Shinji Higuchi’s first major effects work is a must-view for any die-hard kaiju fan!
Review: ‘Orochi Strikes Again’ (1986)
Shinji Higuchi’s first major effects work is a must-view for any die-hard kaiju fan!
Shinji Higuchi’s first major effects work is a must-view for any die-hard kaiju fan!
Graham Skipper, author of Godzilla: The Official Guide to the King of the Monsters speaks with Kaiju United about his new book, and shared love of all things Godzilla.
Ah, I see you have a Kaiju infestation. They can be pesky and persistent vermin. So, you rolled out your air power, artillery, and heavy armor all withy…in view of the creature and lit that bitch up. Then what?
Author Hiroshi Yamamoto delivers a breezy and clever science fiction novel that pays homage to a number of international ‘monster’ films and fiction but keeps the focus on the heralded history of Japanese mythology and kaiju legacies.
The story of Godzilla (1984) is a ride that was started from the cries of the fandom for more, and as a film it succeeded for many fans for giving them that taste they had long since missed for the near 10 years since the last Japanese production. The film spawned a new era of Godzilla films and fandom, defining what Godzilla means to many and, in some ways, Toho themselves.
Gojira (1954) is many things – a classic monster movie, an allegory for the atomic bomb, a snapshot of the anxieties plaguing those of a post-war Japan. In addition to all of these things, the film is also an example of the enduring power of the Hero’s Journey.
Taking a look at the first episode of Toei’s Tokusou Robo Janperson, a tokusatsu style hybrid of Robocop, The Terminator, and Judge Dredd.
Figure reviews are common fare amongst kaiju enthusiasts. Typically, it’s a Bandai or X-Plus being reviewed by channels. Flashy angles, rotating tables, and even stop-motion animation have been approaches to showcasing the perplexing plastic in front of the reviewer. To add mixed, themed liquor to the figure-review recipe is, quite frankly, treading fresh, or should I say, thirsty new ground.
Alongside Gojira, Rodan is arguably the most tragic of the Showa era films, and viewed through the proper lens, an undeniably powerful piece of filmmaking, worthy of further contemplation regarding its social commentary, and in many ways, demanding the same respect of its predecessor.
Among some of the complex ideas of mankind and our potential, there lies an excellent Japanese kaiju film with a lot of heart and love.