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v-akarai · 4 months

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References in Servamp

Arabian mythology

Jinn. Ch. 16

Greek mythology

Elpis. Ch. 75

Moirai. Ch. 108

Pandora. Ch. 130

Pygmalion. Ch. 123

Pandora's Box. Ch. 97

Japanese mythology

Gashadokuro. Ch. 129

Kitsune. Ch. 3

Raijin. Ch. 85

Norse mythology

Baldr. Ch. 39

Freya. Ch. 65

Frey. Ch. 131

Gleipnir. Ch. 101

Hati. Ch. 91, 131

Hod. Ch. 39

Hliðskjálf. Ch. 96

Idunn. Ch. 65

Loki. Ch. 15

Mimir. Ch. 29

Mjölnir. Ch. 53

Ragnarök. Ch. 101, 122, 131

Sigurd. Ch. 101

Thor. Ch. 41

Yggdrasil. Ch. 42

Biblical references

Abel. Ch. 8

Adam. Ch. 128

Boaz and Jachin. Ch. 42

Eden. Ch. 21

Eve. Ch. 1

John the Baptist. Ch.122

Lucifer. Ch. 135

Nod. Ch. 29, events

Hinduism

Asura. Ch. 57.5, 89.

Tarot

The Fool - Mahiru. Ch. 50

I. The Magician – Night trio. Ch. 41

II. The High Priestess – Mikuni. Ch. 42

V. The Hierophant - Shuhei. Ch. 77

X. Wheel of Fortune - Junichiro. Ch. 53

XII. The Hanged Man - Tsurugi. Ch. 50

XV. The Devil – Shamrock. Ch. 72

XVI. The Tower - Touma. Ch. 47

XVII. The Star - Iduna. Ch. 73

XVIII. The Moon - Yumikage. Ch. 69

Literary references

"Alice's Adventures in Wonderland" Lewis Carroll. Ch. 3, 4, 7, 19, 98, 122. Misono, Lily, Dodo, Mitsuki, Yamane, Hattori, Mikuni, Bad B and Good B.

"As You Like It" William Shakespeare. Ch. 10, 38.5. Mikuni's spell.

"My Fair Lady" English nursery rhyme. Ch. 10 Mikuni's spell.

"Dracula" Bram Stoker. Ch. 12, 30. Hugh.

"Romeo and Juliet" William Shakespeare. Ch. 23, 34. Hyde, Ophelia.

"Faust" by Johann Wolfgang von Goethe. Ch. 29 Johannes.

"Through the Looking-Glass" Lewis Carroll. Ch. 29, events. Mikuni, Johannes.

"Julius Caesar" William Shakespeare. Ch. 23 Hyde.

"Strange Case of Dr. Jekyll and Mr. Hyde" Robert Stevenson. Ch. 23, 37. Hyde, Licht.

"Macbeth" William Shakespeare. Ch. 24, 31. Kuro, Saint Germain, Mahiru.

"Night on the Galactic Railroad" Kenji Miyazawa. Ch. 26. Higan.

"The Little Prince" Antoine de Saint-Exupéry. Ch 30, 67. Kuro, Mahiru, Sloth demon, Gear, probably Jeje.

"Hamlet" William Shakespeare. Ch. 33, 34. Hyde, Ophelia.

"The Phantom of the Opera" Gaston Leroux. Ch. 36 Licht and Hyde technique.

"Peter and Wendy" James Barry. Ch. 44, 56, 74. Tsurugi, Touma, Mahiru.

"Ring a Ring o' Roses" nursery rhyme. Ch. 53 Junichiro's spell.

“Peter Pan in Kensington Gardens” James Barry. Ch. 53, 75. Tsurugi, Touma.

"Death in Venice" Thomas Mann. Ch. 55 Gilbert technique.

"Total Eclipse" a play by Christopher Hampton. Ch. 55 Rayscent's technique.

"The Morning of the Last Farewell" Kenji Miyazawa. Ch. 57.5 Tsubaki.

"Spring and Asura" Kenji Miyazawa. Ch. 57.5 Tsubaki.

"The Catcher in the Rye" Jerome Salinger. Ch. 62 Shuhei.

"Four and Twenty Blackbirds" Agatha Christie. Ch. 62 Shuhei's spell.

"Metamorphosis" Franz Kafka. Ch. 62 Shamrock technique.

“The Nighhawk's Star” Kenji Miyazawa. Ch. 62, 76. Shamrock technique.

"Rock-a-bye Baby" an English lullaby. Ch. 70 Touma's spell.

“Schlafe, mein Prinzchen, schlaf ein” lullaby. Ch. 70 Touma's spell.

"Who Killed Cock Robin" an English nursery rhyme. Ch. 70 Yumikage's spell.

"The Wonderful Wizard of Oz" Lyman Frank Baum. Ch. 70, 88. Tsukimitsu brothers’ spells.

"Daddy-Long-Legs" Jean Webster. Ch. 74. Dark Night Trio, Touma.

"The Divine Comedy" Dante Alighieri. Ch. 118, 120, 121. Niccolo, Ildio, Gluttony demon.

“A Brute's Love” (人でなしの恋) Edogawa Rampo. Ch. 122 Mikuni, Lily.

"Coppelia" ballet Leo Delibes. Chapter 122 Mikuni, Lily.

"Salome" Oscar Wilde. Ch. 122 Mikuni, Lily.

"Turandot" opera by Giacomo Puccini based on the play by Carlo Gozzi. Ch. 129. Lily's technique.

"The Tempest" William Shakespeare. Ch. 131. Licht and Hyde.

"The Old Man and the Sea" Ernest Hemingway. Ch. 134 Hugh.

"Flowers for Algernon" Daniel Keyes. Ch. 135 Hugh.

"Jane Eyre" Charlotte Brontë. Ch. 136. Hokaze.

"Madama Butterfly" opera by Giacomo Puccini. Ch. 136. Lily.

"Hansel and Gretel" the Brothers Grimm. Ch. 140. Faust and Otogiri.

Music

"Für Elise" by Ludwig van Beethoven. Ch. 34

"Jesu, Joy of Man's Desiring" by Johann Sebastian Bach. Ch. 125

Movies

"It's a Wonderful Life" (1946). Ch. 131

"Life is Beautiful" (1997). Ch. 131

I believe this list can be expanded. Somewhere I’ve written only chaps when some reference was mentioned for the first time and omitted all further mentions.

Special thanks to hello-vampire-kitty, joydoesathing and passmeabook, because some works wouldn’t be included in the list without their observations.

#servamp

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balanceoflightanddark · 9 months

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I Have Become Death, the Destroyer of Worlds

(Spoilers for Oppenheimer)

The original 1954 Godzilla can best be described as an anti-nuclear war film...that just happens to have a giant monster in it.

When you get right down to it, Godzilla himself was originally a big metaphor for the atom or hydrogen bomb. A big, unstoppable harbinger of death that once unleashed, it's only a matter of time before destruction follows. And you have to remember, it was made by victims of the Hiroshima and Nagasaki bombings not even a decade after. So any allusions to those attacks are pretty deliberate on their choice. You cannot simply separate Godzilla from the fires that birthed him.

Just like how you can't simply separate J. Robert Oppenheimer from the atrocities his weapons wrecked.

It's become kind of a trend with movie goers to frame Oppenheimer as a pseudo prequel to the Godzilla series. Particularly with the announcement by Toho of Godzilla Minus Zero later this year which deals with the immediate aftermath of the bombings which sounds like a natural continuation of the events of Oppenheimer. Course there's the obvious difference between a biopic and a sci-fi monster movie.

But remember how I mentioned that the original Godzilla was an anti-nuclear war film that happened to have a giant monster? Cause in many ways, that logic does apply here. And as a result, both films do carry a lot of the same themes and tone despite being released over 50 years apart.

For one, there's a sense of dread with both films in regards to the bombings. With Oppenheimer, it's a feeling of unease as the USA pushes for the continuation of the Manhattan Project despite the surrendering of the Nazis. It was always there, but it increases the closer we get to the bombing, such as when Oppenheimer and his staff grow increasingly nervous to the testing, the patriotic fervor that takes over when it goes well, and the shot of the Fat Man and Little Boy being carted of with Oppenheimer and Teller contemplating whether the bombing will truly bring world peace.

Same thing with Godzilla. We have an overpowering sense of dread as the existence of a huge, unstoppable monster begins to dawn on everyone. How nothing seems to work against it and the creeping horror of it coming closer and closer to Japan without any viable solution being found. With Oppenheimer, we know the end story even if the characters don't, and the anticipation comes from the knowledge of the carnage that their actions will bring being at contrast with what's seen on screen. In Godzilla, the dread comes from being the recipient of that horror, and the characters scrambling to find any sort of solution in the face of unrelenting fury.

It comes to a head with the final scenes of the film, with Oppenheimer and Einstein grimly wondering if the invention of the atom bomb might've just spelled the doom for the entire planet, while Dr. Yamane monologuing about how chances are there's another Godzilla out waiting to be awakened by more nuclear testing. It's that sort of apocalyptic dread which binds the two films together, with the different perspectives allowing two different approaches to the same anti-nuclear warfare conclusion. Both from the people who made the bomb, and the people who were bombed.

And the similarities don't end there. We do get a parallel with Oppenheimer and the fictional character of Dr. Serizawa, which perfectly demonstrates the sort of differential approaches both films take. Both view their respective forces (the atom bomb or the Oxygen Destroyer) as having the potential to do so much good, not necessarily for warfare but more as an energy source for the betterment of mankind.

The difference is how both are exposed to World War II. Oppenheimer is distant, never being on the frontlines and only hearing about Hitler's death via the news. As a result (and part of an overarching character flaw), he never really considers the ramifications of building an atomic bomb. He's uneasy with it, but he'll try to justify himself by saying it saved the US a costly invasion and the bombing scaring the rest of the world off from even attempting to replicate his invention (it didn't, much to his horror). Serizawa was a soldier for the Japanese army before becoming a scientist. He's absolutely horrified by his creation, knowing for a damn fact that people will use it for a weapon, that it could possibly cause a devastating arms race, and is determined to keep it under wraps until he can find a nondestructive use for it. He only uses it to destroy Godzilla when the threat of the latter is undeniable, but even then takes his own life lest he risk his knowledge being used to create another one.

Both characters came to the same conclusion: Oppenheimer realizing he may have just doomed the world far too late and Serizawa being wracked with fear of what would happen if the Oxygen Destroyer was deployed too liberally. Again, it's the difference between the two that highlights how each film handles the same message. One only realizes what he's created until it's far too late, the other is filled with dread by the inevitability of that creation being used for lethal purposes.

So in many ways...yeah. Oppenheimer can be seen as a prequel to Godzilla, and both can be viewed as companion pieces towards one another. Of course, one ultimately still is a giant monster film, the other a historical biopic. But when the tones are so similar and themes so consistent, it's quite telling that you can easily see the two as being two sides of the same coin.

After all, the original Godzilla was an anti-nuclear war film that features a giant monster. Oppenheimer is that same premise but without the monster and from the opposite perspective. Yet both share the same apocalyptic message.

#godzilla #gojira #godzilla 1954 #godzilla meta #oppenheimer #oppenheimer 2023 #oppenheimer movie #oppenheimer spoilers #giant monsters #kaiju #movie comparison

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ecargmura · 5 months

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Ron Kamonohashi Mondays: Opening Changes

Instead of posting Ron pics like usual, I'd like to dedicate this week's post to showing changes in the opening.

Before Episode 5, it was just the older sister and younger sister from Episode 2 that popped up.

Starting Episode 5, the opening started to change by adding in the minor characters that appeared in each case.

Before Episode 5, the husband, wife and the mistress had shown up.

In Episode 6, the opening changed again to add in Kawasemi and Yamane.

Episode 7 has the opening updated again to add in Torage

Now, Episode 8, this week's episode has the opening updated again to add in the observatory characters.

I really like this little detail that they do for every case!

However, they haven't added Spitz and Dr. Usaki to the opening yet...

#ron kamonohashi's forbidden deductions #ron kamonohashi deranged detective #kamonohashi ron no kindan suiri

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elliemarchetti · 1 year

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My aCoTaR fancast nobody asked for

Beware, this is a really long ride but I worked hard for it and spent more time than I want to admit doing my research so if you want to chat about my choices it would be appreciated

The Archerons

Abigail Cowen as Feyre Archeron

She’s talented, she’s good looking and she’s familiar with fantasy stuff, do I need to add more?

Age: 25 (March 18, 1998)

Height: 167 cm (5′6″)

Notable role(s): Dorcas in Chilling Adventures of Sabrina (2018), Bloom in Fate: The Winx Saga (2021) and Angel in Redeeming Love (2022)

Madelyn Cline as Elain Archeron

Her face is so sweeeet 🥰

Age: 25 (December 21, 1997)

Height: 167 cm (5′6″)

Notable role(s): Sarah Cameron in Outer Banks (2020)

Thea Sofie Loch Næss as Nesta Archeron

She’s like the perfect older sister 🤷🏼‍♀️

Age: 26 (November 26, 1996)

Height: 169 cm (5′7″)

Notable role(s): Skade in The Last Kingdom (2018)

The Spring Court

Calahan Skogman as Tamlin

I’m not taking criticism on this

Age: 29 (May 13, 1993)

Height: 193 (6′4″)

Notable role(s): Matthias Helvar in Shadow and Bones (2021)

Jan Luis Castellanos as Lucien Vanserra

If LoA+Helion is the way the show wants to go too, he’s the right choice.

Age: 27 (September 11, 1995)

Height: 175 cm (5′9″)

Notable role(s): Diego Torres in 13 Reasons Why (2020)

Anne Winters as Ianthe

Just look at her, please

Age: 28 (June 3, 1994)

Height: 160 cm (5′3″)

Notable role(s): Chloe Rice in 13 Reasons Why (2018)

Gugu Mbatha-Raw as Alis

Everything she stars in tends to be a success, so call it superstition but I want her to play the best maid Feyre could wish for (and which I hope to see again in the next books)

Age: 40 (April 21, 1983)

Height: 162 (5′4″)

Notable role(s): Talia in Larry Crowne (2011), Dido Elizabeth Belle in Belle (2013), Noni in Beyond the Lights (2014), Prema Mutiso in Concussion (2015), Esme Manucharian in Miss Sloane (2016), Janelle Brady in The Whole Truth (2016), Ava Hamilton in The Cloverfield Paradox (2018), Dr. Kate Murry in A Wrinkle in Time (2018) and Ravonna Renslayer in Loki (2021)

The Night Court

The Inner Circle

Staz Nair as Rhysand

If you all take my suggestion seriously before starting to rant, you will see it too. I know the age difference between him and Abigail Cowen is kind of huge, but she’s tough and I think she can handle it

Age: 31 (June 17, 1991)

Height: 185 (5′11”)

Notable role(s): Qhono in Game of Thrones (2016)

Chuku Modu as Cassian

Give him long hair and a hint of beard and we’re good.

(No, I don’t want to hear you say Can Yaman is better.

No, I don’t want 37 yo Roman Reigns to star next to 25 yo Abigail Cowen and make sexual jokes nearly half of the time.

Yes, I’m aware he’s just five years younger than the aforementioned wrestler but five years sometimes are a big deal and they are now.)

Age: 32 (July 19,1990)

Height: 193 cm (6′4″)

Notable role(s): Aggo in Game of Thrones (2016) and Dr. Jared Kalu in The Good Doctor (2017)

Drew Ray Tanner as Azriel Shadowsinger

I know he’s cute but I bet he can make the tormented look work

Age: 31 (February 12, 1992)

Height: 178 (5′1′”)

Notable role(s): Fangs Fogarty in Riverdale (2017)

Halston Sage as The Morrigan

I don’t know if I want to be her or kiss her. Either way, what a bliss.

Age: 29 (May 3, 1993)

Height: 166 cm (5′5″)

Notable role(s): Lacey Pemberton in Paper Towns (2015)

Park So-Dam as Amren

The likelihood that she won't accept is very high, but if she were to, it would be wonderful

Age: 31 (September 8, 1991)

Height: 162 (5′4″)

Notable role(s): Kim Ki-jung in Parasite (2019)

The Valkyrie

Kirby Johnson as Gwyneth Berdara

If you have some influence in the matter, please help this girl to be casted in something different than a horror.

Age: 27 (February 12, 1996)

Height: 173 cm (5′8″)

Notable role(s): Hannah Grace in The Possession of Hannah Grace (2018)

Ella Balinska as Emerie

All hail our Illyrian queen, badass fighter, former netball player and part-time model

Age: 26 (October 4, 1996)

Height: 181 cm (5′11″)

Notable role(s): Jane Kano in Charlie’s Angels (2019)

Keeping Up with the Vanserras

I’m not going to cast the dead brothers, but if you have someone you feel like would fit in, I might add them to fill the void

Trevor Stines as Vanserra Brother n.1

I know he’s younger than Jan Luis Castellanos and taller than Ruairi O’Connor, but I want him to be a Vanserra so bad I have to put him here

Age: 26 (July 15, 1996)

Height: 185 cm (6′1″)

Notable role(s): Brett in The Amityville Terror (2016) and Jason Blossom in Riverdale (2017)

Dacre Montgomery as Vanserra Brother n.2

I think he’s good at playing the bad guy so he should be casted, period

Age: 28 (November 22, 1994)

Height: 176 cm (5′9″)

Notable role(s): Jason Scott / Red Ranger in Power Rangers (2017), Billy Hargrove in Stranger Things (2017) and Steve Binder in Elvis (2022)

Cameron Monaghan as Vanserra Brother n.3

IDK, I think he would like to play the deranged dude again, at least for a while

Age: 29 (August 16, 1993)

Height: 179 cm (5′10″)

Notable role(s): Ian Gallagher in Shameless (2011), Mason Ashford in Vampire Academy (2014), Asher in The Giver (2014), Jerome Valeska in Gotham (2015) and James Walker in Amityville: The Awakening (2017)

Ruairi O’Connor as Eris Vanserra

I just want to see this man more, I’m not even sorry for it

Age: 31 (July 9, 1991)

Height: 178 (5′10″)

Notable role(s): Henry VIII in The Spanish Princess (2019) and Arne Cheyenne Johnson in The Conjuring: The Devil Made Me Do It (2021)

Kristofer Hivju as Beron Vanserra

☑️ red hair

☑️ good beard

☑️ evil dilf vibe

Age: 44 (December 7, 1978)

Height: 183 cm (5′11″)

Notable role(s): Jonas in The Thing (2011), Tormund Giantsbane in Game of Thrones (2011), Connor Rhodes in The Fate of the Furious (2017) and Kristoffer in Cocainebear (2023)

Gemma Arterton as Lady of Autumn

By mortal standards she'd be a little too young to play Lucien and Eris' mother, but as the Fae age differently (and in a poorly explained way) in this universe, I'd appreciate her resemblance to Jan Luis Castellanos being exploited

Age: 37 (February 2, 1986)

Height: 170 cm (5′7″)

Notable role(s): Strawberry Fields in Quantum of Solace (2008), Io in Clash of the Titans (2010), Tamina in Prince of Persia (2010) and Gretel in Hansel & Gretel: Witch Hunters (2013)

Ismael Cruz Cordova as Helion

I know he’s light skinned but if we want to make the retcons and the plot twist work in the show he needs to be

Age: 36 (April 7, 1987)

Height: 178 (5′10″)

Notable role(s): Davide Rizzio in Mary Queen of Scots (2018) and Arondir in The Lord of the Rings: The Rings of Power (2022)

Hybern (and the possible prequel about the war)

Katharine McPhee as Amarantha

I have to be honest, I choose the actress for Clythia first but I think they kind of look alike so, why not?

Age: 39 (March 25, 1984)

Height: 170 cm (5′7″)

Notable role(s): Harmony in The House Bunny (2008) and Beth in Shark Night (2011)

Eleanor Tomlinson as Clythia

I don’t know about you but I want something more than a couple flashbacks of the war and since a TV show is not a first person POV, I want to go deeper into what happened at the time and for that, we need to cast the right girl

Age: 30 (May 19, 1992)

Height: 171 (5′7″)

Notable role(s): Isabel Neville in The White Queen (2013), Georgiana Darcy in Death Comes to Pemberley (2013), Demelza Carne Poldark in Poldark (2015), Georgie Raoul-Duval in Colette (2018) and Amy in The Wars of the World (2019)

Matt Smith as The King of Hybern

For my peace of mind, he needs to play someone who couldn’t be seen as an heartthrob

Age: 40 (October 28, 1882)

Height: 181 cm (5′11″)

Notable role(s): The Doctor in Doctor Who (2010), Thomas in Womb (2010), Alex/Skynet in Terminator Genisys (2015), Mr Collins in Pride + Prejudice + Zombies (2016), Prince Philip in The Crown (2016), Morgan in Patient Zero (2018), Jack in Last Night in Soho (2021), Richard Galloway in The Forgiven (2021), Milo/Lucien in Morbius (2022) and Daemon Targaryen in House of the Dragon (2022)

Dylan O’Brien as Jurian

Just watch his filmography and tell me he wouldn’t be the perfect Jurian

Age: 31 (August 26, 1991)

Height: 178 cm (5′10″)

Notable role(s): Stiles Stilinski in Teen Wolf (2011), Stuart Twombly in The Internship (2013), Thomas in The Maze Runner (2014), Mitch Rapp in American Assassin (2017) and Joel Dawson in Love and Monsters (2020)

The High Lords and their Courts

The Winter Court

Luke Baines as Kallias

He can be the James Marsters of our time

Age: 32 (June 8, 1990)

Height: 179 cm (5′11″)

Notable role(s): Jonathan Morgenstern in Shadowhunters (2019)

Sasha Luss as Viviane

Before I found out the Samos siblings are half asian, I wanted her to play Evangeline in the Red Queen adaptation. Now is my time to shine

Age: 30 (June 6, 1992)

Height: 178 cm (5′10″)

Notable role(s): Princess Lihio-Minaa in Valerian and the City of a Thousand Planets (2017) and Anna Poliatova in Anna (2019)

The Summer Court

Micheal Ward as Tarquin

I'm starting to think I should have put the fanart that inspired me because in this case the resemblance is uncanny

Age: 25 (November 18, 1997)

Height: 175 (5′9″)

Notable role(s): Brendan in The A List (2018)

Coco Jones as Cresseida

Disney Channel mistreated her, I won't

Age: 25 (January 4, 1998)

Height: 178 cm (5′10″)

Notable role(s): Roxanne “Roxie” Andrews in Let It Shine (2012) and Hilary Banks in Bel-Air (2022)

Kelvin Harrison Jr. as Varian

Can he have white dreads instead of just white hair?

Age: 28 (July 23, 1994)

Height: 170 cm (5′7″)

Notable role(s): Mason in Assassination Nation (2018) and B.B. King in Elvis (2022)

The Dawn Court

Evan Evagora as Thesan

Aaaaaand... you made it to the end. Thank you to everyone who took the time to read my silly comments and please don’t start a war in the comments, this is just for fun

Age: 26 (August 10, 1996)

Height: 186 cm (6′1″)

Notable role(s): Elnor in Star Trek: Picard (2020)

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thebrikbox · 8 months

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Godzilla Raids Again, 1955

Godzilla returns with a vengeance, and this time he’s not alone.

With the success of Gorjira, Toho wanted to give new fans more, but how would they after Godzilla was killed? Executive producer Iwao Miri told Tomoyuki Tomaka to start production on another Godzilla movie. Miri wanted a reasonable explanation for a revival of the great monster, and Tomaka went to work immediately.

Ishiro Honda was pegged to direct the movie, but he was working on another film. Tomaka collected the creative team from the first movie to help and a new director, Motoyoshi Oda. After weeks, the creative team finished the screenplay and production started. Here is the magic they created:

Marine Fisheries KK in Osaka is a successful fish manufacturing company makes fish products. It’s success relies on two pilots searching for pockets of fish in the Pacific Ocean. Shoichi Tsukioka (Hiroshi Koizumi), and Koji Kobayashi (Minoru Chiaki), report their findings to the control operator who is the owner’s daughter, Hidemi Yajima (Setsuko Wakayama). Hidemi and Tsukioka are a couple madly in love.

On a routine flight one day, Kobayashi’s plane has engine problems and he makes an emergency landing on a nearby remote island, Iwato Island. He calls headquarters to report his situation; Hidemi informs Tsukioka who then flies to the island to rescue his friend. Kobayashi is spotted, and Tsukioka lands nearby. Just as they were leaving, strange noises from beyond a cliff caught their attention, so they go and check it out. They’re shocked to find two monsters fighting, one is recognized as Godzilla, but the other one isn’t familiar. The men watch in horror as the battle rages on. The mobsters fight so fiercely that they fall off the cliff and into the ocean. Tsukioka and Kobayashi escape unscathed and quickly return to Osaka and report this to authorities.

The JSDF, Japanese Self Defense Forces, and a team of scientists led by Dr. Yamane to discuss the mobsters on Iwato Island. Dr. Yamane confirmed the one monster is in fact Godzilla and the new one as Anguirus based on a report written by a Polish scientist. Great monsters do in fact exist. Godzilla and Anguirus had been dormant underground for centuries until they were disturbed by atomic blasts from nuclear testing performed by the American Navy in the Pacific. (Brilliant!)

This time, Osaka was the unfortunate location for Godzilla’s raid because it was closest to Iwato Island. The defense team reviewed footage from the last Godzilla attack in Tokyo a year ago. The monster was killed by the Oxygen Destroyer, and a powerful weapon like that doesn’t exist. How would Osaka defend itself? Dr. Yamane suggested that Godzilla was light sensitive, observed from the Tokyo footage, and a citywide blackout would be the best defense. They could use flares to lure it to Osaka and use their military weapons to defeat Godzilla.

The JASDF, Japanese Air Self Defense Force, sends planes to search for Godzilla and he’s spotted moving towards the Kii Channel between Wakayama Prefecture and Shikoku. Mr. Yamaji, Hidemi’s father, is concerned because Godzilla could destruct his valued fishing production that he couldn’t afford to lose. Godzilla then changes his course and is now heading towards Osaka Bay. Authorities order an evacuation and Tsukiaka and Koboyashi go to the cannery with Mr. Yamaji. Meanwhile, convicts are being escape from an evacuation transport. They lead the police in a chase and crash into an oil refinery. The explosion attracts Godzilla and he goes towards it.

Mr. Yamaji and everyone evacuate the cannery and unbeknownst to them, the escaped convicts enter the business to hide. But no sooner than later, the convicts are killed when the monsters destroy the business. Destroying everything in their path the battle ends for Anguirus when Godzilla kills him with his atomic breath. Godzilla returns the sea.

Later, Mr. Yamaji relocates his business to Hokkaido. Tsukioka is reunited with Tajima, a friend from college and the war; Tajima works for the JASDF. The friends join Yamaji and friends for dinner. It was there that Kobayashi tells Hidemi he’s fallen for a woman, but doesn’t say whom. She tries to persuade him to tell her, but he won’t. The dinner party falls silent when a news flash reports a ship was sunk by Godzilla.

Tsukioka volunteers and helps the JASDF search for Godzilla the morning after the sinking. He flies out to the location of the downed ship and spots Godzilla at Kamiko Island. Kobayashi joins Tsukioka who is trying to prevent Godzilla from leaving the island. Meanwhile, Hidemi finds Kobayashi’s diary and finds her picture is in it. She becomes emotional learning she’s the one he loves, but she is in love with Tsukioka. Kobayashi joins his friend circling Godzilla but is struck by an atomic blast and crashes into the mountain peak. The crash causes an avalanche that buries Godzilla and this is how the JASDF decides to use this method to stop Godzilla.

Everyone who knew Kobayashi is distraught, especially Hidemi. Tsukioka wants to aid the JASDF, but Tajima won’t allow him to because of Kobayashi. The JASDF flies to Kamiko Island and bombs the ground creating a wall of fire to prevent Godzilla from leaving while another group of planes shoots missiles into the mountaintop causing avalanches to subdue the great monster. Tsukioka flies out to the island to witness the attack and watches Godzilla fire one last blast before being completely buried by the downfall of snowy rubble. Knowing Godzilla is defeated, Tsukioka tells his best friend, Kobayashi, that they’ve won and he can rest in peace.

Wrap up

Godzilla Raids Again was released in Japan April 24, 1955 and an English-dubbed version was released by Warner Bros. in America May 21, 1959 under a different name: Gigantis, the Fire Monster.

The Japanese version was released in Japanese-American theaters prior to the new adaptation and the audiences reception wasn’t received with the same excitement as was the first movie, but it did draw a moderate amount of money compared to what the first one profited. Tanaka claimed that the creating team had very little time to make this movie and he didn’t much care for it personally.

Despite the moderate profit and less enthusiastic reception, the movie is credited for paving the road for other great Godzilla movies.

I did enjoy the movie. Despite the mad rush deadline to meet, I think Tanaka created a good enough story that allows a scientific reason for Godzilla’s existence.

I enjoyed how the original movie and this one had similar romance dilemmas. The first movie, Emiko and Ogata are in love, and Dr. Serizawa is a friend who likes Emiko. Serizawa dies to save Japan. This movie, Hidemi and Tsukiyaka are in love and their friend Kobiasha likes Hidemi. Kobiasha’s death inspired a defense tactic to defeat Godzilla. Actors in both movies were outstanding. They made us believe Godzilla was real, none more so than the extras recruited for evacuation scenes.

Cast and crew

Director: Motoyoshi Oda

Special effects: Eiji Tsuburaya

Screenplay: Takeo Murata and Shigeaki Hidaka

Story: Shigeru Kayama

Produced by: Tomoyuki Tanaka

Score: Masary Sato

Starring: Hiroshi Koizumi, Setsuko Wakayama, Minoru Chiaki, Takashi Shimura

Movie Grade: 0.0 to 4.0

Score: 3.7

Photo references: Getty Images

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astoundingbeyondbelief · 7 months

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Kaiju Weeks in Review (September 10-30, 2023)

I adore Godzilla Final Wars, but it's a movie with an identity crisis, unsure whether it wants to be headlining a Toho Champion Festival or mesmerizing American teenagers at a mid-aughts multiplex. @spacehunter-m's Final Wars 2004: The Year We Make Corn-Tack gives it a strong tug in the first direction, whittling the runtime down to 77 minutes and replacing most of the music and sound effects. She was inspired by Space Warriors 2000, of all things; as she put it, both films are "largely comprised of nonstop, monotonous action." As in that bizarro Ultraman compilation film, the kaiju trash-talk each other. It makes you wonder why Ryuhei Kitamura didn't at least bring back the speech bubbles from Godzilla vs. Gigan. Kaiju fan edits are rare, and this is in a class all by itself. Download it here.

Shigeru Kayama's novelizations of Godzilla (1954) and Godzilla Raids Again are out—hopefully the first of many to come. My copy only arrived on Saturday, so I haven't had the chance to read the whole thing yet, but I've made it through Godzilla. It's interesting to see Kayama, who wrote the initial treatment, take another swing at the story after the film was finished. He puts back moments like Godzilla eating a cow and attacking a lighthouse, and is also more overt with the wartime allusions. There's an incredible moment where Dr. Yamane muses that studying Godzilla and learning his secrets could be Japan's way of redeeming itself after "caus[ing] a great deal of trouble to people throughout the world." Note that these are novella-length, so much less in-depth than the novelizations of American Godzilla films you might be used to (Godzilla Raids Again is less than 80 pages). The book ends with an afterword by translator Jeffrey Angles contextualizing the tales.

Godzilla: War for Humanity continues to be a standout IDW miniseries. There's a new and very weird monster in the second issue, plus a no-nonsense Mothra (she tries to recruit Godzilla to fight Zoospora by shooting him in the back of the head and dragging him into the ocean in front of Minilla).

I've also got to mention the solicitation for another Godzilla Rivals installment, due December 20. Nola Pfau is writing, Megan Huang is illustrating.

Jen Onça is not excited to start her new, fast-paced fast-food career at Minilla Burger, but she'd much prefer a mundane day to the sudden return of Megalon! The monster brings destruction, trapping Jen in a forgotten lab deep beneath the restaurant with only the half-built form of Jet Jaguar to help her get out! She must repair the robotic defender to save herself and the city, but first she needs to escape the rubble trapping her in this tense adventure!

Yuzo the Biggest Battle in Tokyo, Yoshikazu Ishii's follow-up to Attack of the Giant Teacher, has also been picked up by SRS Cinema. No release details yet. I can't really speak to the film either, since it screened at the same time as Yumiko Shaku's panel at G-Fest, but as you can see from the poster, it's set during the pandemic.

The GAMERA -Rebirth- Gyaos has joined Godzilla Battle Line as an unusual sort of swarm unit. Your first summon of the match calls forth two sub-adults, and by the fifth summon you're sending out two sub-adults and three adults, still for four energy. They're probably the best swarm in the game, though still highly vulnerable to AOE units like Godzilla '01. I'm having fun with them in the Challenge Battles.

Notzilla, one of the sharpest kaiju comedies out there, is unexpectedly getting the graphic novel treatment. Mitch Teemley is adapting his own screenplay, with art by Zumart Putra. The comic is already finished, although I'm not clear on how folks who didn't back the Kickstarter (which wrapped on September 11) will get it. Useless trivia: the terrific cover above (one of four) is by Ben Dunn, who wrote the How to Draw Manga book I poured over in middle school.

After Troll shattered Netflix streaming records (according to Netflix), it's not super surprising that the company wants a sequel. Priority one: coming up with a title that's not Troll 2. Screenwriter Espen Aukan and director Roar Uthaug will both return.

Toy highlights of the past few weeks:

After confusing everyone by teasing its silhouette the day before April Fools', Tamashii has fully unveiled an S.H.Monsterarts Godzilla '72, a rare Showa figure from the line. It comes with two heads, one of them bloodied (see above). Due at the end of February.

After finally running out of ways to repaint their mold of Hedorah's Perfect Stage, Bandai is making a Movie Monster Series figure of the kaiju's Landing Stage. A Godzilla Store exclusive, it'll be released October 25.

After over two years, Funko is releasing a trio of Godzilla Singular Point Pops. Hopefully they go all-out with this show—it's not like there's any other plausible way for a Satomi Kanahara figure to exist.

#godzilla #kaiju week in review #godzilla final wars #troll #notzilla #gyaos #yuzo the biggest battle in tokyo #kaiju

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chernobog13 · 1 year

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“You kids get outta my yard!”

Cranky old man Godzilla.

Happy Godzilla Day!

#Gojira #Godzilla #tokusatsu #kaiju #Dr. Yamane #Emiko Yamane #the entire population of Odo Island #Toho #Godzilla Day

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alexstudyjapanese · 2 months

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Godzilla

Coming into Godzilla, I was expecting an outdated and less engaging monster film. Luckily, I was wrong about both of those things. Having recently watched Godzilla vs. Kong (2019), I can say this was by far the more entertaining film of the two, packing in an emotionally engaging plot and underlying themes and messages relevant to the world at that time period especially.

A major thing that was done better in this film than Godzilla vs. Kong was the emphasis on the impact on each individual. Families scrambled to find out information on their missing loved ones. A single home is destroyed, and people are shown grieving their lost loved ones. Compare this to Godzilla vs. Kong’s final battle, where countless buildings were destroyed and seemingly hundreds of thousands perished, yet the impact on citizens of Hong Kong was largely ignored. I had more emotional investment in Serizawa’s death, for example, than the entire Godzilla vs. Kong.

This humanity centered approach has some parallels with the bombing of Japan during WW2 just a decade prior. The way hospitals filled up reminded me of a short story I read recently detailing the experience of a survivor of the Hiroshima bombing. To add to this, some patients had measurable levels of radiation poisoning. Perhaps this film served as a way to cope with the tragedy that was the atomic bombings in Japan, and form it into a cultural icon.

The film also provides important commentary on the dangers of the thirst for power. Godzilla only emerges as a result of H-bomb testing, a government’s thirst for destructive power. A similar thirst for power is seen in the militaristic approach to find a way to kill Godzilla. Even Dr. Yamane says “all they can think about is killing Godzilla,” suggesting approaches other than violence should be considered as well. In the end, a miracle invention is able to stop Godzilla, but Dr. Yamane again has a powerful line, stating that if H-bomb testing continues, another Godzilla will emerge again. Godzilla in this sense serves as a metaphor for any unforeseen catastrophic results of H-bomb testing and other actions taken for the sake of power struggle.

Although in the end a weapon of mass destruction was used to kill Godzilla, the movie makes it a good point to highlight the responsibility that goes into using such a weapon. Serizawa knows that if his research reaches political hands, it will be used to gain power on the international stage and only continue the cycle of A-bomb, H-bomb, next powerful weapon of mass destruction. His sacrifice at the end of the movie, holding to his ideals, was powerful. Not only did he sacrifice his life, but also his life’s research and a chance at finding a way for his discovery to benefit humanity (other than killing Godzilla).

Although it can be seen that smaller models and perspective were used for many visual effects in this movie, it never gets in the way of my enjoyment and I think it was quite brilliantly done overall. Very good movie.

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penaalmujahidah · 23 days

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Series Agar Bidadari Cemburu Padamu

Judul : Allah Sayang Padaku

Speaker: Ust Salim A Fillah

Resume by : @penaalmujahidah

Bahasa kali ini agak santai ya manteman, sebenernya pembahasannya cukup panjang, tapi di sini saya akan berbagi sedikit saja dr apa yg sudah dipaparkan oleh Ust Salim A. Fillah.

Perlu kita pahami bahwa predikat kebaikan itu Allah sematkan kepada laki-laki dan perempuan. Jadi jangan ngerasa bahwa yg berhak baik itu laki2 doang, atau perempuan doang. Engga gitu ya konsepnya. Nah, kalo misal di antara kita masih ada yg suka insecure thd fisiknya, ngerasa gak putihlah, gak tinggi lah, jelek lah. Inget2 lagi yuk. Allah tuh udah menciptakan manusia dg bentuk yg paling baik. Nih ayatnya di

QS At-Tin : 4

لَقَدْ خَلَقْنَا الْاِنْسَانَ فِىْۤ اَحْسَنِ تَقْوِيْمٍۖ

sesungguhnya Kami telah menciptakan manusia dalam bentuk yang sebaik-baiknya.

Dan itulah bentuk dan proporsi terbaik buat kita dibandingkan dg makhluk Allah yg lain.

Allah itu udah ngasih kita hal yg sangat jelas. Manusia mungkin masih punya pandangan rasis, yg putih itu good looking lah, yg hitam itu jeleklah, tapi itu tuh karena manusia belum merasakan secara real bahwa dlm segala hal ada keindahan.

Cantik itu relatif kan? Bisa jadi lho kita pergi ke Turki terus liat perempuan2 di sana itu cantik2. Ya hari pertama kedua ketiga masih Cantik keliatannya. Tp lama2 misalnya di hari ke delapan kita bisa membedakan bahwa ternyata ada juga yg biasa aja, gak cantik. Kaya kalo ke Sudan misalnya, kita liat di hari pertama kedua dan ketiga keliatan jelek2, tp pas hari kesembilan ternyata ada juga yg keliatan cantik, item manis gitu. Hhe.

So, jangan pernah merasa insecure dengan cantik atau enggakmya kita. Karena bisa jadi ada orang yg dianggap cantik banyak orang, tp tidak bagi seseorang. Begitupun sebaliknya.

Jangan insecure juga soal fisik. Karena fisik itu sifatnya cuma sementara sekali.

Justru insecure-lah kalo akhlak kita kurang baik, kalo kita kurang bersyukur.

Jangan insecure soal harta. Karena belum tentu yg banyak harta juga bisa nikmatin apa yg dia miliki.

Rezeki itu apa yg kita nikmati, bukan yg kita miliki. Meskipun misalnya di rekening banyak uang, kalo gak kepake semua ya itu cuma jadi sesuatu yang mampir doang. Malah bisa jadi kepakenya sama orang lain. Kalo kata Rasulullah Saw, rezeki itu apa2 yg dimakan sampe habis, apa2 yg dipake sampe usang.

Misal nih ya, ada orang yang penghasilannya 300 jt perbulan, tp Allah batasi rezekinya. Makan manis gak boleh karena diabetes, makan asin gak boleh karena hipertensi, makan ini itu gak boleh karena punya penyakit. Nah, sampe sini kebayang kan? Jadi rezeki itu soal rasa, tidak bisa diukur dg jumlah, atau dg berapa yang ada di deposito. Rezeki itu hak pakai, bukan hak milik. Apa yg kita pakai itulah rizki yg bisa kita nikmati. Kalo kita bersyukur, Allah tambah lagi nikmatnya. Bukan jumlahnya.

Seandainya kita mau bertafakur atas makanan yg kita makan, kita akan merasa kaya. Betapa ulama Zaman dulu itu kalo makan pake roti, garam, dan minyak, mereka itu bilang gini "Roti ini dari kebun gandum di Negeri Yaman, garam dari tambang garam di pedalam Marq, di satu tempat di Asia Tengah, minyak zaitun dari Negeri Syam, Baitul Maqdis, betapa seluruh dunia telah dihimpun ke dalam piringku, betapa kayanya aku." Maa syaa Allah.

Padahal makannya cuma pake roti, garam, sama minyak. Ya kalo dikita tarolah kaya makan pake nasi, kecap, kerupuk. Tp begitulah, kalo mampu bertafakur sejenak atas makanan itu, rasanya akan luar biasa sekali.

Oke, next tentang ujian. Allah menguji kita buat apa sih? Yes, biar Allah tau siapa di antara kita yg paling baik amalnya. Ayatnya ada di QS. Al Mulk ayat 2

ٱلَّذِىْ خَلَقَ الْمَوْتَ وَالْحَيٰوةَ لِيَبْلُوَكُمْ اَيُّكُمْ اَحْسَنُ عَمَلًاۗوَهُوَ الْعَزِيْزُ الْغَفُوْرُۙ

Yang menjadikan mati dan hidup, supaya Dia menguji kamu, siapa di antara kamu yang lebih baik amalnya. Dan Dia Maha Perkasa lagi Maha Pengampun,

Hidup ini emang kompetisi, perlombaan. Tapi bukan dg orang lain lho. Lah terus dg siapa? Diri kita sendiri.

Target kita itu bukan untuk menjadi Lebih baik dr pada orang lain. Tp utk menjadi lebih baik dr diri kita yg kemarin. Iya kan? Capek soalnya kalo mengukur segalanya dr standar orang lain.

Padahal setiap orang punya modal berbeda, karuni yg berbeda, nah makanya level ujiannya juga beda. Level prestasinya juga beda, dan hal ini GAK BISA dibanding2kan dg yg lain.

Misal gini, ada orang kaya yg sedekah 10 juta dan orang miskin cuma seribu, ya jelas dong secara jumlah beda banget ya. Tapi bisa jadi dlm hitungan Allah malah yg miskin itu yg punya nilai lebih.

Hitungan Allah tuh detail banget, manteman. dan itu sifatnya personal. Masing2 kita tuh punya raport yang gak bisa dijuarakan 1 2 3 dalam satu kelas.

Oke, sekarang soal prestasi nih ya. Apalagi soal prestasi dunia. Udah itu mah gak usah dipikirkan. Gak usah overthinking pas tau kenyataan bahwa kita ma gak kaya orang2 yg dlm usia muda udah bisa finansial freedom misalnya. Yang penting itu, kita berkarya dg karya terbaik sesuai potensi yg ada dlm diri kita.

Kalo kata ust Salim, Jadilah orang dg keunggulan kompetitif, bukan komparatif, bukan membandingkan dg orang lain. Tapi unggul dg potensi yg kita miliki.

Kita sebenernya gak perlu melihat orang lain untuk bersyukur, cukup melihat diri sendiri aja udah banyak yg harus disyukuri.

Kita memiliki cerita tersendiri yg akan kita pertanggungjawabkan di hadapan Allah swt.

Apa yg kita miliki adalah takdir Allah, dan kita diizinkan berikhtiar dlm takdir itu. Karena ikhtiar kita pun termasuk takdir Allah.

Yakinlah kalo kita minta dg jujur kpd Allh, berikhtiar di jalan yang diridhai Allah, Allah akan menghadirkan apa pun yg kita minta itu di saat yang tepat dg cara yang paling indah. Ya kalo jodoh misalnya, ya berarti dg sosok yg paling cocok dg kita.

Sekian resume dari saya. Maaf kalo bahasanya terlalu santai. Hehe

Semoga bermanfaat. ✨

#series agar bidadari cemburu padamu #penaalmujahidah #Salim A Fillah #resume kajian

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swordofmoonl1ght · 4 months

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Takashi Shimura as Dr. Kyohei Yamane in ゴジラ (GOJIRA, 1954) dir. Ishiro Honda

#takashi shimura #ishiro honda #gojira #gojiraedit #godzillaedit #godzilla 1954 #classicfilmedit #classic movie #classic film #japanese film #japanese cinema #50s sci fi #50s movies

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andrewtverylegitimateblog · 2 months

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Godzilla and Godzilla, King of The Monsters

Have you ever watched a classic Japanese film and thought "This could really use some white men, why aren't there any? They should be poorly clipped into random aspects of the original film re-arranged". Consider the value that Humphrey Bogart might added to Rashomon or Charlie Chaplin to Tokyo Story.

While these additions would be wildly inappropriate at the very least these are respected actors whose acclaim is well deserved. There are a litany of things wrong with the American localization of Godzilla, worst among them though is the lead character of Steve Martin, played by Raymond Burr. While watching the film I thought to myself "Why does he read nearly everything he says out loud like he's a 1950s detective?" and after a simple google search I learned that one of his most iconic roles was as half and half detective and defense lawyer Perry Mason. He was insufferable.

While I could continue to castigate the acting there are oversights in King of the Monsters of which addressing is of higher importance. Not only is most of the charm lost in the ways in which the film is randomly re-cut and the droning monologues of Steve Martin but a majority of the Japanese characters present are entirely untranslated. As a result we're not able to understand them.

I know I've said that each laceration upon the corpse of Godzilla by King of The Monsters was the worst but this is arguably the most abhorrent. For reasons that should be obvious any references to the possible dangers of misusing science and the destruction and terror which are its byproduct such as weapons of mass destruction are entirely absent from the film. One of the most compelling scenes in fact, Dr. Yamane's ending monologue, are entirely removed with only Steve Martin reflecting on Serizawa's bravery.

Here's a funny image of Hauro Nakajima reacting to the later 1998 bastardization of Godzilla

I hated this film. I really did. It's funny to me to think that this might have been one of the few Japanese films either of my grandparents had ever seen. For further insight into how I felt about Godzilla, King of the Monsters here's a comparison of the notes from when I watched the original Godzilla and it's later localization.

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