#zilla animated series

[voiiidless]

[Fanart] Doodled some Kaijus

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Deviantart | Artfight | Toyhou.se | Bluesky

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Copyright: @voiiidless

Characters belongs to: Tōhō

bidibidibidibidibidibidibidi

[startheskelaton]

So regarding non-Toho kaijus, what do you think of using the monsters from Godzilla: The Animated Series? Since Zilla is a loser in this au, it’d be kinda cute and funny to give him Komodithrax as his popular gf

Zilla jr is here! And he’s part of the story 💛

[sonicasura]

You know what would be hilarious? A scenario where Kafka ends up raising a Godzilla/Gojira. Yes, I'm still on a kaiju kick and just saw the latest Kaiju No 8 episode so why not?

It all happens at least 12 years before canon during a job. The latest Kaiju corpse was a digger class whose constant tunneling had severely damaged the ground so the Monster Sweepers were already walking on eggshells. Kafka was gathering a DNA sample until the ground collapses underneath him.

He falls into a hidden chamber where a single giant 9 ft tall egg stands before him. The item hatches covering Kafka in yolk as a baby Godzilla/Gojira emerges much to his dismay. He's at first worried about being a snack until the baby licks him and implants a larger fear. The infant had imprinted on him.

Little Gojira/Godzilla flees before rescue services shows up to rescue Kafka. The man doesn't mention the baby and lies saying he fell into an already hatched egg. Kafka thinks it won't be important as he prays the tiny kaiju forgets him.

NOPE! Not even a day later, the man wakes up to scratching on his apartment door. The baby came back and truly imprinted on him. Kafka doesn't know what to do at all. He's trying to join the Defense Force, which kills Kaiju, and having a baby one believing he is its parent contradicts the entire idea.

Kafka doesn't think he can snuff out Gojira/Godzilla's life and reluctantly accepts his fate. Thus the man commits one of the biggest taboos by raising the baby lizard. Gojira/Godzilla is a bit different from the kaiju in KN8 series.

He has no core and can't be tracked by the Defense Force's systems. An anomaly that earned Gojira/Godzilla the title 'Phantom Kaiju'. There have been calls but the Big G always flees before he could be properly identified.

While raising Gojira/Godzilla, Kafka often snuck him to the clean up site so he could eat off the corpses. He wanted to make sure the little guy was big and strong enough to fend for himself out in the wild. Kafka taught Gojira/Godzilla to avoid the Defense Force at all times while not being a hassle to any nearby civilians.

Even when his kaiju son grew to the size of a house, surprise visits were bound to happen. Kafka's bond with Gojira/Godzilla has grown to the point that they can understand and sense each other's presence. Something which drags the kaiju into the Defense Force's crosshairs once the man gains his powers.

(Our Kaiju is an adolescent during canon, 80 meters in size, as his fully grown size will be 120m. My personal take is a mix between 1993 Zilla and the current Monsterverse iteration because I'm very familiar with both. Grump with a side of little shit behavior wise.)

Gojira/Godzilla immediately tracks down Kafka upon his first transformation that fateful night. You can bet Reno wasn't exactly ready to find out his senpai raised a kaiju in secret for 12 years, much less the infamous Phantom. He was absolutely throwing out theories about Gojira/Godzilla being linked to Kafka's Kaiju form, which the man vehemently denies.

The man ain't escaping the Phantom Kaiju is Kaiju No 8's biological child theories though. Gojira/Godzilla gonna show up whenever Kafka uses his powers like in canon because their bond translates it as a signal flare. Think an emotion based Bat Signal to a giant Batman.

Gojira/Godzilla will retain their Phantom Kaiju title since he was never properly registered in the system years ago. The big guy is still associated with Kafka's kaiju form as he almost always shows up. Our dear himbo definitely working on that since he doesn't want his son to keep misinterpreting his transformation like that.

Kafka and Gojira/Godzilla are two disastrous peas in a pod who drags everyone into their insanity.

[misscouchpotatobew]

The classic Virgin vs Chad applies to these guys. They are the same person but one of them is WAY better.

[sina-man]

Crackler doodle

[puppetmaster13u]

Anyone remember the Godzilla Series? Would anyone be interested in rambles about a crossover between it and the batfamily?

[xxtc-96xx]

Have you ever seen the Godzilla Animated Series based on the American '98 film? While said film is largely panned, the series is actually pretty damn awesome.

ye it's nice to see Zilla make a comeback because

Zilla did nothing wrong these stupid ass humans continuously invited it back into a densely populated New York and fed it there so they'd give it a reason to keep coming back and then they shoot at it making it flee when it never tried attacking anyone before then and only fight to defend itself. the humans did more damage to their own damn city than Zilla did, also we had to watch it see the bodies of its dead babies and openly mourn them and we're supposed to be on the humans side still???

ah there I go again lol

[mewtwoandme]

I also love the 1998 Zilla movie! Mostly because it spawned the animated tv show Godzilla: The Series, which I always thought was the best cartoon to ever exist when I was a kid!

Honestly the 1998 movie was what got me into liking godzilla. And yeah, the series is really good too. I have it on DVD lol

[lazywriter-artist]

I have been tagged smh smh— looking at you @systembug

Currently watching: eerrrmmm— sweats in man who can’t start series last I was trying to watch was my rewatch of cells at work (I Lurv Lurv Lurv it so much 🥰🥰🥰) and was trying to start the ace attorney anime (also lurv a lot) & I think rewatch one punch man or maybe assassination classroom—

Sweet/Savory/Spicy: probably sweet and savory depending on the mood, not the hugest spicy fan but I will sometimes enjoy it also :3

Relationship status: currently single and not really looking to mingle 👍 traditional relationships don’t tend to be my bag for many reasons (aro/Ace spec moment B>) but I do love having some homies to vibe with o7

Current obsession: warhammer— oh god warhammer- ya guys don’t understand man— I have so many ocs I haven’t posted it’s so bad- / pos I just Lurv it so so so much 🥺🥺 would kill for warhammer- chewing on my space marine figures so so so so so much arghhh (also yeah in the span of like 3 weeks I bought 5 action figures for warhammer bc I am in fact obsessed) the irls and non-warhammer mutuals fear when its name is mentioned /J

Last thing I googled: Military nicknames

For some ideas for some guardsmen ocs ^w^

Hehehe @m0rbidm1nk @thrill-zilla-0v0 @krynnmeridia @wolf-tail @v01d-v0r4c10us an invite for you guys :)!! If y’all wanna ofc ofc

[angellic-critique]

I forgot what the name of that pink and green neon dinosaur demon was but they're so ugly that I hope they get killed in the next purge or execution.

Missi Zilla don't feel bad because vivzie didn't set her up but see what I don't get is why any of the animators looked towards these designs for overlords and went 'Yknow we really need a loona 2.0 furry bait macro character let's keep the rainbow vomit design over the LITERAL MORE EASIER DESIGN TO ANIMATE' she has 7-8 colors with a gradient in her referenced hair wtf...??

Watch her not even do anything in the series besides bitch and complain wtf.

Literal fucking robbery we don't have this design how come viv can animate and craft lore into the most mundane background characters but can't animate/actually write her main cast??? The balanced palette complimenting only 5-6 color variants with two contrary complimenting colors [the cyan and the hot pink for the lime] being much easier on the eyes here.

[that-glitter-chick]

Godzilla the Animated Series circa 1998-1999

Zilla had a mate named Komodothrax, a combination of the word Komodo as in Komodo Dragon and Vermithrax Pejorative the dragon from Disney’s Dragonslayer a movie from the 80s.

[highfantasy-soul]

NATLA Episode 8 - Legends (3/4)

[Masterlist of my NATLA thoughts]

Of course, full spoilers ahead.

<previous/next>

Aang hearing all the past Avatar's advice to him before he makes his decision makes him merging with the ocean spirit make more sense and temporarily closes his character arc. Here's where I think people are riding on nostalgia and not seeing what this decision means to the live-action Aang. In the animated series, his decision to merge with the ocean spirit comes out of nowhere, he just somehow knows that he can merge and it'll unleash a 'super crazy powerful spirit attack' on the Fire Nation. There's not much more thought in it other than 'all hope is lost, we need a deus ex machina' and I just so happen to be able to do that. In the live action, Aang is following the advice of the past Avatars: Kuruk's indication that the elemental spirit's powers are greater than the Avatars, he's putting the needs of the world above his own, he's willing to give up his own future to secure one for everyone else, he's trying to do it alone (with the ocean spirit, but still), BUT he's still 'running away' - he's STILL having a power greater than himself do the heavy lifting.

Like we learn in the Guru episode in season 2, in order to take the Avatar state, you have to surrender everything, all your attachments, and become a conduit for pure energy - we see Aang do this as he takes a deep breath and his tattoos glow and his eyes light up, the echoing voices of all the past Avatars in his voice. He's surrendering, but as we'll (no doubt) see in future seasons, it wasn't a 'balanced' surrender. It was a surrender of despair and resignation of his fate. Through the next two seasons, I'm sure we'll see Aang working on how to take that state in a healthier manner.

I love Aang's speech here - about how he should have been lost 100 years ago, this isn't his time or his world - again calling back to how he couldn't save the air nomads, but he CAN save the people now, and he's willing to give up himself to do it. Because the power of the elemental spirits is far greater than even the power of the Avatar. So he gives himself to the ocean spirit to become wrath itself and save the world. I like that Aang's struggles revealed in The Storm episode of the animated series lingered until this episode - Aang struggling with not 'belonging' in this time is a huge aspect of who he is and I like that the live-action gave it room to breathe.

Iroh's relief at seeing Zuko alive is beautiful, meanwhile Zuko is staring slack-jawed at the giant fish screaming at the sky. It's pitch perfect that Zuko is ready to fight Koi-zilla for the Avatar - he's really that crazy and desperate to capture Aang! I think it was a great choice to merge parts of the first Agni Kai with Zhao in the animated series to this point in the live-action. Zhao and Zuko do face off during the siege, but Zhao in the live-action was always more of a cerebral antagonist to Zuko - they focused on that aspect of him rather than the physically imposing antagonist he was in the animated series.

This is Zuko taking out all his frustrations about his life out on a singular target - he's just 'lost' the Avatar for good, Zhao destroyed what little hope there was to reconnect with his father (as it looks like Zhao told Ozai Zuko is a traitor), and he tried to kill Zuko. Zuko thinks if he can just beat Zhao in a fight, maybe he'll get some manner of relief. Unfortunately, Zhao being the cerebral antagonist he is, physical defeat doesn't win the day - Zhao still beats Zuko by throwing the truth of his family dynamic in his face.

They moved the monologue Zuko gives to Aang about his relationship with Azula (while Aang is unconscious) to the fight with Zuko and Zhao. While I like both, I think having that convo as the 'send off' to Zuko in season 1 was a good choice. It makes Azula's presence felt in the narrative the entire time (because she was behind Zhao's successes) instead of her just being a random after thought that doesn't affect the story until season 2. Giving Zhao the speech to Zuko that destroys Zuko mentally was a great choice. Zuko has been running from the truth of his family for so long and Zhao knows it'll destabilize him. He lays it all out in the open - how Ozai wanted to get rid of Zuko and would never take him back, how he was just motivation for Azula, and how the favorite child had already been chosen: and it wasn't him. Everything Zuko had been working toward this season, burned to ash, revealed that it was never going to happen, all that hard work had been worthless.

In the animated series, Zuko just ends the season having lost the Avatar once again. In the live-action, he's destroyed not due to the Avatar, but because of his own family and their games. He's mentally broken far more than he was in the animated series and I think that will put him in a much more interesting position at the start of season 2. When he says 'I'm tired' at the end of the episode, it's not because it was just one more bid to capture the Avatar that failed, it's because his entire world has been shaken.

The Ocean spirit confronting the Fire Nation ships was haunting. No music, just the sound of panicked shouting, the low moaning of the spirit, and the horns of the ships. It's such an eerie scene and even though they're the enemies, you feel the terror now taking the Fire Nation as they face down the wrath of an elemental spirit. Yue explaining how the ocean spirit will wander the world forever looking for its partner but never find it gives me chills every time. It's such a tragic concept and the way they juxtapose that with Katara calling out for Aang, being there to pull him back, is really beautiful.

I love that they give Yue the agency in her choice to give her life back to the moon spirit. In the animated show, Iroh notices her eyes and suggests she can do something, in the live-action, Sokka is looking for ideas and she realizes it herself and chooses to give up her life for the spirit. It's such a great touch that she can still waterbend - because she has the moon in her. Her speech about how it's worth it to live, even for a night, is something that belies all the advice of the past Avatars - they argue to hold yourself apart, to sacrifice any wants of your own for the sake of the world. But Yue argues that it's worth the risk of losing things you love - getting the chance to feel that love is worth the pain of losing it.

Katara talking Aang down out of the Avatar state and control of the ocean spirit was so well placed here. Like I've said before, I think having Gyatzo's memory calm Aang in the first episode rather than Katara like happens in the animated series and moving Katara's speech to the end of the season was a fantastic choice. It bookends the lesson of the season for Aang - letting go of the past so he can start moving on into the future. Katara's pleas that 'we're a family now' to Aang in episode 3 of the animated series feels hollow - we accepted that line because it's a kid's show and they wanted to hammer home to us that these three kids are going to be your protagonists going forward and they'll be a family. But until that point, they'd known each other for a few days - they weren't ACTUALLY a family. Here, at the end of the season, that claim of family has been earned. They've built the foundation of a real connection that's been battle tested and tried many times. It's TRUE that they're a family now, that this IS his world and he's more than 'just the Avatar'.

The ocean spirit turning to look at the restored moon is such a beautiful shot - honestly this whole thing is shot just so beautifully.

"The world needs you. I need you." That statement is soo true and I love how it was shown through the season before being told to us.

Aang is exactly the person the world needs now - someone who knows the suffering and loss of this world, but also knew a better one where people were kind and helpful and there was no strict divide between the nations. His childlike belief in the goodness of humanity is what's needed in an Avatar for this time, not a hardened person who's never seen diplomacy work. If fate was at play when Aang got frozen in that ice, then it knew what it was doing: Aang is the only Avatar soul that would be able to save the world now.

[natlacentral]

Avatar: The Last Airbender showrunner breaks down biggest remixes and Koi-zilla

Albert Kim, showrunner of the live-action Avatar: The Last Airbender, knew his new series would be subject to scrutiny, given the diehard fans who would no doubt pick apart every creative choice in what he calls more of a remix than a strict adaptation of Nickelodeon's beloved animated classic. Now that the show is finally out in the world after years of development, he welcomes it.

"It's also very nice to have so many people so invested and passionate about the story. I'd much rather have that than be ignored," Kim tells EW. "So being able to be in the forefront of something like that is pretty exciting. It can't please everyone, and as long as you understand that it's all fair game, I'm happy that fans are having debates and discussing these topics. I just want to wait for them to do it after seeing the show. And then I'm really excited to see what they talk about and what they like and don't like."

On that note, now that Avatar: The Last Airbender has premiered on Netflix, Kim breaks down some of the biggest live-action remixes.

The cost of Koi-zilla

Kim knew going into season 1 that they were going to pull off Koi-zilla — the moment when Aang (Gordon Cormier) channels the Ocean Spirit at the Northern Water Tribe and transforms into a giant koi creature made entirely of water. "It's funny to me that some fans out there thought we weren't going to do Koi-zilla," Kim says. "How can you tell the story without the Ocean Spirit creature?" But he notes it was both a practical and financial challenge.

"I knew we were going to do that ending, so we planned for that from the start of the season," he explains. "We planned on the sets that we were going to build, the VFX money that needed to be invested in that, the design of the creature, and making sure all the storylines organically led to that moment."

It did mean that he had to pick and choose what else he could pull off on the show with the remaining resources. "The Air Temple episode has an amazing battle in it, and I'm sure fans are going to go like, 'Why didn't you do that?' I wish I could, but it was going to be that or the Koi-zilla finale. So I had to make my choice there," he says.

Roku's Shrine was another example. "I love the sequence in original where they figured out how to crack the door," Kim recalls. "But when we got to that episode, we just didn't have the resources, frankly, both logistically and financially to be able to afford that on top of everything else we were doing in that episode."

Sorry, Flopsie

Among the Easter eggs in Avatar: The Last Airbender are two statues that appear in the background of King Bumi's (Utkarsh Ambudkar) castle in Omashu. They appear in the likeness of Flopsie, who was Bumi's pet goat gorilla in the animated show. "We never tried to make Flopsie," Kim says. "Flopsie is not really a character. He's a pet, so it wasn't a huge sacrifice to not have Flopsie."

Bumi's arc marks one of the bigger story remixes in the live-action version. The original saw the Earth Kingdom ruler put Aang through a series of tests, while keeping his true identity as his childhood friend under wraps as part of these trials. That information is revealed up front.

"We talked about it a lot in the writers' room, but at the same time, it didn't work for a number of reasons," Kim explains. "Bumi's point in the animated series is to show that the Avatar has to essentially face the unexpected, which we also get across in our episode, too. But what was more interesting to me were what was going on with the characters. Bumi is a character who was deeply wounded. He's hurt by the fact that his friend Aang wasn't there in his time of need. Aang, on the other hand, is burdened by the guilt that he wasn't there for his friend who needed him. That, to me, was much more interesting than the specific set of challenges that he had to go through. Bringing those characters to an emotional head was where we started from and then we built using the elements of the original story."

Spirits

The writers' room mapped out the season in blocks of two episodes: 1 and 2, the Omashu arc of 3 and 4, and the Northern Water Tribe setting of 7 and 8. That left 5 and 6 to kick off the Spirit World arc, except there were multiple re-weavings that ended up happening as a result.

Though initially more standalone in the animated original, the live-action series combines the storylines for Hei Bai, Koh, Roku's Shrine, and the Blue Spirit all into one overarching plot. Investigating the disappearing Earth Kingdom villagers leads the Aang gang to the Spirit World, where Katara (Kiawentiio) and Sokka (Ian Ousley) become trapped by the face stealer known as Koh (George Takei)... which then sends him to speak with Avatar Roku (C.S. Lee) at his temple in the Fire Nation for guidance...which then gets him captured by June (Arden Cho) and taken into Commander Zhao's (Ken Leung) custody...which then prompts Prince Zuko (Dallas Liu) to free the Avatar under the guise of the Blue Spirit.

"It was challenging, but it wasn't any more so than the rest of the season," Kim says. "Because we knew we were going to get to the point where we saw the Agni Kai, there was a lot going on to set that up." The original series didn't fully show the proceeding events following the Agni Kai, the Fire Nation duel that saw Fire Lord Ozai (Daniel Dae Kim) scar and exile Zuko from the kingdom, but the writers used those moments to further beef up Zuko's backstory.

"Also, that's the one episode in the season where essentially Sokka and Katara are not in it. So it became a big Aang and Zuko story," Kim continues. "When you looked at it that way, that meant including the Blue Spirit and then also including the Agni Kai and some new scenes like the one post Agni Kai when Ozai goes to Zuko and banishes him. So it's a little bit of maybe putting the puzzle pieces together and seeing where they all fall. Once you do that, certain things just logically fall into place."

Past lives

Netflix's live-action Avatar: The Last Airbender plays more with the mythology than the original's freshman season did. Visiting each of the past Avatar's temples allows Aang to commune with them, and even allow them to take over his body, as in the case of Avatar Kyoshi. As a result, we get to meet both Kyoshi and Avatar Kuruk in addition to Avatar Roku much earlier in the timeline.

Kim says he spoke with original Avatar creators Michael Dante DiMartino and Bryan Konietzko before they departed the live-action project over unresolvable creative differences. But the writers' room also benefited from all the supplemental Avatar materials that were released in the past years, including the companion novels and comic books.

"A lot of that stuff about those Avatars came from the Kyoshi novels," he says. "One of the Kyoshi novels talks a lot about Avatar Kuruk, same with the character of Kyoshi. The Avatars were useful characters throughout the season because they were able to confront Aang and voice his various conflicts, both as incarnations of himself and as characters on their own. One of the things you see is in episode 2 when he first talks to Kyoshi. We drew upon elements of what happens when he meets Roku in the original series and gave it to Koshi because we needed that element early in our series, to see the power of the Avatar."

A topic he explored with DiMartino and Konietzko was why the Avatar is the only one who can bring balance to the world. "'He can master all four elements, but isn't that the same as having four different benders?' 'No, he's also got the Avatar State.' 'Well, what does that mean?' So in episode 2, we see the power of the Avatar," he says.

Cracking Sokka

Of all the characters translated to live action, Kim says Sokka was "a little less fleshed out" than the others.

"Katara had the trauma of her mother's death, which is also Sokka's mother, but you didn't see too much evidence of that with Sokka," Kim explains of the adaptation process. "Zuko obviously has the story with his father and the Agni Kai, and Aang has the burden of being the Avatar. Sokka is a little bit more of a blank canvas in that regard, so we built in more into his backstory, which is in the original, it's just a little subtler."

The writers decided to lean more into the absence of Sokka's father and the pressures of having to lead the Southern Water Tribe at such a young age, as well as his struggles being the only non-bender of Team Avatar. "What does that mean for a human being when everyone around you has these superpowers and you don't?" Kim says. "It's all there in the original, we just drew it to the fore a little more."

It also blended easily into the Princess Yue (Amber Midthunder) arc later on. "She's able to see through all of his bluster and all of his attempts at comedy, and sees this insecurity," Kim adds. "So that was great to play with."

The 41st Division

A change to the original story Kim is most proud of is the 41st Division of the Fire Nation's military. In the Netflix series, the troupe was meant to be sacrificial lambs to distract enemy forces, but Zuko urges his father to appoint them as his crew in exile. The reveal cements the soldiers' respect for the Fire Nation prince and becomes a mirror to the found family element of Team Avatar.

"It's a small change, but it is so impactful in its way because it really drives home the story of Zuko's arc," Kim says. "He cannot find the compassion and love that he wants from his father because what he sees as a weakness in himself is his compassion. Then he finds it in this family that he's built with his crew. The message of the whole series really is about the family we make for ourselves."

The hardest VFX shot

Oddly enough, Koi-zilla wasn't the most difficult visual effects sequence to pull off in Avatar: The Last Airbender; neither was the attack on the Southern Air Temple. That distinction falls to a rather small sequence involving water and an arrow.

In episode 3, Katara thwarts Jet's (Sebastian Amoruso) plot to assassinate the Mechanist (Danny Pudi) and King Bumi by hurling water at a flaming arrow. "That's one of the hardest waterbending shots in the show because it's just doing something that water really doesn't do," says Jabbar Raisani, an executive producer, director, and VFX supervisor on the show. "It's traveling a really long distance, it's going against gravity upwards, and we really struggled with it."

The VFX team experimented with the movement of liquid by throwing buckets of water in the air over and over until they had enough references they could pull from. "That was not literally put in, but that's the inspiration for how the water moves through space," Raisani adds.

[sonicasura]

Godzilla x Bendy

Not sure how that would go, but I imagine a scenario where Gent succeeded in bringing whats inside the machine out, only for it to backfire and get out of hand, turning the entire earth into a twisted sepia-toned horror show. Almost everyone except maybe those in places like hollow earth is turned into toons and malformed in creatures, lost ones, and you got Audrey and the Ink Demon (Who's still considered a god to at least half the ink realm, and I'd imagine Sammy wouldn't slack in growing those numbers.) running around trying to fix shit. I'd imagine Godzilla would freak if the ocean turned to ink, or Kong would go ballistic if Jia was turned into a lost one or toon if it did make it into the hollow earth. So far, Kaiju are the only thing spared.

And I thought I was morbid. Lol

Yeah, I don't think GENT/Joey would be capable of enough to make an inky apocalypse just from destroying the machine. Definitely see a few towns get submerged by ink and the landscape around it mutilated into a hellscape. Monarch causes it off as who knows what could crawl from this disaster, much less the cause.

Here's my interpretation. Bendy is on the run and has been for a long time. GENT was forcibly taken over by a stronger company, the prelude to Apex as multiple workers caught got in the tech corporation's hidden illegal schemes.

Bendy had done all he could to destroy any information pertaining to the inky realm and damaged the ink machine so it wouldn't function. GENT was dangerous thus anything that could consume it can only be worse. Bendy's latest stop was San Francisco as he originally plan to restock on supplies.

Something that fell to the wayside when the Ink Demon stumbles upon a lost and scared 2 year old Sam Brody. The child been swept away from his mother in the crowd from a nearby festival. Bendy didn't know why but chose to secretly stay with Sam.

The Ink Demon been the boy's hidden friend for years until Godzilla soon reaches land fall in 2014.

I also have another idea involving Godzilla the Animated Series with Zilla Jr where an older Henry, Audrey and Bendy accidentally get caught up in HEAT's monster shenanigans when trying to recover the ink machine. Although I don't know how many people seen that rare gem.

[goodkiitty]

🎁🎉

{ meme ref }

🎁: I used to write Zilla Jr. from the Godzilla animated series a few years ago! He's big boy and my favorite Godzilla iteration.

🎉: I want to write a Transformers OC of mine named Lightshow, but I'm kinda uuuhhh chickenshit at the mere thought of bringing him into the community lmao I'll get clowned on for sure

( art credit goes to @unknownsoldiers )

[astoundingbeyondbelief]

Kaiju Week in Review (December 11-17, 2022)

After the success of last year's Pacific Rim Ultimate Omnibus, Legendary Comics has launched a Kickstarter for a MonsterVerse Omnibus collecting Godzilla: Awakening, Skull Island: The Birth of Kong, Godzilla: Aftershock, Godzilla Dominion, and Kingdom Kong. It blasted past its funding goal on the first day. The Omnibus will eventually make it to retail, but naturally the Kickstarter rewards include some exclusives, like a slipcase and a different cover, as well as higher-tier bonuses like enamel pins and the ability to get drawn into the comics.

The biggest draw if you've already bought the five comics above is the debut of "Call to Action", written by Brian Buccellato and illustrated by Zid. Logline: "[S]et during the events of Godzilla vs. Kong, a Naval fighter pilot with a personal attachment to Godzilla is put to the test when his squadron is called upon to intercept the King of the Monsters." Well, I'm a sucker for mining drama out of incredibly minor characters, and Zid's the best artist these MonsterVerse comics have seen. If access to that story's all you care about, consider the $15 tier, which nets you a PDF of the Omnibus. K-D-M, who's proven to be a reliable source, is also saying that a number of the minor Titans (Na Kika, Amhuluk, Tiamat, and perhaps others) will receive Monarch bios as well. Those have been delightful sources of lore in the past.

Speaking of comics, @mekagojira3k published the first issue of his self-adaptation of All Your Ruins on WebToon. Read it immediately, it's gnarly as shit! There's a kaiju with crosses on its back taunting a mysterious masked figure and what I'm choosing to interpret as a nod to the Age of Giant Condor!

I couldn't wait for the Week in Review to post about this, but it merits repeating: The Asylum is celebrating its 25th anniversary with a Destroy All Monsters-style epic called 2025 Armageddon. (Insert scare quotes around "epic" if you wish.) Most exciting to me is the return of Mega Shark, whose series inexplicably ended in 2015 just as it and the Kaiju Renaissance were finding their stride. It's also playing in five fairly random theaters across the country until the 22nd (sorry, should've gotten this post out faster). The rest of us will have to hold off until the VOD release on the 23rd.

After it placed second in the last two Movie Monster Series fan polls, Bandai has thrown up its hands and given Super Mechagodzilla a vinyl, just in time for the 30th anniversary of Godzilla vs. Mechagodzilla II next year. January 31st is the release date for that one. They also announced a third poll, this time allowing fan submissions to determine the 10 nominees instead of making the shortlist in a smoke-filled room themselves. Yes, that means Zilla, Bagan, and the Giant Condor are theoretically on the table (but no Godzilla incarnations allowed). All's you need is a Godzilla Store account to nominate a kaiju and eventually vote.

Finally, for you Dagahra fans out there, his first figure in ages is coming soon from the Kaiju Out of the Laws line. Shame those are so expensive.

Here's the teaser for the Kaiju No. 8 anime—and yes, it's going to be part of the Toho kaiju canon. I got caught up with the manga earlier this year and found it pretty enjoyable. An older protagonist is unusual for this type of story, and I like how he's constantly drawing on his experience cleaning up kajiu corpses after taking on the more glamorous work of fighting them. You also gotta admire the boldness of calling a metamorphosing character Kafka.

SciFi Japan has a first look at a film due next year called Kaiju: Island of Fire. The production company is based in Japan, but there's a lot of Hollywood talent in this one, including writer/director Andrew L. Phillips, who has a background in stunt acting. Inspired by 3Y Films, they've also brought back some veteran kaiju actors: Kent Gilbert (the swishy ship commander in Godzilla vs. King Ghidorah), Chuck Wilson (the Futurian Wilson in same), Inge Murata (every Japanese kaiju movie that's needed a German since Monster X Strikes Back), and Tomoko Ai (Katsura Mafune in Terror of Mechagodzilla). No story details yet, although you can probably guess the setting. I like the suit design of what is presumably the anti-kaiju team too, at least from the back.