientist, is flown to the site of the accident, where the military has launched a top secret investigation into the giant fissure in the ground (there’s a scene where he regretfully leaves behind his wife, Jill, and young daughter Tina, both of whom figure in the story later).
Soldiers cart away drums full of the mysterious red-black liquid which, tests show, resembles an amniotic fluid (the substance fetuses gestate upon in the womb). In the underground cavern, Keith sees what at first appears to be a huge stalactite formation but, upon inspection, is actually the claws of a huge creature imbedded in the sediment. Keith finds the head of the perfectly preserved creature a huge dinosaur and climbs atop its muzzle to look down the length of its 247-foot-long body. Suddenly, the beast opens one of its eyes it’s alive! and breaks free from the ice. Everyone in the cavern is crushed, and the beast destroys the entire military camp, then heads south into the sea. Soon thereafter, the dinosaur appears at the Kurills lands off Japan and destroys a village.
It is seen by a fisherman who believes it is Godzilla, a legendary monster. Fast-forward 12 years later. Aaron Vaught, a pseudo scientist whose theories about dragons and dinosaurs have made him a best-selling author, and Marty Kenoshita, his assistant, sneak into a Japanese mental hospital to visit the fisherman who saw Godzilla. The fisherman shows Vaught his drawings of Godzilla, images that come to him in his dreams. In one picture, Godzilla is locked in battle with a Gryphon, leading Aaron and Marty to theorize that if Godzilla exists (as they think he does), he must have an adversary. Just then, military police arrive to escort Vaught and Marty out of the country.
The men think they’re being busted for sneaking into the hospital, but actually the government has a mission for them red-black fluid that encased Godzilla was not food, but actually a tranquilizer that kept the monster in hibernation. Barrels of the fluid are brought to San Francisco and a plan is concocted to stop Godzilla using the red-black stuff. Fire trucks spray the surface of the water entering the bay with the fluid, and as Godzilla arrives, he swims right into the trap. He bolts upright and slowly comes ashore, then, roaring weakly, collapses on the south side of the Golden Gate bridge. Using six super-helicopters, the military transports Godzilla, suspended from cables, to Massachusetts, where it is stored in a huge hangar, the tail sticking out one end. One night, young Tina sneaks into the hangar and suddenly realizes that mom’s job for the past 12 years has been hunting the beast that killed her Dad. Tina, wise beyond her years, says Godzilla is a force of nature and should be respected. Her mother sends Tina to Manhattan to stay with an aunt for a while.
At a military hospital, Marty’s infection is consuming his internal organs, and has turned his face into a flat, eyeless surface. Whatever has invaded his body is taking over, and begins speaking through him. Before he dies, Marty tells Jill about an alien race colonizing the universe by sending out probes that create a “doomsday beast” out of the local genetic material -by the time the alien colonists arrive, the beast has already conquered the planet. An ancient, biotech Earth civilization guarded itself against these invaders by creating Godzilla out of dinosaur genes, placing him in suspended animation to awaken when the alien probe arrives and kill it before it can reproduce. Meanwhile in Kentucky, the alien probe-bats keep absorbing critters and bringing them back to the cave, where a mysterious creature is slowly taking shape.
Vaught deduces that Godzilla was headed for the spot where the huge fireball landed, and immediately goes to Kentucky. There, Vaught is driven to Lake Apopka by Nelson Fleer, a local storekeeper (who keeps using the phrase, “weird shit,” for comic effect). The men don diving gear and explore the lake bottom, and discover a tunnel that leads to a series of caves. Vaught finds what first appear to be a giant paw and, upon further inspection proves to be attached to the Gryphon, a giant monster with the body of a cougar, wings of a bat, and a tongue of snakes, created by the alien probes out of the smaller creatures. The dormant monster is awakened when Fleer clangs one of his diving tanks against a rock. The men submerge and swim for safety, and the huge monster’s roar is heard behind them; when they reach the lake’s surface, all seems normal for a moment until the monster rises with a roar and takes to the air.
Flying north the monster terrorizes Clarksburg, Virginia, where it derails a train, kills people, and fires energy bolts that destroy a gasoline storage tank. Back in Massachusetts, Godzilla senses his rival’s appearance and awakens, despite a constant stream of amniotic fluid being force-fed to him. The great beast destroys the hangar and walks to the shoreline, where he drops down on all fours before going into the water. The arch-enemies are heading straight for each other and if they hold course, they’re set for a showdown in New York City. As Manhattan is evacuated, Jill tries desperately to drive into the city, hoping to save Tina. When Godzilla steps on the Queens Midtown tunnel, Jill is briefly trapped under water, but she swims to safety and, just as she reaches dry land, Godzilla’s foot comes down, narrowly missing her. As the battle of the monsters begins, Jill finds Tina and they try to figure out how to get off the island safely.
The Gryphon takes flight and crashes into Godzilla, knocking him back to the shore. Godzilla wraps his tail around the frame of an under construction building, then pulls the Gryphon near and bites its leg. The Gryphon’s wounds heal instantly, miraculously, and the beast then retaliates with energy bolts that knock Godzilla back into the rows of buildings. The Gryphon keeps charging, scratching Godzilla with its talons. Helicopters circle the city, while the Gryphon flies overhead, hunting Godzilla. The two beasts again slam into one another and begin to wrestle, tumbling into a skyscraper. The Gryphon double-kicks Godzilla in the belly, sending him flying into another building, which falls on both monsters. Vaught says Godzilla can’t beat the Gryphon because of a restraining device implanted in the monster’s neck by the military, which gives him a constant dose of the fluid and prevents him from breathing fire. Using gunship helicopters, the military diverts the Gryphon while Vaught and Fleer remove the device from Godzilla, who lays stunned next to a building. From a helicopter, then men are lowered on wires onto Godzilla, but the Gryphon blasts the chopper and the men are stranded atop the monster.
As Fleer and Vaught rig explosives to destroy the restraining device, Jill and Tina stall the Gryphon briefly by crashing a gasoline tanker into the monster. The restrainer is removed from Godzilla just before the Gryphon arrives now Godzilla fires his breath at his opponent, wounding him, and pursues the fleeing Gryphon more vigorously. The battle royal takes place in the East River. Godzilla breathes fire across the water’s surface, creating a steam cloud that blinds the Gryphon and causes it to crash into the Brooklyn Bridge and get tangled in the cables. Godzilla bites one of the Gryphon’s wings off but the monster’s healing properties instantly reattach the limb. Then the Gryphon climbs skyward, turns around, and power dives. Godzilla waits for his foe, then suddenly bends forward at the last moment and the Gryphon is sliced open on Godzilla’s dorsal plates. Godzilla pulls his adversary into the river, rips its head off and sets fire to the body. Godzilla, though badly wounded, roars victoriously and sets out for the sea. Jets move in to kill the wounded beast, but Jill convinces the military commander to call off the strike. She has finally forgiven the monster. From the shore, Jill, Tina, Aaron, and Fleer watch Godzilla go home.
When one man tried to escape he is immediately set upon and stung to death! Meanwhile, wingless termite-like insects swarm out of an underground next and herd the human captives underground. Nick, Phillipe, and Anna prepare to follow. Suddenly, HORRIBLE SCREAMS emanate from the entrance to the underground nest! One by one they die out until an eerie silence is all that remains. And just when things can’t get any worse, the QUEEN BITCH emerges from the opening; a HUGE and ferocious-looking winged insectoids that the other insects flock around, tending to her every need. She is one nasty bug (and not above dining on her own kind!) As Nick, Anna, and Philippe look on, the Queen takes flight and disappears out over the ocean, heading for God-knows-where. He horrible realization sinks in.
People are being abducted from around the world and brought to Monster Island to be used as food by these horrible insectoids. Nick and Anna conclude that Godzilla and its brood are the natural predators of these bugs. But because of man’s interference, the natural on Monster Island has been disrupted. With no controls through natural predation (aka Godzilla), these insectoids will continue to multiply and spread, threatening the entire world! Somehow, Godzilla and its brood must be led back to Monster Island in order to bring the insectoids under control and reestablish order and harmony in the food chain.
Phillipe suddenly becomes extremely agitated, insisting they return to the Outback at once. Nick and Anna are perplexed by their friend’s strange behavior. Phillipe tells them that Godzilla and its brood are in grave danger. The truth finally comes out. Philippe has tipped of General Hicks and the Global Task Force as to Godzilla’s whereabouts! Nick and Anna are stunned! Why would he do such a thing?? Phillipe reveals he was frightened by the number of Zillas they encountered. Ironically, he had nightmarish visions of Godzillas taking over the world which is what prompted his actions. Nick feels betrayed. He and Phillipe fight. Anna breaks it up. She tells them to settle it later. Time may be running out for Godzilla…and the world.
But they’re too late…Nick, Anna, and Philippe return to a scene of agonizing devastation. Zillas lie dead everywhere! The countryside is rutted and pockmarked from explosions. The surprise attack by the Global Task Force has come from ground and air. General Hicks and his troops are advancing on Godzilla and one last baby (the Runt) when Nick, Anna, and Philippe arrive on the scene. Nick races past the troops and missile launchers out toward Godzilla and the Runt, causing Hicks to call a cease-fire. Nick looks around at the carnage, at the valiant fight Godzilla put up to save its babies. With tears in his eyes, Nick turns helplessly to Godzilla: “I’m sorry…” The look in Godzilla’s eyes is one of heartbreak and betrayal. It ROARS in anguish before suddenly burrowing underground and escaping with the Runt. Nick stands alone amidst the devastation, feeling sick… Meanwhile, Phillipe is congratulated by General Hicks. But Phillipe tells the General they’ve made a terrible mistake. By killing the Zillas, they may have just doomed the rest of the world. Before General Hicks can respond, he receives a message from Sydney: something bizarre is occurring to the giant egg larva…
Near downtown Sydney, a huge greenhouse-like enclosure has been built around the larval egg, giving scientists an opportunity to study the strange phenomenon in a controlled environment. Tanks and missile launchers surround the enclosure as a protective measure against whatever might hatch from the egg. The surrounding downtown area has been evacuated. Nick realizes egg was laid by the Queen and is the first step in what will eventually lead to a worldwide spread of the deadly insectoids. He pleads with General Hicks to destroy it. While the pair argue, the Queen Bitch makes a sudden appearance, intent on protecting her egg! She quickly lays waste to Hick’s troops garrison!
While Nick, Anna, and Philippe run for cover, a familiar figure suddenly bursts up through the pavement – GODZILLA! And there, hanging onto Godzilla’s tail, the Runt! Godzilla goes up against the Queen Bitch in a spectacular pitched battle throughout downtown Sydney! At one point, Godzilla takes a nasty sting in the throat that temporarily paralyzes it. The Runt goes to help but it immediately set upon by the vicious Queen! Without hesitation, Anna races forward to aid the Runt! But the queen succeeds in killing the baby and grabbing up Anna, much to Nick’s horror! Godzilla comes to and see its dead baby. It roars in anguish before turning on the Queen’s egg larva and torching it with a burst of atomic fire breath!! Wow… The Queen Bitch screams in rage and takes wing, Anna struggling in its spiny clutches! Nick, Phillipe, and Hicks watch as Godzilla dives into the ocean, head for Monster Island and a final showdown with the Queen Bitch…
Nick and Phillipe put aside their differences in order to go after Anna. General Hicks organizes a military rescue, led by a squadron of jet fighters. He jumps into an Apache chopper together with Nick and Phillipe. As the chopper lifts off, Hicks remembers to give Nick a note he’s been carrying. Nick reads it and his face drops even further. “Bad news?” Asks Phillipe. “I’m not sure,” Nick responds, handing Phillipe the note. His marriage has been annulled…
On approach to Monster Island, they are attacked by a swarm of the mutated insectoids! A spectacular battle in the sky follows as the jet fighters take on the insects! But the insect numbers prove to be overpowering. The battle ends with every jet down and the Apache chopper crash landing on the island just as Godzilla wades ashore to take up the attack! Nick, Phillipe and Hicks scramble from the wreckage of the downed chopper as all hell breaks loose! Godzilla is under assault from the flying insectoids above and the wingless termite-like bugs on the ground! Bursts of atomic fire breath incinerate everything within range! While Hicks awaits reinforcements, Nick and Phillipe make their way into the maze of deserted underground passageways in search of Anna. The pair stumble upon an enormous underground chamber where hundreds of half-starved human prisoners are being guarded by a handful of wingless insectoids. Using incinerator grenades, Nick and Phillipe manage to kill the insect guards. Nick and Anna embrace in an emotional reunion.
Phillipe, Nick, and Anna begin to lead the others topside when the Queen Bitch suddenly appears, blocking their way and trapping them inside the underground chamber! The Queen Bitch advances and is about to devour Nick or lunch when Godzilla suddenly burrows through the cavern wall! Godzilla and the Queen Bitch square off for one final Giant Monster Battle! Nick, Anna, and Phillipe lead the captive people topside as the fight progresses above ground! This time, Godzilla is the victor, vanquishing the Queen Bitch and bring natural order back to the Monster Island ecosystem. General Hicks’ reinforcement suddenly arrives. They line up their big guns to take out Godzilla once and for all. Godzilla is all but defenseless, spent and exhausted from his battle with the Queen Bitch. Nick, Anna are so enraged that Hicks order them put under protective custody.
All appears lost. Believing he’s doing the right thing for humanity, General Hicks is about to give the order to fire when an extraordinary thing occurs – the hundreds of people that have been set free form a protective circle around Godzilla! And there leading the blockade is none other Phillipe! And in that moment, General Hicks realizes pulling the trigger on Godzilla would be the wrong thing to do. He orders his troops to withdraw. LOUD CHEERS go up from the people that Godzilla helped set free! Suddenly, a new sound reaches everyone’s ears. Just then, another Godzilla wades onto the shores of Monster Island, calling for its mother! The Runt wasn’t killed after all! The sight of its baby revives Godzilla and the pair have a touching reunion.
Later, against a brilliant sunset, Nick, Anna, and Phillipe say goodbye to Godzilla and the Runt as the pair return to the ocean…
- Official Name-Baby Godzilla
- Official Nicknames-Baby ‘Zillas
- Species-American Godzilla – Giant, mutated, irradiated sea/marine iguana (or Green Iguana)
- Length 2-4 meters
- Height 1-2 meters
- Weight 200 kg
- First Appearance-Godzilla (1998 film)
- Latest Appearance-Godzilla: The Series
- Created by Dean Devlin, Roland Emmerich, Patrick Tatopoulos