Kaiju Review 08 - Djvu

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scope="icon-hamburger-1">.icon-hamburger-1 svg.icon-hamburger {
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}
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fill: #fff;
}</style><style scope="login-
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border: none;
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@keyframes fade-in-nav-search-1 {
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}
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color: #999;
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font-size: 1.3rem;
color: inherit;
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1">.media-menu-1 {
outline: none;
}
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position: absolute;
z-index: -1;
top: -100vh;
width: 100%;
margin: 0;
overflow: hidden;
}
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transition-property: top;
transition-duration: 0.2s;
transition-timing-function: ease;
}
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top: 100%;
}
.media-menu-1 .media-menu.tx-slide.closed.media-menu {
top: -100vh;
}
.media-menu-1 .media-menu.tx-slide.closed.media-menu {
}
.media-menu-1 .menu-group.media-menu {
position: relative;
line-height: normal;
}

.media-menu-1 .media-menu.media-menu {
position: static;
width: auto;
height: 5rem;
}
.media-menu-1 .media-menu.tx-slide.media-menu {
transition-property: none;
}
.media-menu-1 .media-menu.tx-slide.open.media-menu,.media-menu-1 .media-

menu.tx-slide.closed.media-menu {
top: 0;
}
.media-menu-1 .menu-group.media-menu {
font-size: 0;
}
}</style><style scope="primary-nav-

1">.primary-nav-1 button.primary-nav:focus,.primary-nav-1 a.primary-
nav:focus,.primary-nav-1 input.primary-nav:focus {
outline: none;
}
.primary-nav-1 nav.primary-nav {
position: relative;
display: -ms-grid;
display: grid;
height: 4rem;
grid-template-areas: "hamburger empty search user";
-ms-grid-columns: 4rem minmax(1rem, 100%) 4.3rem 5rem;
grid-template-columns: 4rem auto 4.3rem 5rem;
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grid-template-rows: 100%;
background: #222;
border-bottom: 1px solid #333;
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.primary-nav-1 button.primary-nav {
background: none;
color: inherit;
border: none;
font: inherit;
cursor: pointer;
}
.primary-nav-1 .link-home.primary-nav {
position: absolute;
top: 50%;
left: 50%;
z-index: 2;
-webkit-transform: translate(-50%, -50%);
-ms-transform: translate(-50%, -50%);
transform: translate(-50%, -50%);
}
.primary-nav-1 media-menu.primary-nav {
grid-column-start: hamburger-start;
grid-column-end: user-end;
}
.primary-nav-1 .ia-logo.primary-nav {
display: block;
}
.primary-nav-1 .ia-wordmark.primary-nav {
display: none;
}
.primary-nav-1 .hamburger.primary-nav {
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-ms-grid-column: 1;
grid-area: hamburger;
padding: 0;
}
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grid-area: search;
position: relative;
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width: 100%;
text-align: right;
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fill: #999;
}
.primary-nav-1 .search-activated.primary-nav {
position: relative;
z-index: 3;
}
.primary-nav-1 .upload.primary-nav {
display: none;
}
.primary-nav-1 .upload.primary-nav span.primary-nav {

display: none;
}
.primary-nav-1 .user-info.primary-nav {
-ms-grid-row: 1;
-ms-grid-column: 4;
grid-area: user;
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align-self: stretch;
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justify-self: end;
}
.primary-nav-1 .username.primary-nav {
display: none;
font-size: 1.3rem;
}
.primary-nav-1 .user-menu.primary-nav {
height: 100%;
padding: .5rem 1rem;
color: #999;
}
.primary-nav-1 .user-menu.primary-nav:hover {
color: #fff;
}
.primary-nav-1 .user-menu.active.primary-nav {
background: #333;
}
.primary-nav-1 .user-menu.primary-nav img.primary-nav {

display: block;
width: 30px;
height: 30px;
}

.primary-nav-1 {
;
}
.primary-nav-1 nav.primary-nav {
display: block;
z-index: 2;
height: 5rem;
padding-right: 1.5rem;
}
.primary-nav-1 .link-home.primary-nav {
position: static;
float: left;
margin-top: 1rem;
padding: 0 10px 0 13px;
-webkit-transform: translate(0, 0);
-ms-transform: translate(0, 0);
transform: translate(0, 0);
}
.primary-nav-1 .ia-logo.primary-nav,.primary-nav-1 .ia-wordmark.primary-nav {

}
.primary-nav-1 .ia-wordmark.primary-nav {
margin-left: 1rem;
}
.primary-nav-1 .hamburger.primary-nav,.primary-nav-1 .search-trigger.primary-

nav {
display: none;
}
.primary-nav-1 .user-info.primary-nav {
float: right;
padding-top: 1rem;
}
.primary-nav-1 .user-menu.primary-nav {
padding-top: 0;
}
.primary-nav-1 .user-menu.active.primary-nav {
}
.primary-nav-1 .user-menu.primary-nav img.primary-nav {

}
.primary-nav-1 .upload.primary-nav {
display: block;
float: right;
margin-top: 1rem;
font-size: 1.4rem;
color: #999;
}
.primary-nav-1 .upload.primary-nav:active,.primary-nav-1 .upload.primary-

nav:focus,.primary-nav-1 .upload.primary-nav:hover {
color: #fff;
}
.primary-nav-1 .upload.primary-nav svg.primary-nav {

width: 32px;
height: 32px;
fill: #999;
}
.primary-nav-1 .upload.primary-nav:hover svg.primary-nav,.primary-nav-1

.upload.primary-nav:focus svg.primary-nav,.primary-nav-1 .upload.primary-nav:active
svg.primary-nav {
fill: #fff;
}
.primary-nav-1 nav-search.primary-nav {
float: right;
margin-left: 1rem;
}
.primary-nav-1 login-button.primary-nav {
display: block;
margin-right: 1rem;
}

.primary-nav-1 .username.primary-nav {
}
.primary-nav-1 .upload.primary-nav span.primary-nav {

display: inline;
}
}</style><style scope="search-menu-1">.search-menu-1 {
;
}
.search-menu-1 button.search-menu:focus,.search-menu-1 input.search-

menu:focus {
outline-color: #428bca;
outline-width: 0.16rem;
outline-style: auto;
}
.search-menu-1 .search-menu.search-menu {
position: absolute;
top: -800px;
right: 0;
left: 0;
z-index: 1;
padding: 0 4.5rem;
font-size: 1.6rem;
}
.search-menu-1 .tx-slide.search-menu {
overflow: hidden;
}
.search-menu-1 .initial.search-menu,.search-menu-1 .closed.search-menu {
top: -800px;
}
.search-menu-1 .closed.search-menu {
}
.search-menu-1 .open.search-menu {
top: 4rem;
}
.search-menu-1 label.search-menu,.search-menu-1 a.search-menu {

padding: 1rem;
display: block;
}
.search-menu-1 .advanced-search.search-menu {
color: #428bca;
}

.search-menu-1 .search-menu.search-menu {
overflow: visible;
top: -400px;
right: 2rem;
left: auto;
z-index: 5;
padding: 1rem 2rem;
transition: opacity .2s ease-in-out;
font-size: 1.4rem;
color: #333;
border-radius: 2px;
background: #fff;
box-shadow: 0 1px 2px 1px rgba(0, 0, 0, .15);
}
.search-menu-1 .search-menu.search-menu:after {
position: absolute;
right: 7px;
top: -7px;
width: 12px;
height: 7px;
color: #fff;
content: "";
border-bottom: 7px solid currentColor;
border-left: 6px solid transparent;
border-right: 6px solid transparent;
}
.search-menu-1 .initial.search-menu,.search-menu-1 .closed.search-menu {

opacity: 0;
transition-duration: .2s;
}
.search-menu-1 .open.search-menu {
top: 5.1rem;
opacity: 1;
}
.search-menu-1 label.search-menu {
padding: 0;
}
.search-menu-1 label.search-menu + label.search-menu {

padding-top: 7px;
}
.search-menu-1 a.search-menu {
padding: 1rem 0 0 0;
}
}</style><style scope="media-
subnav-1">.media-subnav-1 a.media-subnav {
color: #fff;
}
.media-subnav-1 img.media-subnav {
display: block;
width: 90px;
height: 90px;
margin: 0 auto 1rem auto;
border-radius: 45px;
}
.media-subnav-1 h3.media-subnav {
margin-top: 0;
font-size: 1.8rem;
}
font-size: 1.6rem;
}
.media-subnav-1 ul.media-subnav {
padding: 0;
margin: 0;
list-style: none;
}
.media-subnav-1 li.media-subnav + li.media-subnav {

padding-top: 1.5rem;
}
.media-subnav-1 .icon-links.media-subnav {
display: flex;
-webkit-box-pack: space-evenly;
-ms-flex-pack: space-evenly;
justify-content: space-evenly;
text-align: center;
}
.media-subnav-1 .icon-links.media-subnav a.media-subnav {
width: 120px;
margin-bottom: 1.5rem;
overflow: hidden;
white-space: nowrap;
text-align: center;
text-overflow: ellipsis;
}
.media-subnav-1 .icon-links.media-subnav a.media-subnav + a.media-subnav {

margin-left: 2rem;
}
.media-subnav-1 .featured.media-subnav h4.media-subnav {

display: none;
}

.media-subnav-1 {
display: -ms-grid;
display: grid;
-ms-grid-columns: 40% 20% 40%;
grid-template-columns: 40% 20% 40%;
}
.media-subnav-1 .wayback-search.media-subnav {
-ms-grid-column: 1;
-ms-grid-column-span: 3;
grid-column: 1 / 4;
}
display: none;
}
margin: 0 0 1rem 0;
font-weight: 100;
}
.media-subnav-1 ul.media-subnav {
font-size: 1.3rem;
}
.media-subnav-1 li.media-subnav {
padding-bottom: .5rem;
}
.media-subnav-1 li.media-subnav + li.media-subnav {

padding-top: 0;
}
.media-subnav-1 li.media-subnav a.media-subnav {

display: block;
overflow: hidden;
white-space: nowrap;
}
.media-subnav-1 .icon-links.media-subnav {
-ms-grid-column: 1;
}
.media-subnav-1 .icon-links.media-subnav a.media-subnav {

padding-top: 3.5rem;
max-width: 160px;
}
.media-subnav-1 .links.media-subnav {
padding: 0 1.5rem;
}
.media-subnav-1 .featured.media-subnav {
-ms-grid-column: 2;
}
.media-subnav-1 .featured.media-subnav h4.media-subnav {

display: block;
}
.media-subnav-1 .top.media-subnav {
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav {

display: -ms-grid;
display: grid;
-ms-grid-columns: 50% 3rem 50%;
grid-template-columns: 50% 50%;
-ms-grid-rows: (auto)[7];
grid-template-rows: repeat(7, auto);
grid-column-gap: 3rem;
grid-auto-flow: column;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-

child(1) {
-ms-grid-row: 1;
-ms-grid-column: 1;
}

child(2) {
-ms-grid-row: 2;
-ms-grid-column: 1;
}

child(3) {
-ms-grid-row: 3;
-ms-grid-column: 1;
}

child(4) {
-ms-grid-row: 4;
-ms-grid-column: 1;
}

child(5) {
-ms-grid-row: 5;
-ms-grid-column: 1;
}

child(6) {
-ms-grid-row: 6;
-ms-grid-column: 1;
}

child(7) {
-ms-grid-row: 7;
-ms-grid-column: 1;
}

child(8) {
-ms-grid-row: 1;
-ms-grid-column: 3;
}

child(9) {
-ms-grid-row: 2;
-ms-grid-column: 3;
}

child(10) {
-ms-grid-row: 3;
-ms-grid-column: 3;
}

child(11) {
-ms-grid-row: 4;
-ms-grid-column: 3;
}

child(12) {
-ms-grid-row: 5;
-ms-grid-column: 3;
}

child(13) {
-ms-grid-row: 6;
-ms-grid-column: 3;
}

child(14) {
-ms-grid-row: 7;
-ms-grid-column: 3;
}
}</style><style scope="media-

slider-1">.media-slider-1 .overflow-clip.media-slider {
display: none;
position: absolute;
top: 4rem;
right: 0;
left: 4rem;
height: 368px;
overflow-x: hidden;
}
.media-slider-1 .information-menu.media-slider {
position: absolute;
top: 0;
right: 0;
left: 0;
padding: 0;
height: 368px;
overflow-x: hidden;
font-size: 1.4rem;
background: #333;
}
.media-slider-1 .open.media-slider {
display: block;
}
.media-slider-1 .info-box.media-slider {
padding: 1rem;
}

.media-slider-1 .overflow-clip.media-slider {
display: block;
top: 0;
left: 0;
height: auto;
overflow-x: visible;
transform: translate(0, -100%);
transition: transform .2s ease;
}
.media-slider-1 .information-menu.media-slider {
left: 0;
z-index: 1;
height: auto;
min-height: 21rem;
background: #474747;
transform: translate(0, -100%);
transition: transform .2s ease;
}
.media-slider-1 .overflow-clip.open.media-slider {
transform: translate(0, 8rem);
}
.media-slider-1 .information-menu.open.media-slider {
transform: translate(0, 0);
}
.media-slider-1 .info-box.media-slider {
max-width: 1000px;
padding: 1.5rem 0;
margin: 0 auto;
}
}</style><style scope="desktop-

subnav-1">.desktop-subnav-1 ul.desktop-subnav {
position: relative;
z-index: 3;
padding: .8rem 0;
margin: 0;
font-size: 1.2rem;
text-align: center;
background: #333;
}
.desktop-subnav-1 li.desktop-subnav {
padding: 0 15px;
}
.desktop-subnav-1 a.desktop-subnav {
color: #aaa;
}
.desktop-subnav-1 a.desktop-subnav:hover,.desktop-subnav-1 a.desktop-

subnav:active,.desktop-subnav-1 a.desktop-subnav:focus {
color: #fff;
}
.desktop-subnav-1 .donate.desktop-subnav svg.desktop-subnav {

width: 16px;
height: 16px;
vertical-align: -4px;
fill: #f00;
}</style><style
scope="signed-out-dropdown-1">.signed-out-dropdown-1 {
;
}
.signed-out-dropdown-1 nav.signed-out-dropdown {
position: absolute;
top: -1500px;
right: 0;
z-index: 1;
overflow: hidden;
font-size: 1.6rem;
}
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-1
.closed.signed-out-dropdown {
top: -1500px;
}
.signed-out-dropdown-1 .closed.signed-out-dropdown {
}
.signed-out-dropdown-1 .open.signed-out-dropdown {
top: 4rem;
max-width: 100vw;
overflow: auto;
}
.signed-out-dropdown-1 h3.signed-out-dropdown {
padding: 0.6rem 2rem;
margin: 0;
font-size: inherit;
overflow: hidden;
}
.signed-out-dropdown-1 ul.signed-out-dropdown {
padding: 0.4rem 0 0.7rem 0;
margin: 0;
list-style: none;
max-height: calc(100vh - 7.2rem + 1px);

overflow: auto;
}
.signed-out-dropdown-1 .divider.signed-out-dropdown {
margin: .5rem 0;
border-bottom: 1px solid #666;
}
.signed-out-dropdown-1 a.signed-out-dropdown,.signed-out-dropdown-1 .info-

item.signed-out-dropdown {
display: block;
color: #fff;
padding: 1rem 2rem;
}
.signed-out-dropdown-1 .info-item.signed-out-dropdown {
font-size: .8em;
color: #999;
}

.signed-out-dropdown-1 nav.signed-out-dropdown {
overflow: visible;
top: calc(100% + 7px);
left: auto;
z-index: 5;
transition: opacity .2s ease-in-out;
font-size: 1.4rem;
border-radius: 2px;
background: #fff;
box-shadow: 0 1px 2px 1px rgba(0, 0, 0, .15);
}
.signed-out-dropdown-1 nav.signed-out-dropdown:after {
position: absolute;
right: 7px;
top: -7px;
width: 12px;
height: 7px;
color: #fff;
content: "";
border-bottom: 7px solid currentColor;
border-left: 6px solid transparent;
border-right: 6px solid transparent;
}
.signed-out-dropdown-1 h3.signed-out-dropdown {
display: none;
}
.signed-out-dropdown-1 ul.signed-out-dropdown {
max-height: calc(100vh - 8.5rem + 1px);
}
.signed-out-dropdown-1 .divider.signed-out-dropdown {
border-bottom-color: #666;
}
.signed-out-dropdown-1 a.signed-out-dropdown {
color: #333;
transition: background .1s ease-out, color .1s ease-out;
}
.signed-out-dropdown-1 .info-item.signed-out-dropdown {
font-size: .8em;
}
.signed-out-dropdown-1 a.signed-out-dropdown:hover,.signed-out-dropdown-1
a.signed-out-dropdown:active,.signed-out-dropdown-1 a.signed-out-dropdown:focus {
color: #fff;
background: #428bca;
}
.closed.signed-out-dropdown {
opacity: 0;
transition-duration: .2s;
}
.signed-out-dropdown-1 .open.signed-out-dropdown {
top: 5.1rem;
opacity: 1;
overflow: visible;
}

.closed.signed-out-dropdown,.signed-out-dropdown-1 .open.signed-out-dropdown {
right: 33.7rem;
}
.signed-out-dropdown-1 .search-hidden.initial.signed-out-dropdown,.signed-
out-dropdown-1 .search-hidden.closed.signed-out-dropdown,.signed-out-dropdown-1
.search-hidden.open.signed-out-dropdown {
right: 18.3rem;
}

.closed.signed-out-dropdown,.signed-out-dropdown-1 .open.signed-out-dropdown {
right: 39.7rem;
}
.signed-out-dropdown-1 .search-hidden.initial.signed-out-dropdown,.signed-
out-dropdown-1 .search-hidden.closed.signed-out-dropdown,.signed-out-dropdown-1
.search-hidden.open.signed-out-dropdown {
right: 23.5rem;
}
}</style><style scope="ia-topnav-

1">.ia-topnav-1 {
;
color: #fff;
font-size: 2rem;
font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif;
}
.ia-topnav-1 #close-layer.ia-topnav {
display: none;
position: fixed;
top: 0;
right: 0;
bottom: 0;
left: 0;
z-index: 0;
}
.ia-topnav-1 #close-layer.visible.ia-topnav {
display: block;
}
.ia-topnav-1 .topnav.ia-topnav {
position: relative;
z-index: 3;
}
@media (max-width: 889px) {

.ia-topnav-1 desktop-subnav.ia-topnav {
display: none;
}
}</style><style>body {transition: opacity ease-in 0.2s; }

body[unresolved] {opacity: 0; display: block; overflow: hidden; position:
relative; }
</style>
<div class="topnav style-scope ia-topnav">
<primary-nav class="style-scope ia-topnav x-scope primary-nav-1">
<nav class="style-scope primary-nav">
<a class="link-home style-scope primary-nav" href="https://archive.org"
data-event-click-tracking="BetaTopNav|NavHome">
<svg class="ia-logo style-scope primary-nav" width="27" height="30" viewBox="0 0
27 30" xmlns="http://www.w3.org/2000/svg" aria-labelledby="logoTitleID logoDescID">
<title id="logoTitleID" class="style-scope primary-nav">Internet Archive
logo</title>
<desc id="logoDescID" class="style-scope primary-nav">A line drawing of the
Internet Archive headquarters building façade.</desc>
<g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd" class="style-
scope primary-nav">
<mask id="mask-2" fill="white" class="style-scope primary-nav">
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L25.6140351,28.255814 L1.05263158,28.255814 L1.05263158,26.5116279
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L25.9649123,2.93331338 L25.4484139,3.8372093 L0.771925248,3.8372093 L0,3.1041615
L13.0806755,0 Z" id="path-1" class="style-scope primary-nav"></path>
</mask>
<use fill="#FFFFFF" xlink:href="#path-1" class="style-scope primary-
nav"></use>
<g mask="url(#mask-2)" fill="#FFFFFF" class="style-scope primary-nav">
<path d="M0,0 L26.6666667,0 L26.6666667,30 L0,30 L0,0 Z" id="swatch"
class="style-scope primary-nav"></path>
</g>
</g>
</svg>

<svg class="ia-wordmark style-scope primary-nav" height="14" viewBox="0 0 183 14"
width="183" xmlns="http://www.w3.org/2000/svg"><g fill="#fff" fill-rule="evenodd"
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<main id="maincontent">
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<h1>
Full text of "<a href="/details/KaijuReview08">Kaiju Review 08
(1995)</a>"
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<pre>KAIJU
REVIEW
The Journal of Japanese

Monster Culture
Volume One Number Eight
SPECIAL WOMEN OF JAPANESE FANTASY ISSUE
Designed and Published

by
l)nn Heed
CO-EDITOR
Diane Reed
CONTRIBUTING ARTS
EDITOR
Ron Wilber
CONTRIBUTING WRITERS
Chris Bradley
l.cnell Bridges
Marshall Crist
Rob Da^,
Andre Du Bo is
Christopher Elam
Kevin Grays
Mallei Jones
Max Della Mora
John Marshall
August Ragoiic
CONTRIBUTING ARTISTS
Keith Aiken (cover)
Sean Bradford
Chris Bradley
Ken Hare
Mike Ortiz
DoaiuickTucci
Ron Wilber
ERRATA:
l ast issue’s Ultra 7 Episode Guide

failed to credit Jim Cirronclia's
Club DaiKuiju Newslnlter/Catalog
(l ull *94) as a source for some of
the episode titles. We sincerely
apologize for this omission.
Now bite me.
FEATURES
SPACE WOMEN
IN THE KAIJU EIGA
an appreciation
by Maishall Crist 1 2
TOIIO'S FANTASY
FEMME FATALES
Our essay has a special kind of

Toho woman in mind. Women
with the ubilily to bend steel and
boil blood
Text by August Hagonc

Art by Ron Wilber 1 6
TOWER WOMEN
A look at Television's
Mighty Morphin l adies from
both sides of the Pacific
by Kevin Grays 32
TIIE EMPERESS
REMEMBERED
Tetsuko Kobuyushi Memorial

text by August Ragonc
Art by Ron Wilber 55
KAIJU LEGENDS:
EIJI TSUUIJRAYA
KAIJIJ KUT-OUTS
KUMI MIZUNO
Do it yourself fun for fan-boys

Cover Artist Keith Aiken's

work cun be seen in
the upcoming Dark Hone
Godzilla mini-series
AMERIGOJI x2
An indepth plot synopsis of both

American Godzillas
by Mattel Jones 4
HALF JAPANESE
A Defense of the American JUJIN
YIJKIOTAKO
by Chris Bradley 40
ULTIMATE HERO
EPISODE GUIDE
All about the American Uitruman

by Rob Dagg 44
TOWERED vs. GREAT
One Fan's opinion
by Andre DuBois 47
ULTRA 7:
I low one fan learned to appreciate
TNT's Ultra Seven
By John Marshall 48
GO NAGAI
Terror /one
by Max Della Mora 50
KAIJU SKELETONS
urt by Ken I lore 56
KAIJU BUZZ NOTES 3

ULTRA NEWS 49
REVIEWS 52
PLUGS 58
Back Cover : Vijindcr
Kaijn Review Volume one Number eight is copyright (c) 1995 by Dan and Diane Reed.
Undo reproductions of characters under copyright to others are used for purposes of
promotion
and review. The contents may not be reproduced or trunsmiled in part or in whole
without
written permission. For information on subscriptions and back issues write to :
Kaijn Review, 301 East 64th Street, Suite five E, NYC 10021 USA
Kaiju Review
Kaiju Buzz Notes
GODZILLA DOOMED
GODZILLA VS. TOE DESTROYER wiU feature the last

appearance of the current incarnation of the big G,
according to insiders at Toho Studio*. The script for the
next outing features (among other things) a new
genetically engineered kaiju. that attacks and nearly kills
an old (pre-’90s) ally of Godzilla, a major fall-out
between the Japanese Self Defense Force* and G-Force
(after all that destruction it was bound to happen), and
the re-creation of the Oxygen Destroyer, last employed
to kill a Godzilla in 1954.
The new script was written by G-vcteran Kazuki

Omori (writcr/director GODZILLA VS. BIOLLANTE
‘89. writcr/director GODZILLA VS. KING GHIDORA
*91. writer GODZILLA VS. MOTORA ’92) and is
scheduled to be directed by Takao Okawara (director
GODZILLA VS. MOTORA. GODZILLA VS.
MECHAGODZILLA *93. and YAMATO TAKERU ’94)
with Koichi Kawakita once again supervising the special
effects.
The script is currently undergoing changes at the

request of Okawara and Kawakita (this was delayed by
Omori. who was out of the country working on a film in
the Philippines). Many of these changes were reportedly
requested after Kawakita had gone to a screening of the
new Gam era film.
The main reason this Godzilla is being 'killed' is

that both Executive Producer Tomoyulu Tanaka, and
supervising producer Shojo Tomiyatna have long felt
troubled by the opinion that Godzilla in his current form
is just too big. Effects sets (cityscapes, props, etc.) have
traditionally been built on a 125th scale, however
Godzilla's increased size (since the events of G. VS.
K.G.) have resulted in the need for a scale adjustment (to

150th scale), leading to increased costs, which was really
all that was bothering the money men in the first
placc.Thc 'Baby Gojira' was reintroduced with the idea
of its eventualy taking over the mantle of the current
Godzilla. Okawara had originally proposed killing
Godzilla in G VS MG, but was unable to get the go
ahead from Tanaka, who at that time was on the brink of
seeing Godzilla go Hollywood, so killing the golden G
was thought unwise.
That changed when Jan Dc Bont's departure

from the TriSlar project caused some at Toho to lose
face in the Japanese press. De Bont had been much
ballyhooed by the studio during his visit there last
September. Dc Bont made the rounds of the local
newspaper and television press agencies on Toho's behalf
in order to promote the 'Hollywood' vision of Godzilla.
His subsequent split and uncomplimentary remarks with

regard to the 50 year history of the existing franchise left
more than a few people at the studio annoyed. Several
late night brainstorm sessions later the powers that be
(and the creative minds that guide them) decided that the
lime was finally right to take the scries in an exciting
new direction. GODZILLA VS SPACE GODZIIlA 's
comparative lack of success with fans and at the
boxofficc has also contributed to a desire on the part of
the studio to alter the course of the scries.
The penultimate scene in the new film will have

Godzilla reduced to glitter (ala Rodan in G V MG) by
the new O.D. and melded into the 'Little Gojira' who
will then morph fully into a replica of the okl G only
smaller. Following this the 'new G' will then go on to
defeat the new kaiju with the assitcnce of the old ally.
Meanwhile back in Hollywood, screenwriters

Ted Elliot and Terry Rossio are rewriting the last draft
of their Godzilla film with a mind toward trimming the
more expensive scenes. While numerous effects houses
will probably be involved in the eventual project, the
lion's share of the effects will be handled by Sony
ImageWorks (thus keeping the money in house) and will
reportedly feature an ima ironic* and suitmation in
addition to computer graphics.
CAMERA TO SPAWN A SEQUEL
The relative success of the new CAMERA film has led

its producers to begin plans for a follow-up film
featuring the titanic turtle's encounter against a new
insect like kaiju. Returning to the project are the film's
original creative team of director Shiyusukc Kancko
and spfx director Shinji lliguchi. Although the cast is
not yet set for the next film, you can count on seeing
actress Ayako Fujiiani (the daughter of unlikely
American action star Si even Segal) return in her role as
the girl with the psychic link to Gamcra.
Live action mcistcr Sieve Wang (who directed

THE GUYVHR. THE GUYVER II : DARK HERO)
called the new Gyaos design 'scary*, and said that the
film easily surpassed GODZILLA VS. SPACE
GODZILJA in overall entertainment value, and ranked
alongside any of Toho's post '85 effects films.
The first film was shot for around 7.5 million

dollars, as compared to the 10 million dollar budget of
the last few Godzilla films.
The current film ha* returned a modest figure

(under 5 million dollars after several weeks of release,
the film never climbed past number five in Variety's
international boxofficc totals) but has remained in the lop
ten in the first sis weeks of release. While considered
succesful the film has been eclipsed at the box office by
American product such as TOE MASK, and FORREST
GUMP. In the realm of merchandising however
Gamers'* much heralded return has brought on a
bonanza of lisccnsing opportunities for the resurcclcd
film company.
The persistent rumors of Gamers eventually

facing Godzilla in a battle of the titans arc said to be the
result of wishful thinking on the part of Daici's current
CEO Mr. Tokuma. who has repeatedly slated such in
published interviews. 'It would lake a lot of success by
Gamers to convince the studio he deserves to enter into a
film with Godzilla* said our source, 'Godzilla is more
than just a symbol for Toho. the old men are far from
convinced that Gamers is a worthy opponent from this
single film only.* The ncxlGamcra film will be shot
entirely in Japan and will crank up by mid-October with
post production scheduled for January, and release slated
for April of 1996 (during Japan's national holiday
'Golden Week'). More as further details emerge.
Kaiju Review
AMERIGOJI (x) 2
TALES OF TWO GODZILLAS
A SYNOPSIS OF THE
TED ELLIOT & TERRY ROSSIO
SCREENPLAY: GODZILLA
FOR TRISTAR PICTURES
The film open* with a traveling *hot over an Arctic

landscape, an iceberg emerge* from the choppy
water*, a *inglc word : GODZILLA, carved acroaa
iu surface.
A group of 'Green Peace' type ecologist*

situated aboard a converted fishing boat dubbed the
Rainbow Warrior maintain surveillance over a
nearby salvage ship, that is apparently searching for
illegally dumped nuclear reactor core*. Something
goes wrong, and the salvager* accidently trigger an
explosion, obliterateing themselves and selling the
tundra itself afire. A huge fissure appear* in the
earth, leaking a red-black stream of fluid from the
opening, bloodying the surrounding water. Inside
the fissure a dark womb cavern, and deeper still, a
startling discovery.
Two scientists, KEITH LLEWELLYN and

his wife JILL LIJiWEI-LYN arc summoned in the
middle of the night from their suburban home by the
arrival of a Naval Transport helicopter, and a call
from the State Department requesting their
prescence in the Arctic. They leave behind a teen-
aged daughter named TINA, who is clearly used to
seeing her parents called away on secret missions in
the dead of night
After arriving at a hastily constructed Arctic

outpost built around the site of the womb-cavem,
the couple separates; JILL to a lab in order to
analyse the a strange amniotic like fluid found at the
site, while KHTH is taken into the cavern.
Inside KEITH gets his first and last look at

a gigantic dinosaur-like creature, dwarfing all
previously known specimins and seeming perfectly
preserved. A tremble rumbles through the cavern,
dislodging chunks of ice and rock. The generator
goes off, plunging the pit into darkness. As flash
light beams stab the interior, and worker* scurry to
regain the lights, a gigantic eye lid rolls open,
revealing an orb ten feet scross. A second semi-
transparent protective lid slides open, showing a slit
like pupil. The lights are restored and KEITH turns
back to look at the creature. The open eye tracks his
movement. In the time it takes for KHTH to react in
shock, all hell breaks loose in the cavern.
GODZILLA wakes up, smashing upward out of the

frozen chamber, destroying moat of the encampment
around it. Struggling to free himself. GODZILLA
sends a blast of fiery breath downward blasting the
surrounding terrain.
JILL who is working in a make-shift lab set-

up in a cargo plane nearby sees GODZILLA break
free, gaining his fooling at the edge of the pit. and
starting in her direction. A Radio Operator sends out
a desperate mayday, and then runs as GODZILLA
near* the plane. Miraculously JILL narrowly escapes
death herself, as GODZILLA'S foot crashes down
just missing the cockpit where she is standing.
GODZILLA'S head pivots as he scans the horizon
as if expecting to see something there. The sky is
gray and empty. Staggering out of the wreckage,
JILL watches as the monster, with a final angry
roar, and skyward blast of radioactive flame, slips
into the stormy Arctic ocean and swims away.
Sometime later a fireball from space crashes

into a lake in Utah. Moments later the in the nearby
town of Traveller, Utah there is a sudden downpour
of water, frogs, and fish. This prompts a local
wilderness guide named NELSON FLEER to
comment that he hates ’weird shit’.
The fire ball is actually an ALIEN PROBE,

which sinks to the bottom of the lake and ends up
surfacing in the grotto of a nearby cavern. The
PROBE unfolds revealing a cluster of sliver tendrils
which lash out at the ceiling above it capturing and
enfolding several bats.
Meanwhile, a writer named AARON

VAUGHT and his partner MARTY KENOSHITA
are investigating the destruction of a remote
Japanese fishing village. AARON is the author of a
book titled ’THE WAKING DRAGON’ which is a
study of the dragon myth in history and its possible
basis in reality. A lone surviving witness named
JUNJI confirms what they have suspected
(something that they link to rumor* about the Arctic
incident 'the year before') and even provides them
with the name of the creature; GOJIRA which
AARON translates as GODZILLA. At that moment
they are taken into custody by Japanese officials
who hand them over to a humorless American agent
named PIKE, who has the annoying habit of
cracking the bones in his neck, while contemplating
dirty deeds. On the way back to the U.S., PIKE
briefs them on what actually happened in the Arctic,
and drafts them into service as part of the ST.
GEORGE PROJECT. ’As in the one who slays
the dragon?* asks AARON.
Later at the project headquarters AARON is

introduced to JILL LLEWELLYN by ADMIRAL
TIMOTHY BENEDEK (the nominal military
commander of the St. George Project). JILL is very
skeptical about AARON'S ability to provide much
useful help. She has become a driven character in
her desire to find and destroy Godzilla. Meanwhile
her daughter TINA, who is unaware of the true
circumstances surrounding her father's death and the
nature of her mother's current assignment, has
become a bit of a delinquent in the midst of her new
military surroundings, she has just been arrested for
trying to hot wire a car. causing some degree of
personal strife for JILL who is tom between her
duty as a mother and a monster hunter.
While back at the 'Bat-cave' the bats have
Kaiju Keview
been transformed into monstrous hybrids of the alien

creature ( PROBE BATS with 12’ wingspans) that
emerge from the cave into the night sky looking for
prey.
Back at the Arctic base camp near the 'Womb

cavern' the tundra trembles and an ancient alien
looking structure suddenly rises from below,
accompanied by shafts of blinding light, and an
audio signal that jams radio communications on a
global scale.
Later AARON. JILL, and MARTY arrive to

investigate the structure, which seems to be made up
of a previously unknown 'organic technology'.
During the course of their study of the structure,
AARON senses that it may go a long way toward
explaining the purpose of GODZILLA, while JILL
finally deduces that the fluid found at the site may
have acted as an 'Atomic tranquilizer' for the
hibernating GODZILLA. Meanwhile MARTY is
invaded by something emanating from the structure
and unnoticed by the others staggers around a bit in
the background.
Back in Utah. NELSON FLEER is

encountering more 'weird shit' when he finds one of
his horses, mutilated and impaled on the upper
branches of a tree.
Meanwhile aboard an Ocean Liner somewhere

between Hawaii and the Mainland, the Ship's
Captian is dancing in the main ballroom when an
unuasal call comes, summoning him to the bridge.
In the Radar room two officers sit watching a screen

clustered with dots headed into the path of the ship.
From the outer deck passengers watch the blue
water change to flashing silver by the passage of
hundreds and hundreds of fish and marine life of all
shapes sizes and varieties. The ship's hull divides the
stampede down the middle, the sound of fish
thumping against the forward hull vibrating at the
passage of sea life. Back in the Radar Room The
Radar Screen goes blank for a moment after the fish
have passed, then one gigantic dot appears on the
screen moving quickly toward the ship. GODZIL1A
appears on the horizon, swimming smoothly in the
ship's direction. With the alarm blaring as the crew
rushes out the lifeboats, GODZILLA dives under the
ship, his dorsal plates cutting sharply through the
bottom of the hull, splitting the ship down the
middle, it sinks quickly and the few survivors left
bobbing roughly in the nearby waters catch a
glimpse of GODZILLA, continuing serenely on
toward the mainland.
Back at the Arctic outpost JILL and AARON

lcam of the disaster via a poorly synched video /
audio transmission (it looks like a poorly dubbed
character from a Japanese monster movie, the
screenwriters only acknowledged nod to earlier
Godzilla films). They finally notice that something is
wrong with MARTY as he finally collapses. Later
under medical observation it is obvious that a type
of transformation has begun to happen to MARTY.
As he is being shipped from the Arctic base back to
the ST. GEORGE PROJECT HQ (in upstate N.Y.)
JILL tells AARON that they've figured out where
GODZILLA is headed ; San Francisco.
Cut to; A massive military build-up around the

Golden Gate bridge. Fort Point (just below the
bridge) has been designated as the command center
for a combination of air. land and sea defenses.
JILL and AARON arrive and find ADMIRAL

BENEDEK in command of the operation, with agent
PIKE also present. PIKE is confident in the ability
of the conventional weapons to destroy GODZILLA,
which he likens to a 'whale', which AARON
corrects as being more the size of 'three blue
whales'.
'Stop you're scaring me* says PIKE sarcastically.
Naturally the conventional weapons arc

useless against GODZILLA but fortunately JILL and
AARON have come up with a back-up plan using
helicopters that spray the amniolic fluid found (in
great quantity) at the Arctic site. This succeeds in
neutralizing GODZILLA at the Golden Gate bridge
(which is almost collapsed by his weight, resulting
in a close call for AARON). JILL suggests
detonating a bomb down GODZILLA'S throat, but
BENEDEK against the wishes of both JILL and
PIKE decides to transport GODZILI.A (using
several crane helicopters) across the country to the
upstate N.Y. site of the St. George Project
Headquarters. A sequence of GODZILLA'S air
transport across the country features an amazed
population reacting in ways ranging from taking pot
shots at the monster to having parties celebrating his
passage over their areas.
Meanwhile a small church in Traveller, Utah

is attacked by the PROBE BATS, with the victims
being carried back to the ALIEN PROBE'S lair in
the cavern.
Back at Fort Tuscarora (St. George Project

HQ) at the Base Hospital, AARON visits MARTY
who has by now undergone a complete physical
transformation. He has become one of the creatures
who built the Arctic Structure (in body if not yet in
mind). AARON becomes convinced that
GODZILLA was created for a purpose , to battle a
specific foe.
Meanwhile at the St. George Project itself,

JILL finds that the crew who built the hanger
designed to house GODZILLA did not take his tail
into account during its construction, leaving it to
protrude from the main building. Inside GODZILLA
is kept doped up on the amniolic fluid, and is
imprisoned in a protective electrical grid. A special
tank of the fluid has been mounted among the dorsal
fins near GODZILLA's head.
While this is going on. AARON tries to

figure out where GODZILLA might have been
headed by cross checking unusual occurrences
around the country. This quickly narrows the list
down to Traveller, Utah.
TINA LLEWELLYN (the daughter) now

aware of the truth (as to what happened to her
Father, and why her Mother has become so obsessed
with tracking down the monster) confronts her
Mother and questions the purpose of destroying
GODZILLA. JILL sends TINA to NYC to stay with
Kaiju Review
her Aunt. For the finit time JILL seems to question

her desire to destroy GODZILLA, as she stands 'eye
to eye' with the monster, its heartbeat echoing in the
control chamber.
AARON arrives in Traveller, Utah, and

quickly deduces that the rain of frogs was the result
of something impacting on the nearby Lake Ahiga.
AARON hooka up with NFLSON ITEER, who acts
as his guide out to the lake.
While back at the Base Hospital, MARTY'S

condition has worsened. ADMIRAL BENFDEK and
PIKE arc looking in on him, PIKE suggesting that
he should be terminated. MARTY suddenly grabs
PIKE'S wrist (to his horror and disgust) and asks to
see JILL.
Meanwhile at Ijikc Ahiga, FLEER and

AARON survey the damage caused by the impact of
the ALIEN PROBE into the lake. FLEER obviously
doesn't know what he's getting into as AARON
decides they need to explore the lake itself
underwater. The running joke here is that FLEER is
charging an inflated 'government rate' for his
services as a guide, and that rate keeps increasing,
the more he begins to understand what he has gotten
involved with.
Back at the Hospital, JILL meets with

MARTY who has completely transformed. He
explains about the ALIEN PROBE and describes it
as a 'Doomsday beast' able to create a new form out
of the genetic material found on the invaded planet.
JILL asks how much time they have before the
monster arrives on Earth and MARTY says ’It's
already here.’
Back at Inkc Ahiga, AARON and FLEER

arc in the water preparing to go diving. FLEER an
experienced professional diver cautions AARON
about the dangers ahead (he really has no idea
himself what he is getting into) telling AARON that
fresh water diving is even more dangerous than
ocean diving which he had to give up. 'Why'd you
give it up*? asks AARON. "Too much weird shit*
says FLEER.
They dive down to the bottom of the lake and
soon find a cave entrance which they have to
remove their tanks in order to squeeze through.
FLEER is startled by the appearance of a submerged
mountain lion corpse, badly mangled and decayed.
Surfacing in the underground grotto they find more
dead creatures floating in the water including a cow.
Some of the decomposition seems almost of a
chemical nature. FLEER begins to get nervous.
Some bats swoop down on them providing a
momentary scare. Then on one side of the cavern
they spot what looks like a rock formation in the
shape of a giant claw. Climbing higher to get a
better look lltcy discover that the giant claw is just
part of an immense creature that fills the cavem.
It is die GRYPHON, with the body of a

mountain lion , leather like, blood red wings, it
resembles the creature of myth. This is what the
BAT PROBES have created out of genetic spare
parts. FLEER can not at first believe that the
creature is alive, and lights a flare to study it more
closely, it is alive however, and reacts to the heat

and smoke from the flare. FLEER and AARON run
back to the grotto grabbing their equipment as the
GRYPHON lets out a jarring scream. Its mouth
opens revealing writhing snake like appendages
which lash out toward the two men as they narrowly
escape through the underwater cave entrance.
Back outside, surfacing on the lake, they see

the GRYPHON explode out of the mountain side, its
skin smoothly gleaming in the sunlight, the monster
towers over the nearby trees as it lets out another
scream.
Meanwhile back at the St. George Project.

GODZILLA is coming out of the influence of the
fluid, as workers panic trying to escape.
While at the Base Hospital, JILL still meeting

with the transformed MARTY asks where the
creature he is becoming came from, and MARTY
replies that it was an ancient star bom civilization,
that lived at a lime when the Earth had three moons
(that's a long time ago campers) He explains that the
transformation technology was their only way of
communicating with any race that would come to
exist long after they had gone. JILL still thinking of
GODZILLA asks how they can kill him. And
MARTY misunderstanding says that GODZILLA
will kill the ALIEN before it has a chance to
reproduce. But JILL corrects him asking how to kill
GODZILLA, since only the MARTY / CREATURE
alone may have that knowledge, but MARTY grabs
her arm with a claw like hand, and says that she
'can't Godzilla.. kill' .. and then dies.
Back at Lake Ahiga, FLEER and AARON

arc running up a hill, back toward the Jeep. Behind
them the GRYPHON spreads its wings, power
building up within them and fires an energy bolt in
their direction which explodes a stand of trees
nearby. They make it to the Jeep and take off at
high speed while the GRYPHON takes to the air
behind them. As the GRYPHON looks down upon
the fleeing Jeep, it disappears momentarily beneath
an overpass in the road. The creature fires an energy
bolt at the jeep as it reappears on the far side of the
overpass destroying it instantly. FLEER and
AARON arc however alive and well under the
overpass.
The GRYPHON proceeds to the edge of

Traveller, Utah, where it uses its energy beam to
blow up a nearby gas storage tank. In moment* the
town is reduced to ruins by the monster. It then
continues on eastward.
FLEER and AARON emerge from the

smoke to survey the ruins of the town. AARON
tells FLEER that he has a jet waiting and has to
leave, but FLEER insists on coming along, if it
means a chance to help fight the GRYPHON.
Back at the St. George Project, GODZILLA

is struggling to escape, os workers race to prevent it.
A news bulletin flashes on one of the operation
center's monitors showing the destruction of
Traveller, and shots of the GRYPHON itself.
AARON radios in a warning to JILL that the
GRYPHON is probably headed her way in order to
Kajju Review
kill GODZILLA.
GODZILLA free* himself and for a moment

JILL looks at GODZILLA (and vica versa) as if for
the first time understanding each other. Then
GODZILLA escapes into the nearby Buzzard Bay,
disappearing into the water.
AARON and FLEER arrive as satellite

recons indicate that GODZILLA is now heading
down the Hudson river toward a confrontation with
the GRYPHON in Manhattan. ELL realizes that
TINA is in danger (along with millions of other
people of course). She leaves the Project to try and
get to TINA, leaving AARON as the unexpected
head of the Sl George project. It is clear that PIKE
is not interested in trying to save anyone in New
York, his only goal is to kill GODZILLA. AARON
however insists that something must be done to try
and save the people.
ELL arrives (via helicopter) in New York,

where the city is in pandemonium as a result of the
impending battle. The GRYPHON wheels around
the skyline looking for GODZILLA.
A command post is hurriedly constructed on

Governor's Island, while in the distance the Statue
of Liberty is uprooted by the GRYPHON and
smashed aside. The GRYPHON settles down on the
shattered base to wait.
Meanwhile GODZILLA stomps through

another section of the city killing a few looters
(stealing guns out of a sporting goods store) who
wander into his path.
Finally the two monsters clash beside the

World Trade Center towers. GODZILLA tricks the
GRYPHON into attacking his reflection in one of
the towers, and soon that tower crashes to the
ground. GODZILLA escapes and wedges himself
between two nearby buildings, out of reach from the
GRYPHON. ELL who by now has found TINA
realizes that the Tank of fluid still strapped to
GODZILLA'S dorsals is weakening him. and has
stifled his ability to breathe fire. She communicates
this to ADMIRAL BENEDEK at the command
center (via a cellular phone she loots from a store
window). AARON and PIKE listen in. PIKE just
wants to see GODZILLA dead, but AARON decides
to try and dislodge the tank, since GODZILLA
seems to be their only hope of destroying the
GRYPHON. PIKE and BENEDEK argue but PIKE
is overruled.
Soon AARON and FLEER are repelling

down (from a helicopter) onto GODZILLA'S back,
where they begin to place C-4 charges around the
lank.
Meanwhile in another helicopter, PIKE

attempts to shoot down the GRYPHON, which fails.
Hiding in the air behind another building. PIKE
orders his gunner to shoot through the building at
the GRYPHON. The gunner hesitates since it's the
Empire State Building. PIKE is asking him to
target. The fired rockets devastate the top of the
building, but pass harmlessly by the GRYPHON on
the other side, who seems to scream in triumph, but
the top of the building tumbles forward crashing into
the monster and sending it hurtling toward the

ground, where covered in debris it lies motionless.
PIKE smiles, and when the gunner asks him *what
about the people?* PIKE says ’Acceptable losses*.
Banking around. PIKE'S helicopter heads toward
GODZILLA.
Meanwhile below the shattered remains of

the Empire State Building, the GRYPHON rises
from the debris.
FLEER and AARON are placing the last of

the charges when PIKE'S helicopter attacks their
helicopter. They arc momentarily dragged across the
tank (as they are still attached by drop lines to their
helicopter above, which tries to retreat from PIKE's
attack). AARON'S line is snapped across one of the
dorsals, and FLEER almost falls to his death but is
narrowly rescued by AARON.
Just as PIKE is about to launch a missile

attack at GODZILLA (and our heroes) the
GRYPHON appears and sends an energy boll
toward PIKE's chopper which causes his missiles to
go high destroying a water tower above
GODZILLA'S head. AARON and FLEER scramble
underneath the lank just in lime to avoid being
washed away by the resulting flood.
The GRYPHON land* in the street nearby

and folding its wings back (in order to fit between
the buildings) heads toward GODZILLA.
JILL and TINA are in the street between the

GRYPHON and GODZILLA, and seeing the danger
FLEER and AARON are in she gets TINA to hot
wire a nearby fuel tanker truck
(is Jim Cameron directing this sequence?) . which
they send crashing into the GRYPHON, who
engulfed in flames takes to the sky.
After setting the last of the timers on the

C-4. FLEER and AARON narrowly escape as the
fluid tank is blown free. The fire damaged
GRYPHON goes into an attack dive firing an energy
bolt at GODZILLA who staggers but remains
standing, reluming the GRYPHON'S attack (for the
first time) with a blast of his own destructive breath.
The GRYPHON wheels away seemingly in pain and
heads for the East river. GODZILLA follows,
kicking the fallen tank out of his path, as he pursues
his rival.
Meanwhile PIKE recovers in the shattered

tail section of his crashed helicopter. Using an M16
for support he staggers out of the chopper finding
himself near the Brooklyn Battery Tunnel.
From the air the GRYPHON spots

GODZILLA heading into the East River and
follows. On the street below. AARON. FLEER.
JILL, and TINA are momentarily plunged into
darkness as the shadow of the GRYPHON passes
over them. They suddenly find themselves
confronted by PIKE, who points the M16 at them.
Just then the GRYPHON lands with a crash nearby
knocking them all off their feet. PIKE fires the gun
recklessly at the monster's back, who cranes his
head around and spots the group on the street
below. As everyone else flees toward the tunnel,
PIKE continues to fire at the monster. PIKE finally
Kaiju Review
follow* them into the tunnel with the GRYPHON in

pursuit. The GRYPHON opens his mouth and the
snake like appendages lash out grabbing PIKE
around the waist, and leg. Despite AARON'S
attempt to save him. PIKE is dragged out of the
tunnel and into the GRYPHON'S mouth. The rest
of the group takes off in a truck they find
abandoned in the tunnel.
The GRYPHON having swallowed PIKE,

twitches for a moment, and a new light comes into
its eyes. It rolls its head back at the shoulder,
cracking the bones in its neck exactly as PIKE used
to do. Spotting the fallen tank of fluid nearby, the
GRYPHON picks it up with a new understanding
and takes to the air again, headed toward
GODZILLA.
Back below AARON and the rest find

themselves blocked by a jack-knifed semi at the mid
point of the tunnel, so they get out of the truck in
order to walk the rest of the way.
While above them in the East river

GODZILLA spots the GRYPHON coming toward
him through the air carrying the tank. GODZILLA
cocks his head to one side as if calculating his next
move and then sinks into the water up to his head as
if afraid.
In the tunnel tiles start to fall from the ceiling

and tiny fissures begin to open in the tunnel wall
seeping water. The group begins to run.
Above, GODZIIJA with his head just above

the river, and the Brooklyn Bridge in the
background, breathes fire at the surface of the
water, creating a wall of mist over the river. He
then slips beneath the waves. The GRYPHON
unable to see through the fog crashes headlong into
the Bridge, dropping the tank and getting tangled up
in the support cables.
Below, about half a mile behind the running

group GODZILLA'S foot comes crashing through
the roof of the tunnel sending millions of gallons of
water streaming in behind them. The group runs to
the safety of a nearby red Subaru hatch back. Just as
they arc safely buckled in the wall of water crashes
into the car sending it sailing forward with terrific
force. Around them the tunnel fills with water.
Above, GODZILLA knocks the tank out of

reach of the GRYPHON with a swipe of his tail.
The GRYPHON tries to escape, but GODZILLA

pulls him out of the sky taking a bile out of one of
his wings, they both fall back into the river.
In the tunnel, the Subaru is stopped when it

jams up against a crashed bottled water truck ahead.
AARON is pinned beneath a damaged dashboard.
The rear window begins to crack under the pressure
of the water. They open the windows in order to
equalize the pressure and the car slowly fills with
water.
Meanwhile above them GODZILLA and the

GRYPHON battle in the East river. The GRYPHON
sloshes GODZIIJA with a wing lip, causing
GODZILLA to howl in pain. The GRYPHON takes
off and GODZILLA tries to fire another blast at
him but the creature is too far away.
Below, the doors of the Subaru arc pinned

between the bottled water truck and the tunnel wall,
so AARON opens the hatchback letting out the last
of the air allowing everyone except himself to swim
free. He is still trapped by the dashboard. JILL spots
the bottled water truck and has an idea. It seems that
AARON is about to drown when JILL swims back
into the car and seemingly kisses him. She has in
fact transferred air from her mouth to AARON'S. It
seems that she has found a supply of breathable air
in the empty water bottles on the nearby truck (sure,
it could happen). Assisted by FLEER they free
AARON from behind the dashboard and the
foursome swims to safety each carrying their own
bottle of air. Despite having his own bottle AARON
continues to kiss JILL, which causes TINA to roll
her eyes at FLEER.
While above them GODZILLA stands alone

and badly wounded scanning the skies above him for
any sign of the GRYPHON. The water around him
is stained red with his blood. In the distance he spots
the GRYPHON, who is making a high angle power
dive toward GODZIIJA. The GRYPHON is
moving toward his target at a speed that peels back
the lips from his mouth in a rictus snarl.
GODZILLA stands unmoving until the last possible

moment when he leaps forward exposing his three
rows of sharp dorsal fins. The GRYPHON is ripped
open by its impact on the dorsals. The impact is
such that as the two creatures smash into the water it
rushes up over the sides of both embankments,
flooding the nearby streets.
The soggy foursome emerge from the tunnels

opening in time to see GODZILLA attacking what is
left of the GRYPHON in the river. GODZILLA
tears off the GRYPHON'S head and holds it up. A
crowd gathered on the Brooklyn side cheer at
GODZILLA’S victory. Suddenly (big surprise) the
GRYPHON'S eyes snap open, and the snake like
appendages snap out at GODZILLA. Looking more
then a little bit pissed off. GODZILLA spikes the
GRYPHON'S head onto the jagged remains of one
of the Brooklyn bridge's support towers. The head
dies, and GODZIIJA roars triumphantly, drowning
out the sounds of the crowd nearby.
Back at the tunnel entrance, FLEER grabs

AARON at the sight of GODZILLA'S victory and
picks him up happily. AARON and JILL exchange
warm smiles. Then the sound of approaching fighter
jets cuts into their reverie. The military is ready to
finish the job by destroying GODZILLA.
JIIJ. spots a nearby helicopter and they

commandeer it flying off toward GODZILLA.
Back at the command center ADMIRAL

BENEDEK orders that the jets concentrate their fire
on GODZIIJA'S wounds. He sees the helicopter
come up between the jets and the monster, and
orders it to leave the area. JILL and AARON
convince him that the possibility of more monsters
arriving from space exists (sequels) and so he calls
off the attack at the last minute. However the wash
of the jets sudden retreat sends the helicopter
crashing into GODZILLA'S shoulder. All seems
Kajju Review
lost for the herioc foursome on board the helicopter as

it plunges toward the river, when it is suddenly caught
by GODZILLA'S hand (is Hanna- Barbara directing
this sequence?). GODZILLA sets the copter gently
down. The group scrambles out of the helicopter and
stand watching GODZILLA in awe. He sways a bit
weakened by the battle and finally turns collapsing into
the water. It seems as if he might be dead but soon
they see him swimming off into the distance. As the
screen goes black we hear the roar one more time.
A SYNOPSIS OF THE
FRED DEKKER SCRIPT
FOR STEVE MINER’S PROPOSED
GODZILLA.
KING OF THE MONSTERS IN 3D
( Written in the early '80s by Fred Dckkcr for director

Steve Miner's proposed 3D Godzilla film, the
ambitious project never got much past the drawing
board (done by William Stout). Miner had previously
helmed FRIDAY THE 13th PART 3D. Fred Dckkcr
also wrote and directed the cult classic NIGHT OF
THE CREEPS, and MONSTER SQUAD. Several of
Mr. Dckkcr' s ideas were obviously lifted by Toho
when they finally got around to doing the '84 Godzilla
film, including an orbiting missile platform, an anti-
nuke weapon, and evil Russians as part of the plot )
A meteorite crashes into a Nuclear Weapons Platform

orbiting the Earth causing the accidental launch of a
nuclear device toward an unknown target below. A
Cruise missile is launched to intercept the war head
and the two bombs go down somewhere in the South
Pacific. The ocean floor is ripped open by the blast
and a creature emerges in the atomic afterglow.
Sometime later a Navy salvage team uncovers a

disabled Russian Sub in the Ocean off Mexico. On
board they find documentary evidence of a gigantic
marine creature that attacked the ship. They also find
two lop secret ’dragon' missile prototypes. They are
observed by a group of Russian spy's nearby. The
leader of the Salvage team is COMMANDER PETE
DAXTON. an experienced Naval Intelligence Officer,
with an eye-patch, a leather jacket, and a no nonsense
attitude. His opposite number on the Russian squad is
BORIS KRUSCHKOV an old enemy with a lot of bad
history.
Elsewhere a small commercial fishing Trawler

catches something big in its nets, almost sinking the
ship. The crew is forced to cut through the net's cables
in order to save the ship. One man. TONY
O'ROARKE, a scruffy drifter with a background in
helicopters finds a strange object in what remains of
the net.
Back on the mainland LESLEY-ANNE

DAXTON. the Commander's ex-wife, picks up their
son KEVIN at school and drives him to his Father's
for the weekend. At the same lime, a group of
Government agents shows up at DAXTON’S with new
orders. LESLEY drops KEVIN off and leaves before
DAXTON has a chance to explain.
Cut to three days earlier, on a Polynesian
island somewhere in the South Pacific, a commando

team led by a hard boiled General named
McDERMOTT. survey the smoking ruins of a native
village. Nearby a group of children play in a mud hole
formed out of a gigantic reptilian footprint.
Something huge can be heard crashing toward them

through the jungle. Two of the soldiers flee in terror,
as McDERMOTT looks up in horror.
Back in the present, a journalist named DANA

KRYER reads a news report about the destruction of
the Polynesian village and General McDERMO’lT'S
refusal to speculate as to the cause of the catastrophe.
TONY arrives at the newspaper office with a copy of
an article DANA wrote about the trawler incident. He
shows her a prehistoric (yet freshly dead) trilobilc that
be found in the net.
DANA arranges to meet with a University

Professor named BALINGER. an expert in paleo-
biology. who has written several books on the subject
of proto-saura. atomic powered predecessors of the
dinosaurs that once ruled the Earth. BALINGER
quickly dismisses the trilobitc as a fake but agrees to
study it further, just before he is whisked away by a
couple government agents. Asked to come down to
Baja. Mexico, he decides to invite his 'girl-friend' who
is free for the weekend, it is LESLEY-ANNE
DAXTON.
DAXTON and KEVIN arrive at a hastily

constructed basccamp near the Pacific ocean. They arc
joined a few minutes later by BALINGER who arrives
in another jeep. Lying on the beach below them is a
dead reptile like creature, as big as a house.
In a conference room later that night.
DAXTON briefs a group that includes both

BALINGER and McDERMOTT. about the discovery
of the Soviet submarine, and its apparent connection to
the dead creature found on the beach. McDERMOTT
clearly lying through his teeth, dismisses the animal as
a possible Soviet secret weapon. Animosity develops
between BALINGER and McDERMOTT. As
BALINGER explains his 'prolo-saur' theory, a heated
debate ensues. At least one of the military scientists is
of the opinion that the creature may represent the start
of an invasion from outer space. As the debate
continues, the scene shifts to another location, where
KRUSCHKOV and s scientist named PETROVICH
(the engineer responsible for the 'Dragon' missile)
listen in surreptitiously. Confused over talk of the
'prolo-saur' creature the Russian scientist thinks they
arc speaking in code. KRUSCHKOV however is
already formulating the next step in his plan to retrieve
the lost missiles.
Later that same night BALINGER and

DAXTON are walking along outside their hotel,
talking about the day's events. KEVIN is seen nearby
practicing an escape routine (he's lied to a nearby
column, and escapes in a matter of moments).
BALINGER invites DAXTON for a drink and they arc
suddenly joined by LESI.EY-ANNE DAXTON.
Needless to say both husband and ex-wife (and

BAIJNGER) arc flustered by this encounter. KEVIN
runs off, and BALINGER leaves the two alone to talk.
It is clear that the marriage was broken by
Kaiju Review
DAXTON'S frequent (and dangerous) calls to duty, and

LESLEY is none too happy to see her son KEVIN
lagging along on his latest assignment.
KEVIN arrive at the cliff edge and looks down at

the dead creature below. BAIJNGER shows up
momentarily startling him. Bonded for the moment by
their shared discomfort of the situation back at the hotel,
BALINGER explains that the creature below is called
GODZILLA after an old Japanese legend concerning a
dragon god, the king of monsters. 'Dragon?*, says
KEVIN, *you mean he could breathe fire?" *Not
anymore* says BAIJNGER looking at the dead creature
below.
Meanwhile further up the coast the night time

calm of an off shore OIL DERRICK is destroyed by the
arrival of the real GODZILLA. Alive and
fully grown, this GODZILLA makes short work of the
platform. As GODZILLA departs the horizon is filled
with an eerie atomic glow, that fades, the derrick in
flames.
After reading a news report about the derrick

disaster (which is unexplained) DANA visits TONY'S
apartment. Together they pay a visit to BALiNGER'S
office at the University. He has already been trying to
locate her, given the new significance of the trilobitc.
Given that the trawler incident only happened three days
previous, and the destruction of the Oil Derrick
BALINGER begins to suspect that another creature may
be out there, a theory the military (particularly
MeDERMOTT who knows better) arc quick to ridicule.
Hoping to find radioactive residue similar to that found
in the baby, BALINGER gets a hold of a helicopter, and
with TONY as a pilot, they pay a visit to the derrick's
wreckage. Soldier guarding the site (under
MeDERMOTT'S command) fire at the helicopter which
narrowly escapes after BALINGER manages to get a
positive reading from the wreckage. As they head back
to the mainland, an ARMY helicopter in lethal pursuit.
GODZILJ.A suddenly rises out of the waves and into
their path, TONY narrowly escapes but the Army
chopper is not so lucky. BAIJNGER determined to alert
the media, is stymied by lack of evidence, s
MeDERMOTT has revoked his security clearance, and
the BABY GODZILI-A has been removed to a secret
location near by.
Meanwhile, later that night KEVIN is abducted

by the Russian agents to be held as ransom for the lost
'Dragon' missiles. KEVIN is tied to a chair and led
locked in the storage room of KRUSCHKOV'S hideout
near Fort Point (below the Golden Gate bridge).
Moments later KEVIN manages to escape his bonds.
At the same time somewhere out on the Bay, a

sailboat is swallowed up in the open maw of
GODZILLA, the Golden Gale bridge looming in the
background.
KEVIN finds a flare gun in the room he is

trapped in and fires it through an open ventilation shad
catching the attention of a nearby Coast Guard cutler
which goes to investigate. Using a second flare. KEVIN
disables his guard and escapes from the hideout with the
Russian agents in hot pursuit. GODZILLA appears near
the shoreline in front of KEVIN, and then slips back into
the water. KEVIN is momentarily saved from capture
by the scientist PETROVICH who is against using the

boy as a hostage, but KRUSCHKOV gets the drop on
them. He is about to kill PETROVICH when the Coast
Guard Cutter arrives. A gun battle ensues, only to be
interrupted by the reappearance of GODZILLA beside
the Golden Gale Bridge. KRUSCHKOV manages to
escape with KEVIN in low in a nearby skiff, but the boat
is smashed in the wake of GODZILLA'S tail.
Full scale panic erupts at the sudden appearance

of GODZILLA near the bridge.
Meanwhile elsewhere, BALINGER and DANA

have broken into MeDERMOTT’S office, where they
discover proof of MeDERMOTT’S knowledge of
GODZILLA.
At the same time DAXTON and LESLEY rush

to investigate reports of KEVIN being seen at Fort Point.
While at the Presidio troops and weapons are

being prepped under MeDERMOTTS command to face
GODZILLA. This is obviously the moment he has been
wailing for all along.
After avoiding capture by Soldiers acting on

MeDERMOTTS orders. BALINGER hitches a ride on
the back of an XM -1 Tank headed toward the bridge and
the main battle.
Below the bridge at Fort Point. DAXTON and

LESLEY are faced with the news of KEVIN'S death.
Meanwhile above them the battle begins. The

conventional weapons only serve to enrage GODZILLA
who begins smashing the bridge.
DAXTON narrowly saves himself and LESLEY

from falling debris.
BALINGER confronts MeDERMOTT, who tells

him that he kept the monster a secret because he was
afraid that 'candy-asscd' scientists like him would want
to study the monster instead of just destroying it.
BALINGER is led away under armed guard, while
MeDERMOTT calls in a major air strike against
GODZILLA who is now heading toward downtown San
Francisco.
GODZIIJA (causing untold destruction) wanden

the city, tearing off the roofs of various water front
warehouses as if searching for something. Walking
across some tracks he derails a train. In the next
warehouse he finds what he is looking for. the dead
BABY. GODZILLA. The King of the Monsters looks
very sad for a moment, and then as jets sweep into the
scene in attack formation, he rises up seemingly even
bigger than before, ready to destroy the whole city.
Using one of the train cars as a bat he smashes several
jets out of the sky.
Not faraway DANA becomes trapped in the

flaming ruins of the upper floors of the newspaper
building. She finds a parachute in the wreckage of an F-
16 that has crashed through the wall of the office and
uses it to drop to the ground several dozen stories below.
Meanwhile as the jets retreat, giving up the

battle, DAXTON finds BALINGER and together they
assess the possibility of destroying GODZILLA with the
Russian 'Dragon' missiles. With the help of the (by now
in custody) PETROVICH, they formulate a plan. The
'Dragon' missiles it turns out were specifically designed
for use against nuclear weapons. According to
BALINGER'S ' proto- saurus' theory GODZILLA has an
10
Kaiju Review
atomic based metabolism, so the missiles should have a

negative effect on him
Later at the Presido's helipad, McDERMOTT at

first refuses to co-operate with the plan which calls for
him to let DAXTON call the shots for awhile. He is
countermanded by a superior officer who is sympathetic
to DAXTON'S plan. McDERMOTT however continue*
his challenge of DAXTON'S authority, prompting
DAXTON to snatch the General's hat off his head and
riddle it with bullets, telling him that next time he'd
'leave his head in it'.
LESLEY worried that DAXTON may be killed

carrying out the attack on GODZILLA tries to dissuade
him and BAL1NGER (who understands the physiognomy
of the monster beat, volunteers. DAXTON (still pissed
off at this point) tells LESLEY that here she has an
opportunity to make a choice between him and
BALINGER. Which of course angers LESLEY.
Just then KRUSCHKOV suddenly shows up with

young KEVIN in tow. HE commandeers the helicopter
carrying the 'Dragon' missiles. KEVIN manages to
escape before the helicopter takes ofT, and runs into his
mother's arms. DAXTON (after seeing that his son is
ok) leaps up and grabs the landing gear of the helicopter
and is carried aloft.
In the air he gets the jump on KRUSCHKOV and

punches him in the face with a force that can be felt in
the back row of the theatre. The two continue to struggle
and DAXTON ends up back outside the chopper hanging
onto the landing gear as KRUSCHKOV leans out to cut
him. Suddenly GODZILLA rears up into the path of the
helicopter, as the pilot pulls back on the joy stick to
avoid the monster, KRUSCHKOV struggles to avoid
falling out the open cockpit DAXTON grabs him by his
jacket and hauls him out into the night air.
KRUSCHKOV falls into the hand of GODZILLA who

looks at him quizzically for a moment and then Area a
blast of atomic breath in his direction, now crispy fried
he pops the dead Russian into his mouth like an 'M&M*
(this is in the script I swear!)
At the same time DAXTON orders the helicopter

pilot to make another pass on GODZILLA. While below
the Military continue to fire mortars at GODZILLA,
since McDERMOTT never ordered the cease fire. Just as
DAXTON fires the first of the remaining 'Dragons' at
GODZILLA a mortar explodes close by throwing off his
aim. The helicopter tries unsuccessfully to avoid the
monsters swipe and ends up crashing on a nearby roof
lop.
On the ground below, BAUNGER. LESLEY and

KEVIN have followed in a jeep. GODZILLA knocks
over a nearby electrical tower, a portion of which traps
KEVIN. GODZILLA looks down and appears to
recognize KEVIN from their previous encounter. He lifts
the wreckage , freeing the kid. who scrambles to safety.
KEVIN yells to GODZILLA warning him to get away
before he's killed. GODZILLA seems to understand the
tone if not the actual meaning of KEVIN'S warning and
turns back toward the bay.
Meanwhile on the roof where the chopper

crashed, the pilot lies dead, while a bloody DAXTON
climbs out of the burning wreckage holding the
remaining 'Dragon' missile. He limps clear just as the

craft explodes.
Later on the street below, DAXTON

commandeers a police cruiser and heads back to the
Prcsido. While nearby, GODZILLA continues to cut a
wide path of destruction as he heads back toward the
waterfront.
Elsewhere, the bruised and miserable trio of

BAUNGER. LESLEY and KEVIN, stop on their way
back to the base, and pick up a dazed looking DANA
who just happens to wander by.
At the base. DAXTON is seen bloody and

wounded, dragging the remaining missile behind him,
looking for all the world like 'Christ with the cross'. He
enters the command center where McDERMOTT is busy
issuing orders. Handing the missile ofT to an enlisted
man. DAXTON gets face to face with McDERMOTT
and after a moment of silence punches him in the face.
They both collapse to the floor just as BAUNGER,
LESLEY and KEVIN show up. amazed to find
DAXTON alive.
It turns out that there are no pilots left on the base

as McDERMOTT has just sent them all off in the blest
round of attacks against GODZILLA who is back in the
Bay. In any case the only remaining helicopter is an
experimental prototype called the Super X (just kidding,
it's really called an S-9 Hornet), and no one could fly it
without special training.
Enter TONY (who up to now has only been

glimpsed a couple of limes drinking in a bar
somewhere). Finally with a chance to prove himself, he
picks up McDERMOTTS damaged hat and putting it on
says 'Lets nuke that S.O.B.*
While out on the Bay an unfortunate Cobra

Bbckhawk Helicopter is blown out of the sky by
GODZILLA.
DANA gives TONY a tearful kiss for luck and

he takes of f, with BAUNGER as his gunner.
As they head toward GODZILLA they pass the now

retreating squadron of Bbckhawks. GODZILLA
scrambles up onto Alcatraz Island to face this final
attacker. TONY dodges a blast of atomic breath, and
sweeps in toward the target. On the shore a tearful
KEVIN watches the final attack. BAUNGER tears in his
eyes as well, lines up the sights of the missile buncher.
says: ’Sorry*, and fires the remaining 'Dragon' down
GODZILLA'S throat. The monster swallows and
immedbtely goes into convubions, and with one final
aimless skyward blast, dies. In the East the Sun is rising.
11
Kaiju Review
spacc woAffi in w kaiju ® a
An Appreciation by Marshall Crist
Kuiju Hiflu’s Queen of Space, Kami Mizuno
Space women in the kaiju ciga. Let

the phrase roll over your tongue. Allow
the images of malieious Kilaacs, docile,
identical looking X itc servants, and
benevolent, prophesying Martian
princesses reverberate in your mind.
Their existence begs the question:
Why? There is no simple answer, and

yet, if you look inward, perhaps you
understand in a way that docs not rely
on logic. Spacewomen.
Let’s take a walk down space

woman memory lane. Early kaiju ciga
was a void barren of extraterrestrial
females. THE MYSTE RIANS (1957)
particularly illustrates this, telling as it
does the story of the male survivors of a
catastrophe on the planet Mysteroid.
The women of Mysteroid, perhaps
because of their fallout induced
infertility, arc seemingly regarded as
superfluous to those in power (among

both the aliens and those at Toho) and
do not even appear in the film. But this
would change.
GHIDRAH THE THREE-

HEADED MONSTER (1964) was
perhaps the first Japanese giant
monster movie to attempt to portray a
space woman. In it an Earth princess is
miraculously saved from an
assassination attempt, but suffers a
bout of amnesia. In place of her
memory is the belief that she is a
Martian. She begins to make
frighteningly accurate predictions about
the activities of Earth’s monsters. 'Die
exact nature of this transformation
remains vague; for once the filmmakers
didn’t feel the need to explain
everything in minute detail. Is the
princess’ mind under the domination of
real Martians? fs she of mixed
Earth/Mars ancestry, her genetic
memory stirred by the arrival of Mars’
destroyer, King Ghidorah? Or is it all
just a bizarre fantasy brought on by the
shock of the attempt made on her life?
The usually melodramatic Akiko
Wakabayahi plays the princess as a
cypher, upon which viewers can project
their own rationalizations.
Akiko Wakabayashi, at peril.
ItevTCW
"CASABl 7VNCA" Toho style with Nick uiid Kumi.
'ITic depiction of space women

would make a major advance in
MONSTER ZERO (1965). Ean favorite
Kumi Mi/.uno essayed the role of
Namikawa, the X itc who would betray
her planet for love. Unlike the other
women of Planet X (all portrayed by
Mi/.uno) Namikawa was able to break
free from the computers that controlled
her and offer Earth a clue to the X ites'
Achilles heel, before being martyred by
the leader of Planet X. Decked out in a
marvelous silver and black space
uniform, Ms. Mi/.uno also sports the
phoniest, most alluring wig worn by a
'Polio actress since ATR AGON’s Mu
Empcrcss. Despite fine turns in other
noteworthy genre films, Mi/.uno never
equalled the combination of passion
and pathos that she brought to her
space woman role. One must admit,
however, that the film's scenario
shamelessly panders to the male fantasy
that a woman might become so smitten
as to change such a fundamental aspect
as planetary alliance.
In 1967's TIIE X FROM OUTER

SPACE, the tables were turned and
Earth women finally made it into outer
space. True to gender stereotyping,
two female astronauts must resolve
their love triangle, but first there arc
low gravity aerobics, shower scenes,
and ag,iant reptilian chicken with ping
pong ball eyes on the loose. Peggy
Neal's character helps save the world a
couple of times before bowing out of
her romantic entanglements.
DES'PROY ALL
is not only
considered
by many to
be the
penultimate
monster
movie, it is
also one of
the finest
examples of
space
women at
their most
evil: the
Kilaacs.
This silver
bathing cap
and cloak
clad race
used
Earthlings as
their pawns The Kilauc I cadcr (Kyoko Ai).
and showed
no mercy. The gander of these invaders
takes on some interesting implications.
Asian cinema is often accused of being
misogynistic; certainly Japanese
pornography seems inordinately
interested in the debasement of women.
In this context, DESTROY ALL

MONSTERS seems rife with examples
of male anxiety.
'Hie scene of one young woman's

earrings being, tom from her cars is
unusually brutal for a kaiju cip,a of this
period. It is a scene of extreme
interpersonal violence by a man against
a woman (albeit perhaps justified) and
is a far cry in tone from the silly
monster decapitations and
dismemberments of the Camera series.
(’Die humiliation of the woman is

heightened as photographers lean
forward for grisly close ups, like the
stereotypical camera toting, Japanese
seen so frequently in Western
"humor.") Another questionable scene
occurs when the extremely phallic XY
I 7 )
MONSTKKS (1968)
"1 lmmm brains!" (from GAMUItAVS. GUU10N)
assault ship enters the Kilaac "cave"

and penetrates their domed moonbase
with the vehicle's pulsing laser ray.
You don't have to be Freud to figure

that one out.
Daici would meet the challenge and

present evil space women the fallowing
year in GAM ERA VS. GUIRON,
perhaps as an intentional reversal on
GAM ERA VS. VIKAS’ all male
invaders from the year before. Guiron's
two mistresses arc bad indeed — they
intend to cat the brains of two Karlh
boys in order to absorb their victims'
knowledge. The horrifying nature of
the scene in which one boy is propped
for brain removal is far more disturbing
than the excessive gore during the
monster fights. Combine this with the
Tact that in the IJ.S. version, the alien
women arc dubbed with the same nasal,
blase voices as one of the boys'
mothers, and one can begin to see
CAMERA VS. GUIRON as one of the
most odd representations of castration
anxiety in children’s entertainment
since If.R. Ihiff'n 'stuff . (Even Guiron's
head is knife shaped.)
two kids around an aquatic park as acid

rock blares. The enormous camp
charm of these scenes is almost
indescribable, yet curiously, the film is
not highly rq>ardcd, even among
Gamcra fans.
Pretty much the final word on the

subject of kaiju ciga space women
(unless you count the delightful
revisionist Mothra fairies from
GODZILLA VS. MOTIIRA, 1992)
came by way of GAMERA SUPER
MONSTER (1980). Obviously
someone at Daici liked space women!
In this film we're offered three space

super heroines hiding out on Earth,
with one evil space woman in pursuit.
Actually the good aliens arc pretty
bland, except for the oddly butch
leader. They befriend a young Gamcra
fan, who in turn becomes a target of the
invaders. 'Hie bad alicncss is rather
ineffectual, and eventually has a change
of heart and sacrifices herself to
preserve the safety of her new friends.
(Oh, those turncoat, Earth-
sympathizing, ex bad girl aliens the
price they must pay for realizing too
late where their alliances should have
been placed.) 'llic film's implications
arc Ocdipal, with Gamcra replacing the
young protagonist's absent father. The
boy inhabits an incestuous fanlasy-
scapc with the surrogate-mother aliens,
leaving, the real world altogether when
Gamcra dies.
So, why space women? Ask any young

monster fan.
Because they’re cool!
Daici would again approach the topic of

evil space women in GAMERA VS.
ZIGRA (1971). In it an Earth astronaut
is brainwashed to think she is from the
planet Zigra. She begins by barking
routine invasion threats in her
obligatory form fitting spaccsuit, from
the most patently fake, two-dimensional
spaceship set imaginable. Then she
switches to a stolen bikini and chases
A scene from GAMERA VS. ZIGRA
Kaiju livicw
TOHO'S FArfFAST FFAAF FMALFS
Women •
Ecmmc Eatalcs. Maidens. Sisters. ’Ilicre

lias been a veritable parade of young
actresses in IhcToho pantheon of fantasy
films since the 1950s; obviously, they have
either played important, pivotal or prominent
roles in these filmic stories — elemental to
the structure of the Toho universe. And
more important lhan one would be lead to
believe al a first viewing or casual following
of the films.
Hut female characters in IhcToho films

arc much more complex lhan the mere
"romantic interest" or "damsel in distress,"
who proliferated western output from the
'50s through the '60s, and so should not be
taken Tor granted. This is thanks, in great
part, to screenwriters sqph as Shinichi
Seki/.awa and Takeshi Kimura (both very
different writers, but both have penned very
strong female characters) and directors such

as Ishiro Honda - women with concrete
convictions and iron wills, laying an
unconscious foundation into the mettle of
the genre, a foundation that has left a lasting
impression on viewers worldwide.
Sometimes the actresses themselves have
leapt off the screen, beyond their characters,
and have continued to haunt audiences long
after the final frame has run through the
projection gate.
Emi and Yumi Ito, the twins who

essayed the "Shobijin" (Little Beauties) of
Mothra in a trio of films (all directed by
Honda), were also known as the world-
famous vocal act "The Peanuts" for over
twenty years. They originally were signed
with Watanabc Productions, the biggest
talent agency in Japan, and scored a No. 1
Hit in January, 1959 with their debut single
"Kuroi Hanabera" on King Records. This
was of course the beginning of a long
recording career.
After the release of MOTHRA Stateside

in 1962, TTic Peanuts became quite the
sensational celebrities in the US; they
released an album on the Columbia label,
"The Peanuts Around the World," and
made a number of television appearances —
most notably on "'Hie Danny Kaye Show"
(where they were billed as "Special
Guests"). So popular was their
performance, they returned to the show
several times, and Emi and Yumi were
invited to guest on "The Ed Sullivan
Show," where they appeared a number of
times, along with "International
Showtime" (hosted by Jim "Mr. Magoo"
Backus). The Peanuts were the first, and
most internationally known, of the Toho
Kajju Kcvicw
'rhcToho fantasy films have always featured

strong female pcformanccs. Here arc a few that
have left their mark on the hearts and minds of
fans everywhere. (• photo source)
Kyoko An/ai
(BATTLE IN OUTER SPACE),
Kaoru Yachij>usa
(MADAME WIIITESNAKE,
17 •THE HUMAN VAPOR),
Monoko Kochi
(•GODZILLA, HALE HUMAN,

THE MYSTERIANS),
Yuaii Shirakawa
(ROI)AN, •THE ll-MAN,
THE MYSTE.RIANS,
THE SECRET OE THE TELEGIAN,
Kajju Ktview
Yoriko lloslii
(Till*. I AST WAR, WHIRLWIND,

•MO Tl IRA AGAINST GODZ11.I.A,
GIIIDRAII, Till- THREE HEADED
MONSTER), Pictured here with
Akira Takarada
llihari Mucdti
(SON OECOD/.II.I.A)
Mayuri Mokuslio ais Yasuko lnouyc in

GOD/ll I A RAIDS AGAIN
Pictured with Minoru Gliiaki
as pilot Koji Kohayaslii
Kyoko Ai
(DESTROY Al l. MONSTERS)
18
Tomoko Ai
(TERROR OE MECIIAGOD/1I.I A)
Yuko Asano
(Till- WAR IN SPACE)
Kaiju Review
Kanni Yitai
(CATASTROPHE: 1999, * ESPY)
Mc^nai Odaka as Miki Snc^usa

(all the God/, ill a filas since *89)
If one of your favorites has been left out,

my apologies this cssasy has a special kind
of Toho Woman in mind. Women with the
ability to bend steel and boil blood.
AKEMI NEG1SH1
ui
Kaiju Kcvrcw
Kaiju
(Born 3/26/34)
Akemi
Negishi
was first
discovered as
a dancer by
western
director
Josef Von
Sternberg,
and was cast
as a lead in his
1953 shot on-
location film
THE SAGA
OE ANATAHAN (with a score by Akira
tfukubc). She was singled out, not only
for her ample charms, but also for her
exotic beauty. More importantly, she is
remembered for her sheer intensity in each
role she was assigned. Even though she
only appeared in two genre films (HALF
HUMAN and KING KONG VS.
GODZILLA), the young, actress made
quite an impression on her audience —
merely a cipher in KING KONG VS.
GODZILLA (Honda, 1962), she managed
to hypnotize male viewers with only her
raw physicalncss, as the native woman
who dances for Kong (the lucky ape!).
Ishiro I londu & Akemi on the

set of Kiiy> Kory> Vs. Godzillu
Kcvicw
But, it is her first genre role that was

her most memorable and intense... HALF
HUMAN (1955). Ishiro Honda cast
Negishi in the film, after having worked
with her on the previous year's romantic
tragedy FAREWELL RABAUL (where
she played an island girl who falls in love
with Zero Pilot Akihiko Ilirata). HALF
HUMAN finds Negishi as "Chika," a
young Ainu woman who dares to reject the
laws of her tribe in worshipping a monster
snowman as a god, and fights the creature
in order to save Akira Takarada from its
clutches.
This role is most noteworthy in as

much as she is constantly fighting her
tribc/thc monster and must suffer in the
process - torture, ridicule, banishment,
and ultimately, death — Chika, as fleshed
out by Negishi, is the first and one of the
singularly intense of the Toho Women. It
is unclear, as of this writing, why Honda
did not use Akemi Negishi in more of his
films, genre or otherwise.
Kaiju Review
Mic fccttinj; cozy with Rhodes Reason

KING KONG ESCAPES
Inagaki, 1964) and TIIK ADVENTURES
(Horn: 11/20/43) Mic llama began her

career as a model and was sought out by
Toho as part of their "Three Pel" contest,
and was hired along with Yuriko Iloshi to
the studio's roster of actresses. She is
conversely cute and sexy, and has been
known to take on some daringly bra/.cn
roles, as well as girl next door parts.
One of her initial films was THE
YOUTH AND I1IS AMULET (Hiroshi
Inagaki, 1961), the serio-comic of a
Japanese demigod who comes to the aid of
a young boy. Her next genre role was
KING KONG VS. GODZILLA, playing
"Eumiko," the sister of TIV Cameraman
"Sakurai" (Tadao Takeshima) - the first
of several "damsel in distress" roles she
would play in the next handful of genre
films she participated in: SAMURAI
PIRATE, WHIRLWIND (Hiroshi
OF TAKLA-MAKAN.
Hama soon received an exciting and

scene-stealing role, a character torn by
conflicting loyalties, a character that
embodies all of the parts that Hama had
played: The mysterious "Madame
Piranha" in Honda's KING KONG
ESCAPES (1967) — one of the most
complex of all Toho's women. Aside from
a number of spy, action dramas and
comedies in which she appeared in the mid
to late '60s ESCAPES remains Hama's
meatiest role, and she tackled the part with
gusto: at first, Madame Piranha is cold,
Mic in KING KONG vx. GODZII I A
IV.IV. r.Sl.AI i*.S
calculating, detached and vile... as she

realizes the scope of what she has brought
about, she becomes vulnerable,
sympathetic, and ultimately, tragic by the
end of the film. An actress Honda was able
to employ well — almost as well as his most
favorite female thespian, Kumi Mi/.uno.
Hama then went onto international screens
as "Kissy Suzuki," Bond's woman in
YOU ONLY LIVE TWICE.
As a note or interest, Hama has

continued acting to this day. In films,
television, and even commercials --
probably the most continuous acting career
of all the Toho Women. You can also see
Mic Hama and Akiko Wakabayashi "au
natural" in a Playboy pictorial on YOU
ONLY LIVE TWICE and "the Bond
Girls.”
AK1K3 WAKABAYASHI
fcuju ltevicw
Kaiju Kcview
Yuriku lloshi interviews Akiko: GIUDKAII
cache of "a girl's best friend." Her outfits

in the film arc standouts: slinky black
cocktail dresses and leopard-print dresses.
Akiko at the wheel, while Hixei Aaaaoto holds a /*,un on Hubert Dunhaa : DOGOHA
(Born: 12/13/39) Akiko Wakabayashi is

sort of an enigma... beautiful and
mysterious, sultry yet clq»ant she graced
only a mere handful of (mostly) superior
genre entries. She entered Toho in
the late '50s after trying out for the
part of "Princess Yuki" in
Kurosawa’s THE HIDDEN
FORTRESS. Aside from a bit part
in BATI’LE IN OUTER SPACE
(Honda, 1959), she made her genre
entrance as "Tamiyc" in KING
KONG VS. GODZILLA, a minor
role as Mic Hama's best friend —
obviously, her skills were not fully realized
in that part, but she was not squandered for
lonp v
It was in SAMURAI PIRATE (aka

THE LOST WORLD OF S1NUAD;
Scnkichi Taniguchi, 1963) where she
really "stood out" — playing a peasant girl
with enough cleavage to drive a wizened
wizard (Ichiro Arishima) into a near fit of
lust. Next, Wakabayashi starred as the
femme fatale moll of a diamond thieving
gang in
DOGORA THE
SPACE
MONSTER
(Honda, 1964) ~
her character
ends up with a
belly full of lead,
when she double-
crosses the gang
boss over a
Wakabayashi went on to essay her most

memorable part, that of "Princess Salno,"
later that same year, in GUI DR AH TIIE
THREE HEADED MONSTER (Honda).
Here, Wakabayashi plays a dual-role, in
which she reverts to her suppressed
Venusian heritage (Martian in the US
version), crossing Japan to warn the people
of imminent doom at the hands of King
Ghidrah; this was her most impressive
assignment in a genre film.
Her last genre appearance was in the
Akiko with Toshiro Mifune : TAKI.AMAKAN
quasi sequel to SAMURAI PIRATE, which

was released in 1966: THE
ADVENTURES OF TAKLAMAKAN
(Scnkichi Taniguchi). You can also
catch Akiko Wakabayashi in a number of
spy/comcdics from 'Ioho, included the
Woody Allen spoof WHAT’S UP TIGER
LILY? and the 007 opus YOU ONLY
LIVE TWICE.
fouju Review
Ishiro 1 Iondu />cts a feel for directing the ’true Diva' of Toho films
(real name: Maya Igarashi; bom 1/1/36).

Well, what can one say about the true
Diva of the Toho Film? Many things. But
the most complimentary of which came
from director Ishiro Honda, "Mizuno was
amazing; when she stepped into a role,
she actually became the character she
was playing!"
One of her first genre roles came in

1959 with director Hiroshi Inagaki's talc
of ancient
mythological Japan,
TIIE THREE
TREASURES; a
film that was a star-
studded celebration
ofToho's 1000th
production. Her
next genre role was
that of 'Takiko
Nomura," the
beleaguered
girlfriend of
"Tatsuo Kanai"
(Akira Kubo), a
space pilot
suffering from amnesia in GORATII

(Honda, 1962). This was her first large
part in the genre production, and she
played it cmpathctically — first
suffering the death of her betrothed
(Ilirao Kirino) when his spaceship is
consumed by the rogue star Gorath,
until Kanai — a college sweetheart --
comes back, into her life. GORATII set
Mizuno on the road to Goddess status.
Mizuno literally sent male

members of the audience into a frenzy
as "Maimi," a most selfish, vain and
seductive bitch as there ever was -- she
uses anyone to gel what she desires,
toys with men who succumb to her
charms, and then rubs that fact into the
very faces of those who helped her.
Evil and vile, yet alluring and hypnotic

-- a siren who leads several men to
their doom... their noose wound with
lust. The film; MATANGO (Honda,
1963).
She turns the tables on us, to

play a fanciful and playful part - a woman
pirate, who has a soft-spot for "Saemon
I.uzonsukc" (Toshiro Mifune) in
SAMURAI PIRATE. Hie more her
character plays up to Luzon, in the grand
comcdic tradition, the more he ignores her
-- a wonderful turnabout for Mizuno. 'Hie
following year, 1964, she appeared in
Inagaki’s fantastic, WHIRLWIND,
opposite Raigoro Ichikawa, and a cast
of Toho regulars.
In
FRANKENSTEIN
CONQUERS THE
WORI.I) (Honda,
1965), Mizuno plays

"Sucko," a scientist and
romantic interest to
American star Nick
Adams,
as"Doctor
Bowen." Although her

character stands out as
sympathetic to the
Frankenstein boy, it is
somewhat a "normal"
Kumi and Toshiro Mifune : SAMURAI PIRATE
Kaiyu Ito
FRANKFNSTFIN CONQUFRS TIIF WORM)

her own life.
There has been quilc a bit ot

speculation on both sides of the Pacific,
as to the connection about the rumors
of a love affair between Adams and
Mi/.uno, his divorce shortly thereafter,
and finally his apparent suicide several
years later. There is no conclusive
evidence that has surfaced to support
the rumors of a love affair, but many
people believe that Nick loved Kumi.
"Akemi" was her next character in

WAR OF THE GARGANTUAS a
proverbial carbon-copy of her
FRANKENSTEIN character; which
28
character, as
opposed to
some of the
more stand out
roles she has
played. Even
so, as Sueko,
Mi/.uno shines...
brightly.
Her most
memorable and
famous
character was
brought to life
later that year in
I londa’s
MONSTER
ZERO, casting
her as the tragic
"Ms.
Namikawa" of
World
Education
Corporation who in reality is a
member of an invasion plot from
Planet X. At first, somewhat
reminiscent of her character from
MATANGO, but as the film
unspools, she soon falls from the
grace of ’’the Controller" (Yoshio
Tsuchiya), as she falls in love
with the man she is sent to spy on
(Nick Adams). Namikawa then
becomes torn between duty and her
emotions, finally giving the people of
the Earth the lynchpin in which to
defeat the invaders. Hut at the cost of
GOD7.IM.A VS. TIIF SFA MONSTKR
Kaiju Review
makes sense in light of the fact that the

films were originally meant as direct
sequels, and would have featured the
original trio of human characters, 'l'oho
got its foreign lead in the guise of the
then-argumentative and temperamental
Russ Tamblyn, as "Dr. Stewart."
A change of pace was in store for

Mizuno in her last (so far) genre role as
"Dayo," a captured Infant Islander, in
GODZILLA VS. SKA MONSTER
(Jun kukuda, 1966) -- a part originally
intended for actress Keiko Sawai, who
played a party goer at the Shiranc Lodge
in FRANKENSTEIN CONQUERS
THE WORLD. It is not known, as of
this writing, why the casting change was
made to include Mizuno. No matter the
arguments pro and con on the film itself,
Mizuno stands out in brown makeup and
tropical wear (read: bikini) but all she
docs pray for Mothra to awaken to
rescue her fellows in bondage, on I .ctchi
Island, under the whips of the evil Red
Bamboo. But, as always, even in a film
like this, Kumi Mizuno is a sight to
behold.
The most fan friendly of the 'l'oho

actresses, she regularly makes television
appearances, and has been a presence at
fan events — she has even served as the
narrator on the 1986 l'oho Video
documentary ’T'oho Spfx Outlakcs
Collection," and was a guest on the
memorial show for the late Ishiro
Ilonda. Her most recent film
appearance of note, was in the late '80s
film, THIEVING RUBY, playing
Iliroyuki (MESSAGE FROM SPACE)
Sanada's mother.
I.asting impressions. Women with

iron wills and soft hearts. These arc the
complex and strong female characters
forged in the furnaces of the Japanese
film industry May the women of Tolio
Eilm live eternal... and hail the next
generation of ladies of the Japanese
Eantasy Film!
August Ragonc
Kum i m her most famous role

Xj from MONSTFR /.FRO
Ron Wilber’s Kaiju
(Qo oi
* C I '• * r “^T" * .*i* / rrc tci r t //" Gfvt / >jcsov r\FA/ /i / t/ xrtcc
sV A/0«* OF JAPANESE FANTASY F/LM AND TELE-
1 Trt y/s/ON /S SO GREAT /T /S HARD TO IMAG-

INE THAT WORLD EXISTING WITHOUT H/M.
IN 1954- HE LED THE EFFECTS TEAM AT

TOHO IN THE CREATION OF THE MOST
FAMOUS MONSTER TO EVER COME OUT OF
THE EAST : GOT/RA.
ZTUST AS GODZILLA HAD CHANGED THE

FACE Of JAPAN'S FANTASTIC CINEMA ,
THE CREATION OF ULTRAMAN WOULD DO

LIKEWISE FOR JAPANESE TELEVISION.
THE TRUE LEGACY OF E/J! TSUSURAYA

EXISTS IN THE SENSE OF WONDER HE
HAS PROVIDED TO FANS FROM AROUND
THE WORLD.
»-TBXT / R WILBER - ABt
Kaj]u Kcvicw
Kaiju Review
Appreciating the Female Stars of inspiration (and footage) to the vision of
Japanese l.ive Action Television the MIGHTY MORPHIN POWER
RANGERS.
Japan may not be a country that

immediately pops into our minds when
we think, of nations where women have
had a history of achieving equal
opportunities with men in the general
society. However, in the fictional
universe of Japanese Fantasy
entertainment, a variety of impressive
female characters have always been
envisioned by the writers of the
television programs and portrayed by a
number of talented actresses. Hack in
1966, Tsuburaya's original television
classics, ULTRA Q and ULTRAMAN
introduced two particularly well known
regular female characters who joined
their male teams mates in various
dangerous situations.
The character of Daily News

photographer, Yuriko Edogawa led
her to frequently face the mysterious
creature challenges that her male co-
workers would try to flee. And likewise
although there were times when she
was needed to remain at science
headquarters to operate
her communications
console, Special Science
Party Patrol officer Akiko
Fuji was always eager to
accompany the male
officers on even the most
dangerous missions. Both
roles were pioneered by
actress lliroko Sakurai
who would portray a
variety of diverse
characters in the
Tsuburaya television
universe. Tsuburaya's
Ultra Series
I3y Kevin Grays
When Uandai America Inc. released
one or their first MIGHTY MORPHIN

POWER RANGERS Press Kits, one
of their press releases of February,
1994, noted that, "It's a phenomenon

that everyone is talking about! What
was initially conceived as a traditional
male action toy line, is turning the
heads of many industry watchers.
Young girls are watching the show
and young girls arc playing with the
toys! In monitoring the first few weeks
or the MIGHTY MORPHIN POWER
RANGERS 'IV show, researchers
found that a whopping 40% of the
viewing audience was female. This has
been attributed to the equal importance
the female characters share with their
male counterparts. A role that was
written into the first script and has
continued throughout the series.” This
is also true of the original Japanese
television programming which gave
lliroko Sakurai as Akiko l : uji

(pictured with the Science Patrol)
32
Kajju Kcvicw
Mitxuko Iloxhi
as Yuku Minaai
her destiny as a
l.unar IYinccss
Ultra, and the actual birth mother o[

Ultraman Taro. In 1980, an Ultra
woman warrior called Yurian was
featured in ULTRA MAN 80 to help
the title Ultraman in the concluding
episodes of that series.
In regards to actual physical

action, the female characters of Toci
television can't be beat (literally!).
With 1973, came the series

K1KAIDKK 01 which featured the
powerful female android, Mari, who
could transform into Vijindcr. Mari
was played by Etsuko Shiomi, an
exceptional martial arts action actress
who may be familiar to some as Sue
Shiomi from such English dubbed films
highlighted a variety of strong female

characters, like TAG (Terrible monster
Attacking Crew) officer Yuko Minami
(Milsuko Hoshi) of 1972's
UI.TRAMAN ACE. llcr role was just
as important as that of TAG officer
Seiji ilokuto (Keiji Takaminc) in the
earlier half of the series when it took
the combined touch of their Ultra rings
to initiate the transformation into
Ultraman Ace. In the latter hah of the
show, she fully realizes her developed
cosmic consciousness and increased
powers, brought to the surface when
her true identity as the dcsccndcn! of a
race that inhabited Earth's moon is
revealed. Eventually, she returns to the
lunar dimension of her ancestry,
transformed like a goddess, in this
modern interpretation of the classic
Japanese myth, TAKKTORI
MONOGATOR1, about "Kaguyahime
The Shining Princess (also known as
The Moon Maiden)." Powerful female
Ultra beings also appeared in the Ultra
Series, including one of the Ultra
civilization’s highest figures of honor.
The Mother of Ultra. Introduced in
ULTRAMAN TARO (1976), she is
the great healer of the Ultra warriors,
the wife of the commanding Father of
as FEMALE ASSASSIN, SISTER

STREETFIGITTHR, SURE KILL,
KARATE LADY, etc., who was also
one of the best known female members
of JAG. 'Hie JAG (Japan Action Club)
Kaiju Kcvrcw
was founded by Ihc legendary Japanese

action star, Shinichi Chiba (known in
the west as "Sonny" Chiba), of whom
Shiomi was a big fan. JAC became a
major force in developing actors and
stunt crews particularly in the genre of
Toci superheroes during the 70’s. 'ITicir
rigorous training in the martial arts,
choreography, acrobatics and stunt
work produced some of the most
memorable and visually exciting action
programming perhaps ever seen on
television. 'Hiey may even have been
too good. Such intricately
choreographed and explosive
sequences drew the attention of
conservative critics even in Japan, as
well as concerned parental and
television watchdog groups who would
eventually petition 'IV Asahi and 'loci
against the shows. Even through all of
this chaos and controversy, powerful
fighting female characters continued to
emerge from Japanese television.
Young American audiences may just

recently have become exposed to such
action girl heroes as those seen in the
MIGHTY MORPHIN POWER
RANGERS or V.R. TROOPERS, but
Yukio Yaijimu on BIOMAN
Toci’s landmark series of sentai shows

have always featured young women
who are just as capable as their male
team members even if some of them
may be better recognized for their
general physical talents and skills than
their actual acting abilities.
Y uki Yajima was a particular

JAC actress who appeared in Toci’s
second Space Sheriff series, 1983’s
SPACE SHERIFF SIIARIVAN,
which starred JAC sensation Iliroshi
Walari in the lead role of Den Iga
(Sharivan). Iga’s main female assistant,
I.ily, was played by Yumiko Furuya,
and Yajima was introduced into the
series as space warrior agent Hell
Helen, who risks her own life to aid the
young Space Sheriff in the battles
against the supernatural forces of
Mador and Devil Emperor Psycho
(Saiko). Yajima also originally starred
in the 6th Super Sentai series, SUPER
ELECTRON BIOMAN (1984), as
photographer Mika Koizumi, who
transforms into Yellow Four of the
I iioman sentai team. 1 ler character is
killed in the early half of the series in
the team's constant war against the evil
forces or the Gear empire, reported
from behind the scenes as a result of
Yajima’s decision to retire from JAC
over financial matters. By the 1980's,
JAC!) was near bankruptcy as the
controversies over their 'IV violence
eventually decreased their services and
job assignments from television
producers.
In 1983, Sonny Chiba went on to

form the new JAC) Training Center to
specialize in the training of stunt men,
keeping JAC alive but in the face of
disastrous financial difficulties. As the
JAC was forced to diversify to survive,
the company expanded into other areas
of entertainment like live plays and
amusement park stage shows,
incorporating dance, singing, and other
performance arts into its curriculum.
Another .IAO actress to make a

strong impression on television viewers
in Japan was Naomi Morinaga,
especially with her performance in the
3rd Space Sheriff series, SPACE
SHERIKK SILAIDER (1984), as
Annie, 'lire fierce independence and
lethal combat skills or the yet
charmingly feminine young Annie
totally crush the stereotype of the
passive Japanese woman who always
keeps her place several steps behind
the man. In fact, many consider Annie
to have been a more exciting, character
than her male lead, Dai Sawamura,
Space Sheriff Shaider himself, who was

portrayed by actor Hiroshi Tsuburaya
(Grandson of the great Eiji
Tsuburaya). Morinaga also was one of
the female warriors to star in Toci's
1986 series, DIMENSIONAL
WARRIOR, SPILVAN (or "Spilban",
as the Japanese V and V arc
intcrchanable when translated into
English). Here, she was Helen, who
could transform into Helen l.ady, one
of two female assistants to Yosukc Jo
(Hiroshi Walaii) who is Speilvan. 'Hie
35
other, original, woman

warrior, and the
previously caplurcd
sister of Yosuke Jo,
was called Diana
(Makoto Sumikawa)
and she could become
Diana Lady, f ootage
and costume designs
from this series were
used by Saban to create the currently
syndicated V.U. TROOPERS (in
combination with footage and costumes
from Toci’s SUPER MANCI1INE
METALDER or 1987). In V.R.
TROOPERS, the single female heroine
who transforms, the Underground
Voice Daily photo journalist Kaitlin
Star, is played by Sarah llrown.
Coming, from the prestigious Los
Angeles Country High School Kor 'lTic
Performing Arts, Brown has also
directed performances of such western
classics as THE CRUCIBLE and
ANTIGONE, and she was the hostess
for the European The World of
Entertainment series. She has a
background in gymnastics and dance.
The lead female actresses in

Saban’s MIGHTY MORPIIIN POWER
RANGERS actually share some
interesting parallels to their Japanese
loci counterparts. Amy Jo Johnson,
who plays Kimberly, 'Die Pink Ranger,
started training in gymnastics when she
was only seven years old. In her
tccnap,c years, she went on to compete
in international tournaments held in
Europe. She was also a finalist in the
Miss Teen Massachusetts contest and
studied and both the I.cc Strasberg
Studio and 'Hie American Musical and
Dramatic Academy of New York. Her
character, Kimberly, one of the most
popular g,irls in Anp,cl Grove High
School, possesses a strong will and is
very independent. Amazingly, her
Valley girl image and insatiable love for
shopping have already been over-
Thuy
Review
emphasized and attacked by some

American critics as presenting a
negative stereotype of American girls,
despite the overwhelmingly positive
admiration she is receiving from young
female fans everywhere (not to mention
the number of young and not -so young
male viewers who enjoy watching her).
Thuy Trang, who portrayed

Trini, 'Hie Yellow Ranger, was born in
the war ravaged land of Vietnam from
which she and her family were forced to
flee at the war’s end. I ter family
immigrated into the United Sates and
settled in l.os Angeles. She has
pursued a deg,rce in Civil engineering
in addition to her acting and martial
arts training. Iler role as Trini is
characterized by a gentle, intelligent,
rational personality of determination.
Her character is closer to that of a loner
than the socially popular Kimberly,
although the two became best friends.
The role of Trini is no longer a major
one in the continuing adventures of the
MIGIITY MORFHIN POWER

RANGERS.
As the series has progressed, she,

along with Jason (Austin St. John),
and Zack (Waller Jones), were
selected from thousands of contestants
to attend a world peace summit in
Switzerland. There, they join a special
team of other teens chosen from other
countries to contributed their own ideas

for dealing with the international
problems of pollution, hunger,
education, poverty, and cultural
barriers, with leading international
scientists, politicians, and academics.
(In reality the three actors’ desire for a
larger piece of the Ranger revenues led
to their replacement on the scrics-Ed.)
The powers of 'Hie Yellow

Ranger were transferred to Aisha, a
lively young African American girl who
is among, the new students to move into
Ang,cl Grove. The role of Aisha
belongs to Karan Ashley, whose
background included, modeling,
dancing,, and even a five year stint with
the band ’Krush’ . 'Fheir single ’’Lets
get together” was featured on the
soundtrack of "Mo Money”. Ms. Ashley
has also made other television
appcarcnccs including Walker, Texas
Ranger (another show targeted by
media watchdogs as being too violent).
In those scenes of The Yellow

Ranger that were taken directly from
DINOSAUR SKNTAI
ZYURANGER (1992), the stunt actor
Kniko Chibai
Fvajju Kcvkw
in the actual costume was portraying a

male character from the original
Japanese series. In Zyu ranger, Tile
Yellow Hanger was 'Hie 'Tiger Hanger,
the transformed identity of Hoy
(Takumi Ilashimolo), the 15 year old
knight of the Daimu Family. The Pink
Ptcra Ranger, 17 year old Princess
Mci of the Lishia Family, was played
by Reiko Chiba. Chiba is also a
popular young model in Japan, and has
appeared on the cover of such
maga/.incs as I) -CLUB (1994, Volume
103, June). She has also been featured
in a revealing collection of photographs
by Masahige Ogata which were
printed in a special photo album book
completely devoted to her called
FIRST VOYAGE, published by
Kindaiciga sha and copyrighted 1993
by Homan Co., Ltd. and T & Wave Co.,
Ltd.
Saban’s decision to create a team

with two female members is nothing
revolutionary for the Japanese Sentai
series at this time. Coincidentally, the
Sentai series which preceded
ZYIJ RANGER, the BIRDMAN
SENTAI JETMAN (1991), featured
two female super heroines in its cast.
Kaori Rokumeikan, the cultured and
charmingly stylish daughter of The
Rokumeikan Estate who becomes The

White Swan and develops an
attraction for Jetman leader Ryu
Tendoh (Kotaro Tanaka) while having
to literally slap away the abrasive
advances of the antagonistic Black
Condor, Gai Yuki (Toshihidc
Wakamatsu), was affectionately
portrayed by actress Rika Kishida.
Tlic younger Blue Swallow, Ako

iiayasaka, the daring and occasionally
brash teenage member of the team, was
played by Sayuri Uchida.
One particularly unique feature

of JETMAN was that this lime, the
sentai was also commanded by a
woman, a very strong, professional,
highly capable and especially efficient
director. Commander Aya Odagiri
was the managing director of the Earth
Defense Operations’ Project ”J" of The
Sky Force. 'Hie major focus of Project J
was the development of the Birdnic
Wave energy which would empower its
selected agents with increased super
abilities. Ryu was one of the original
Sky Force officers chosen to be the
subject of the experiment, however, as
he was being cncrgi/.cd by the rays
which arc to give birth to his Jetman
abilities, the unknown evil of Vyram
emerged from another dimension and
attacked the orbiting Sky Force base.
Commander Odagiri escapes with Ryu
just before the base explodes, sending
steams of the Birdnic Wa\'c energy
through terrestrial skies and down to
Earth where the four other individuals
now destined to become The Human
Kaiju I'fcvKw
Sayuri IJchida, Ihc Itfuc Swallow of JI-TMAN
Bird Scnlai arc struck. Odagiri lakes the

initiative and the responsibility for
training and providing guidance to the
newborn team. Mikiko Miki is the
actress who brought to life the character
of Commander Odagiri, and she portrays
another strong, even shocking character
in 5 STAR SKNTAI DA1RANGER
(1993) as the mother of Ko Koshinsci.
Ko (I lisashi Sakai) is a 10 year old boy
who possesses supernatural chaotic force
energies deep within him which the evil
empire of Goma wants to lake control of.
Ko’s mother, aware of tin* presence
of evil that would try to claim her son
some day, went so far as to brand his arm
with the symbol of The White Tiger to
protect him when he was just a 4 year old
child. An act that would be interpreted
as severe child abuse. Ko turns out to be
prophccized
inheritor of the
White Tiger
sword, when
he is able to
remove it from its bedding in stone. Thus,

with his own internal power, he becomes
the legendary Kiba Ranger, before Goma
can get control of the sword or destroy
him. With his troubled childhood and
seperation from his mother, Ko is
basically a juvenile delinquent, so when
he becomes Kiba Ranger, he is a wild,
uncontrolablc force, even for Goma. He
takes a liking to Lin, so lie gravitates
towards the Dai Rangers, who eventually
become like older brothers and sister he
never had (the issue of child abuse and
delinquency in Japan arc interwoven into
the mythical fantasy of DA1RANGKR).
Though they were separated, Ko’s

mother continues to do all that she can to
save her son, eventually sacrificing her
own life against Goma to free him from
their evil influence so that he can use his
powers as Kiba Ranger to
join Dairangcr in Ihc war
against the Goma forces.
In the U.S., the Kiba

Ranger costume is that of
Tommy (Jason David
Frank). In MIGHTY
MORPH IN POWER
RANGERS when /.ordon
and Alpha convert his
powers into the new
powers of The White
Ranger, from his former
Green Ranger (Dragon
Ranger from
/.YU RANGER) identity
which was originally
unleashed by Rita
Rcpulsa (Bandra in
ZYURANGER) to use
against the Power
Rangers.
In the original
Japanese series
DAI RANGER, Chinese
mythology played a
particularly important
role. All of these Rangers
were chosen because of
Kaiju Kcvrcw
the high levels of "ki" ~ spiritual powers or

supernatural internal force ** that they manifest, to
become warriors of tlic Dai Clan and suppress the
resurrecting threat of the Coma Clan before a
prolonged war between their forces runs the rick of
defying the peace of the Great Dragon Deity,
Daijinryu (Serpent-Terra in MIGHTY
MORPIIIN TOWER RANGERS). When
disturbed, the great Daijinryu would come to end
the turmoil and restore peace in the galaxy by
destroying the earth! The single female member of
(lie team in I. in Tcnpusci, us played by Natsuki
Takahashi. Rin k an exchange student from China
attending university studies in Japan. She is the
niece of Master Kaku (Osamu Nakatxnnc) and
she possesses the greatest degree of power in Uie
strength of her spirit, of the Dairangers. She
becomes the Pink lliocmx Ranger of
DA1RANGER.
The universe of Japuncse TV hus had its

share of persistent villains. One of the most prolific
actresses to portray some of these most memorable
villaincsscshastobc Machiko Soga. American
kids know her as Rita Rcpulsa from the earlier
seasons of MIGHTY MORPII1N TOWER
RANGERS. These scenes were, of course, taken
right out of DINOSAUR SENTAI
ZYURANGER in which she was culled Handra
(pronounced as "Handoroh"), and jitst re-dubbed
into English for the American audience. Despite
the new, not always in sync, voice, the character
made a definite impression. In a recent edition of
Start ine Publications’ THEN DREAM'S POWER
I IEROES AND VILLAINS Magazine, it was
reported that, "lliousunds of young fans ull over
the world agree dial the original empress of evil,
Rita Rcpulsa, should put in un appearance," when
mentioning their reactions upon hearing about the
making of a MIGHTY MORPHIN POWER
RANGERS movie. And in a recent commercial for
die POWER RANGERS Sega games, she is
dubbed as uttering the famous "Sega!"
shout at die end. Soga has a career diut
reaches fur back into the decades of
Japanese TV. From the Amazonian
Sorceress, Iquana, in Toko's NET series
of 1972 called RAINBOWMAN. or the
witch, Bclbara, in loci's MAGIC
CLASSROOM series from 1976, to
Queen llcdorian of THE
ELECTRONIC SENTAI
DENZIMAN (1980) who ulso reappears
in THE SOLAR SENTAI SUN
VULCAN (1981) or Queen Pandora of
die DIMENSIONAL WARRIOR
SPE1I.VAN from 1986. Machiko Soga
knows just how to combine diat certain
amount of humorous nastiness widi
villainous intensity in her various roles.
I Icr characters may be evil, but she

brings forth such enjoyably eccentric
personalities in them dint audiences have
come to love her portrayals By die time
that she was playing die wicked Bandra in

ZYURANGER, she wus being treated us a
modiering figure of badness widi u concluding
storyline diat had Handra converting her own
young son, Kai, into un instrument of evil to use
ugainst The Dinosuur Sentui, having culled upon
die forces of die great Satan (Locar in TOWER
RANGERS) spirit. She is finally overcome widi
grief when his defeat ends in his death. Handra
does, however, get to hold die newborn child of
GrifToxcr (C.oldur in TOWER RANGERS) und
Lumy (Ami Kawai presented as Senrpina in
RANGERS) at die conclusion of dieir defeat.
The role of women in die worlds of Japanese

funtusy und science-fiction television is much more
complex diuu die mere image of predominandy
male teams who just huppen to have one or two
female members along for the ride, to do the tea
service, or to answer the telephone and convey die
messuges to die men of audiority. Japanese market
research hus shown that one of die keys to
commercial success lies in reaching the female
market, especially whhiu die current demographics
of die recent decade.
Unfortunately, critics of the genre who don't

understand any Japanese or who have only seen
half un episode of an entire series (or bodi!) on
which to base opinions huve drawn premuture
conclusions about what diey huve repeatedly
labeled as chcup programming uimed only ut
juvenile mule audiences. As much us any fiction
muy present die prejudices of its creators, so too
exist die presentations of genuine dreams and
hopes for better worlds and societies where heroes
and villuins won't have dieir potentials limited by
race or gender. And despite die prevalent attitudes
in the west towards Japanese television, some of
diese incredible litde worlds of televised fantusy
really do have a wonderful abundance of the latter.
-Kevin Grays
Machiko Soga in one of her many ‘evil empress roles,

here as Queen Pandora of tlic Warlar Empire from
DIMENSIONAL WARRIOR SPEII.VAN
Kajju Review
HALF
CONSIDERING THE AMERICAN

VERSION OF JUJIN YUKIOTAKO
by Chris Bradley
To Japanese aci-fi purists, the original versions of the

early Toho genre films are preferable lo the modified
U.S. versions. Of course they're ultimately right.
Though directors like Ishiro Honda might not be
considered auteurs, their films still have their own
integrity, which is disturbed by the paste- up job inflicted
on them by some American film studioa. Nevertheless,
some of the American editions can be condemned too
much. It's easy lo slip into the view that film importers
and their audiences were too ethnocentric to accept a
story without white American lead characters. There's
doubtlessly some truth to that. But an even more
plausible explanation for the editing practice is that it
was probably easier for small studios (and generally it is
small studios in question) lo film insert sequences and
use voice-over narration throughout, than lo go to the
trouble of
painstakingly
translating and
dubbing a vocal
track from the
original. In the
fifties and sixties
— the age of
Roger Corman —
science fiction
films had to be
churned out so
rapidly that
adding a few
quick extra scene*
and a voice-over
track to a
Japanese film
could seem the
sensible way to
go. A number of
early kaiju epics
have little or no
dubbing in the
Japanese footage,
substituting
instead a narrator
to tell the
Americans what
they're watching.
ResulU vary. At its best, narration can create

tension as in the original American GODZILLA. At its
worst, the device leaves you with films like THE
CREEPING TERROR or THE

BEAST OF YUCCA FLATS.
But in the fifties it was so

popular that even in extensively
dubbed Japanese movies
(RODAN. GIG ANTIS) the
protagonist's voice narrates
wherever dialogue is absent.
Unfortunately, the anxious,
urgent narrator winds up getting on the viewer's nerves.
Of course, voice-overs and the addition of

American footage were not universal norms at this time
for Japanese monster films. While Universal-
International cut KING KONG VS. GODZILLA and
added cheap-looking U.S. footage (look at Michael
Keith's world map in the 'news scenes* and you'll sec
whul I mean), Columbia Pictures released
H-MAN. MOTHRA
and BATTLE IN OUTER SPACE essentially intact.

While Cory Film Corporation released a vivisected
VARAN THE UNBEUEVABIE, American
International Pictures presented a number of Toho Films
as they found them (WHAT'S UP. TIGER LILY? is a
iHE-IRv Co a FRoM TiHe.BEATl.es, THE-

ToHo MortSTE R} flESPoNp To Tfl£ l/.S. VERSIONS oF
Tfl E-lR. EARLY FILMS.
JAPANESE
Kaiju Keview
big exception). Even Henry Saperstein's AIP/Toho

morutcr movie* which feature American* like Nick
Adam* and Ruaa Tamblyn were, of course,
collaboration* from the start.
Generally speaking, it was the small studio* that

created the butchered versions of these films. Even
AIP, though relatively small, was growing rapidly in
the sixties, and Universal, though relatively large, was
by the time of KING KONG VS. GODZILLA’* 1963
release phasing out its once vibrant science fiction
production in favor of things like Doris Day comedies.
But the re-cut GODZILLA. KING OF THE
MONSTERS was a product of Joseph E. Levine's then
newly-formed Embassy Pictures, [later] a showcase for
Italian sword -and- sandal movies. HALF HUMAN,
which we'll get to in a moment, came from
Distributors Corporation of America (DC A), one of
many prolific low-budget studio* of the fifties,
version of VARAN has already been
mentioned, and is a good example of a
barely watchable hodgepodge.
Once again, original versions of

these movies are of more interest than
profit or expense oriented re-editings.
However, one can go overboard in

dismissing some of the U.S. versions as
worthless. The Raymond Burr
GODZILLA, for example, is actually
very cleverly done, and its producers
obviously took pains to make their new
footage look at home amid the original
material. New shots are woven into old
using doubles for the Japanese
characters, rather thsui alternating long
blocks of new and old footage as in
VARAN. Raymond Burr's acting and
his grim narrative tone also recapture
some of the dark quality of the original
that might have been lost when the film
was ideologically sanitized for
Eiscnhower-era America.
Although it isn't even a match for

the American
GODZILLA, I would
argue that the
American HALF
HUMAN doesn't
deserve all the
defamation it ha*
received either. I
have never seen a
favorable review of
this one, although the
many bad ones often
contain the
qualification that the
Japanese film it's
based on doesn't look
so bad. It's not hard
to make that judgment
when you see the
Jspanese footage
alongside the
unimaginatively staged American insert footage. The

Japanese film, JUJIN YUKIOTAKO, was released in
1955 and was Ishiro Honda's immediate follow-up to
GOJIRA. It's about a yeti who lives in the Northern
Japanese mountains with his son (like many film and
TV dads of the fifties and sixties, he appears to be a
widower). The film features a number of familiar
faces, including Akira Takarada and Momoko Kochi
(Ogata and Emiko in GOJIRA). The plot is simple and
familiar. Some murdered skiers and a few large
footprints in the snow lead to a scientific expedition to
the mountains where it is surmised the ’monster
snowman* lives. Soon the creature wanders into the
expedition's camp to caress the sleeping Kochi's check,
and is chased off by Takarada. who falls into a gorge.
An Ainu girl (Akcmi Negiahi, see page 21) finds him
and brings him to her village. (The Ainu characters
IT'S ABOUT A YETI

THAT LIVES IN THE
NORTHERN JAPANESE
MOUNTAINS WITH HIS SON
(LIKE MANY FILM AND TV
DADS OF THE FIFTIES AND
SIXTIES, HE APPEARS TO BE A
WIDOWER).
Kaiju Review
Suitmation actor Tomonori Ohnshi takes a break on * » x

the set of JUJIN YUKIOTAKO nC.
them sccin mentally defective. Because of this sign

of an old prejudice. Toho withdrew the video from
distribution, as was reported in KR #6). After some
business among the Ainu, we leam that a greedy
showman (the same actor who plays the native chief
in KING KONG VS. GODZILI.A) wants to capture
the monster and takes a couple of henchmen up to
do it. They cage the creature and his little son, but
they escape on the road and in the confusion the
youngster is killed. Father Yeti goes berserk, killing
the 'show people,' slaughtering the Ainu village
(except for the same girl from before) and seizing
Kochi from the science expedition still in the area.
Her colleagues (including Takarada, who has
returned) follow, led by the Ainu girl who knows
the way to the monster's cave. There Kochi is
rescued aixl the monster plunges into a sulphur pit
while locked in combat with the Ainu girl, dragging
her down with him.
JUJIN YUKIOTAKO is an impressive fifties

science fiction movie, even if it docs seem a liulc
more derivative from American ape films than
(iOJIRA seems from such movies as BEAST FROM
20,000 FATHOMS. The yeti costumes look good --
especially in black and white. They're much better
than the monster suits in the same year's GOJIRA
NO GYAKUSHU (GIGANTIS), and especially
better than any other ape suit ever used in a Toho
production. The matte composites arc generally
awkward, but since the monsters aren't 'giant*,
there aren’t many of them. The cavern set is
spooky except for a few floppy rubber bats on
strings, and the mountain scenery, both real and
artificial, is nicely captured. Possibly the most
interesting and creepy thing to look at is the Ainu
makeup, which gives those characters the look of
radiation victims.
With all this going for it, you'd think the film
was a winner -- but prior to its 1958 American
The greedy showman (Yoshio Kosugi),
gets his ticket punched
release DCA director Kenneth G. Crane and script

supervisor Francis Steens decided that it still needed
some long scenes of American science professors
silting in a room talking. The star of these tacked -
on American sequences is John Carradine, whose
character (*Dr. John Rayburn*) is presumed to have
been marginally connected with the events of the
Japanese story. He has just returned from Japan,
bringing the preserved corpse of the baby yeti with
him (we learn this about halfway through).
Carradine spends the film explaining to two of his

colleagues what happened in Japan, resorting to
voice-over narration when flashback scenes from the
Japanese film appear. The two 'colleagues' arc
only in the film as a dramaturgical device: to give
Carradine someone to whom to tell his story, and to
interrupt what is really Carradine's feature-length
monologue. This they do with aggravalingly long-
winded questions, which eitiicr get deferred until
later or present an excuse to get back to more
Japanese footage. Not a Japanese word is dubbed,
though sometimes Carradine explains what the
characters arc saying to each other (a la CREEPING
TERROR).
The American storytelling device docs have its

drawbacks. The original story's continuity is, of
course, disrupted. Certain things in the Japanese
original go unexplained; for example, there is no
reason given for the deformity of the ‘native tribe*
in the mountains, though Carradine docs refer to
them as ignorant and savage. Though the Japanese
explanation is not particularly praiseworthy, at least
it's an explanation. Some elements of the framing
sequences themselves arc not well thought out
either. When the scientists adjourn to the laboratory
to leam the results of another doctor's examination
of the baby Bnowman's corpse, they get only a few
brief sentences out of him before he has to rush off
Akcwi Hnp.nhi Khiks. Ihn Antn (tilt
to some other engagement. Sony, doctor -- you've

chosen to examine the only known specimen of a
prehistoric ape man, but I guess you've got better things
to do. The coroner in this scene, by the way, is played
by Morris Anknim. another ubiquitous presence in
laughable fifties sci-fi movies (such as THE GIANT
CLAW, GIANT FROM THE UNKNOWN, and the not-
so- laughable EARTH VS. THE FLYING SAUCERS).
Probably the worst thing about the framing scenes is the
repetitive speculation by the scientists about the
psychological makeup of the monster. The scriptwriter
wu obviously out of his depth, and probably knew it
Nonetheless, the American HALF HUMAN still
provides plenty of entertainment of its own. John
Carradine saved more than his share of bad movies on
the strength of his performance alone, and this is one of
them. He was at least one of the hardest working men in
show business, working in films from the early thirties
all the way through the early eighties -- despite advanced
age and an arthritic condition that is excruciating to look
at, let alone live with. He always threw all of his energy
into a part, even when it was only for a scries of cheaply
filmed inserts for someone clse's original film. That
energetic professionalism led to his general reputation
for hamming it up. which he certainly does in HALF
HUMAN, to our benefit When narrating over Japanese
footage he gets to speak great lines like, 'the wind was
the voice of the mountain screaming* in his trademarked
deep and ominous voice, and when, at the movie's end,
hit colleagues express disappointment at the
disappearance of the last of the monster's species,
Carradine gives a rousing speech on science's duty to
keep seeking knowledge of the unknown against all odds
- against awclling music, a gleam in the actor's eye.
You have to respect his diligence as an actor as he
wrings his vocal intonations for all they're worth, to try

to make the labored scientific dialogue sound interesting.
In the end, your enjoyment of HALF HUMAN is

determined by what you want from these movies. If
you're a fan of 'so bad they’re good" movies, if you get
more entertainment value out of GODZILLA VS.
MEGALON than out of GODZILLA VS. THE THING,
then you'll probably have more use for HALF HUMAN
than for its original source. If the opposite is true,
you'll probably feel a duty to despise it. In any case,
American fans of Japanese sci-fi films should feel lucky
that more of them didn't get cut and pasted in this way.
This sort of adaptation was commonplace in the fifties
and sixties, whatever a foreign genre film's country of
origin, and importing horror and sci-fi titles on the
cheap was something more than a fad. Joseph E. Levine
specialized in it (though he was later associated with such
'highbrow* productions as THE LION IN WINTER),
and American producer/director Jerry Warren was
famous for reculiing movies from places as diverse as
Mexico and Lapland. (As it happens, Warren also made
his own yeti film, THE MAN BEAST, which sometimes
played theatrically in tandem with GODZILLA..) So in
context, it looks like the Japanese monsters sufTercd but
lightly under the editing binge going on all around them,
and HALF HUMAN can still be great fun it you're not
in too serious a mood to overlook the insult done to the
obviously superior original. If you can't overlook the
insult, then see it at your peril.
- Chris Bradley
45
Kaiju Review
U1 TRAM AN. THE UITIMATF HF,RO

Episode Guide
by Hubert Dagg
Special Thanks It) l.cncll Bridges
and Jill Sylvan
IJl.TRAMAN Till-: ULTIMATE

1 1 1 ' IK), produced byTsuburaya
Productions in association with Major
Havoc Productions Inc., is the tenth
entry in the Ultra series.
Filmed entirely in the United

States, the series consists of 13
episodes.
'Hie storyline: the evil Ualtan

aliens invade Earth, reviving evil
monsters and aliens! The Worldwide
Investigative Network Response Team
(WINR) is created in order to combat the
invasion. IJItraman, having followed the
Uallans to Faith, chooses WINR
member Kenichi Kai to become his
human partner. I Ic gives Kai the new
"beta capsule", a device that will
transform him into IJItraman in times or
great crisis.
What follows is a basic episode

guide to the 13 episodes. The original
Japanese titles have been translated in
F.nglish as closely as possible (but may
be open to alternative interpretation).
Also, when possible, 1 have tried to
include special notes or fun facts
regarding each episode. Enjoy!
It) TUI*: GOLDEN PURSUER

The evil Bat tan aliens invade Harth! While the
WINH team battles the creatures, member Kenichi
Kai is summoned into Ultraman's ship. There,
Ultraman informs Kai that he lias chased the Ballous
to Earth. Together they must fight for Uie good of the
Earth und Kai receives the beta capsule.
12) THAT NAME IS ULTRAMAN
The WINH team receives reports of a giant monster

attacking local campsites. The WINH team finds out
Uie creature is
Kemulur, a
large,
burrowing
creature that
emits poisonous
gas. (Note:
The WINH
computer says
Kemulur was
last seen in China in 1976, leading one to believe lie
survived his original 1960's encounter with the
Japanese science patrol's Ultruman!)
13) ELY TO THE FORBIDDEN MONSTER

WORLD The WINH team is sent to a remote island
where reporters are trapped because of llic giant
monsters Hed King and Chandorah. While hiding in
a cuvc the reporters find Uie friendly monster Pigmon
Kaiju Review
of the reporters is played by actor Jeffrey Combs of

Rcanimutor fame.)
#4) MESSENGER FROM THE DARKNESS

Kcnichi Kai is sent to investigate strange seismic
activity at a local mountain range. 1 le is captured by
a race of
underground
dwellers
who plan on
using their
creature
Tclcsdon to
enslave the
planet
(Note: The
city
Tclcsdon
uttacks must
be made out
of reinforced steel. Many of the shots depict tiis tail

smashing into the buildings with no effect})
15) LIGHTNING WAR DEFENSE MISSION
Uranium trucks
arc being
attacked by the
creature
Gabora who
huppens to like
eating the stuff.
The WIN R
team tries to
stop the
creature before
it attacks a nuclear power plant. (Note: The driver

of the uranium truck at the beginning of the episode
is a famous sci-fi uctor. Docs "Danger! Will
Robinson" ring a bell? If you guessed Bill Muray,
pat yourself on the back!)
16) RETURN FROM THE UNIVERSE

It is dKcovcred thut
the astronaut Jumila,
horribly transformed
into a monster by an
accident, has
relumed to earth to
contact his daughter
to tell her he is ulive.
(Note: This is one of
the more serious
episodes that deals
with Ultramun's
dilemma of
protecting innocent
people and weighing the existence of Jamila who

had no control over his accident One of the series'
best episodes.
#7) RED HEAT

REVENGE
Loggers arc
frightened when
tiic forest they
arc working in
suddenly bursts
into flumes. The
WINR team finds
the monster
Zambora can
cause fires to
start at will.
(Note: As Zambora attacks a city, we hear people

screaming but see no one running from the city! Arc
(hey Divisible? Also, no physical contact is made
between Ultraman and Zambora in their
confrontation!)
18) INVASION CIRCUIT

Computer programmers arc mysteriously
disappearing
into their
computers. It is
found out that
the computer
"virus”
attacking llic
people arc
actually Hie evil
DA-DA
invaders who
have invaded the Internet! (Note: At the end of the
episode, the camera pans to a computer that turns
itself back on und laughs leaving one to believe
Ultraman hasn't seen tire last of the DA-DAs!)
19) REVIVAL:
TWO BIO
MONSTERS
A student
archcologicul dig
uncovers two
strange artifacts.
Upon further
investigation, it is
discovered (lie
artifacts arc actually
time capsules that
hold the creatures
Aboras und Banilla
who happen to be
natural enemies.
(Note: This episode is the closest entry in the series

to being a "direct" remake of the original episode
"Devils Come Again.”)
45
Katju Kevkw
J10) TWO HUMAN lll'UOS
An oil refinery reports something is draining all the
oil reserves. The WINK team investigates the locul
113) FAREWELL, ULTRAMAN

The strange object that Dorako activated crash-
lands into tlic WINR headquarters. Unleashing tlic
doomsday alien Zeton. Kai, still injured from his
encounter with Dorako, is summoned by Ultraman
again. Ultraman states that Kai cannot fight any
longer due to his injury so Ultraman will face Zaton
by himself. Ultraman then appears before Zeton and
attacks tlic creature. The creature manages to
damage Ullraman's warning light and he is greatly
weakened. As Zeton
approaches the WINR
headquarters to attack it,
Ultraman summons tlic rest of
his energy und blasts the
creature with his spachrm ray,
destroying it Having
lake and finds the star fish creature Pcstur is behind

the missing oil. (Note: In one of tlic wore! shots in
the series, Ultraman throws Pcstar into the air with
one arm(!) and destroys (lie creature.)
Ill) THEY BROUGHT
TO LIFE GIGANTIC
MONSTER A
destroyed the creature, Ultruman's energy is now

gone and he falls helpless. The WINR team manages
to destroy tlic Rultunship und Ultruman's fellow
brothers come to lake Ultraman back to Nebula M-
78 to replenish his energy. The Earth is once again
safe from alien invasion. Tlic End.
Ultraman Ultimate Hero
1994, Producers — Kazuo Tsuburoya, Shigeru
Watanabc
Executive Producer — Noboni Tsuburaya

Induction Designer -- Aaron Osbourne
Directors of Photography - Don E. EaunUcroy,
Curios Gonzales Barreto
Editor " Nina M. Gilbert!
Mechanical Design - Mahiro Mueda, Shinji

I liguchi, Toshio Miike
Ultraman and Monster Costumes - Kevin I hirison
Special Effects Supervisor - Joseph Viskocil
I induced by — Julie Avola
Directed by -- King Wilder
Starring -* Kane Kosugi, I iarrison Page, Robyn
Bliley, Sandra Guiford, Rob Roy Eit/.gcruld. (L to R)
#12) POWERED ASSASSINATION PLAN

A strange object craslrlunds near WINR
headquarters. As Kenichi Kai investigates the
object, the monster Dorako appears and Kai
transforms into Ultraman. As Ultraman tries to
destroy Dorako with his spacium ray, tlic creature
emits a strange bcucon. The beacon is relayed to an
asteroid where it activates a familiar foe. Ultraman
finally manages to destroy Dorako but a. strange
object is now approaching Earth.
museum
unearths a
gigantic
monster
determined to
be a
Gull liras auras

or Gahora for
short. During
a rainstorm,
Gahora
revives and
walks away.
The WINR tcum tries to capture the out of control
monster. (Note: As Guhoru attucks u city, we finally
see people running away from the rampaging
creature and it actually turns out to be a quite
effective scene).
Kaiju Review
ULTRAMAN GREAT vs.

ULTRAMAN POWERED
One Fan's Opinion

by Andre DuBois
It appears that the foreign

interpretation of Ultraman is
not having much luck. The
American show has not been
picked up for distribution
yet, well, it deserved to be
forgotten. Remaking the
original series was a pretty
stupid idea to start with, at
least the Australian show offered us something new and
different Just for the fun of it let's have the two new
Ultramen slug it out and sec who wins.
ULTRAMAN DESIGNS: First point goes to Powered,

although the design itself is not better on Powered than
Great. The suit construction is much better - rubber it
is, rubber it should be.
MONSTER DESIGNS: That also goes to Powered, the

monster suits are unbelievable. Most of them are even
better than their original counterpart, unfortunately they
did not succeed on the best monsters • Dalian is
interesting but weird, Gotnora looks sick and Z-Ton is
simply awful. U Great monster designs are interesting
but not too exciting.
MONSTER ACTORS: Here I go for great - not that

they are particularly exciting but they are not statues at
least. U Powered is so inept that it's quite unbelievable.
The monsters are just as bad. The Red King No. 3
episode features the most boring monster acting in the
entire Ultraman series.
ANTI-MONSTERS SQUAD: In design I go for

W.I.N.R. over U.M.A. The jets and vehicles are very
nice; the costumes for the squad members arc also better
but the characters, except for the lovely girls, look alike
and arc uninteresting; I'd say that even Ultraman Taro's
ZAT team were more charismatic. And worst of all;
Ultraman's alter ego Kane Kosugi.
Kosugi has got to be the worst actor ever in an Ullraman

series. As far as actors go, the Australian show is a
thousand times better.
THE STORY: Once again I go for Great; at least they

have stories. Powered is nothing more than a badly
rewritten version of the original show. The drama is
nil, all in all nightmarishly bad.
THE BATTLE: As disappointing as Ullraman Great

was • it's a wresUemania festival compared to the
unbelievable, non-exciting so-called action fight of U
Powered. The Shame of M-78, the anti-violence on
television group should check that one out; even they
would fall asleep. King Wilder has got to be the worst
director of all time (move over Ed Wood) to screw it up
so badly on the most important thing in an Ultraman
episode • the battle scene. No drama, no action,
nothing, absolutely nothing. In the entire series he used
a grand total of three different rays. He almost never
gives any kick or punch beside the Ultra Push.
After the overbearing pretentious attitude of America to

laugh at Japanese shows for so many years, here was the
time to put your money where your mouth is and they
failed miserably; not only is it inferior to the original
1966 show, but it is the worst entry in the entire 25
year-old series. That's what I call putting your foot in
your mouth.
As a matter of fact, the only good things in this show

were all Japanese. The monster redesigns and the
W.I.N.R. mecha and suit design were all done by
Japanese. And the music also by a Japanese wasn't bad
although that loo was vastly inferior to the Australian
show; most of the action themes are nothing but an
obvious rip off of Barry Gray's Thundcrbird themes.
It's extremely disappointing that America is not

improving its quality in Japanese imports. In the '60s a
lot of those shows were being bought and dubbed in
English, not always very well, but at least they were
dubs. Now nothing is imported anymore; if something
has success somewhere else, we simply buy the rights
and cut it to pieces to make it all-American. Or even
worse • we completely remake it. Personally I don't
believe that the public is that close-minded; it is the
people in power that make those decisions all the lime.,
and unfortunately we. the fans, can go after the original
and compare, and sadly enough there is not even one
example where the American version was better.
Grid man was a good opportunity to improve upon the

original, since the drama part of the Japanese show was
pretty bad on its own. but they screwed it up even more,
and as a result even the sfx scenes were weakened in the
end. The success of Power Rangers should show those
clowns that the people do enjoy the type of action pack
super hero monster mayhem Japanese style. Let's face
the truth: kids are not watching Power Rangers for the
American parts; what they want to see is the Rangers in
action and the giant robots slug it out with the monsters.
And the toy manufacturers arc going nuts over the sales;
this had been going on for more than 25 years in Japan,
and they are just discovering it today.
At least in the animation realm, a breath of fresh

air was given by the animated Batman, if only it could
continue in that vein. For now, Ullraman our hero from
M-78 is forced to land in the
land of the rising sun. to be
treated the way it should be.
Let's all hope that this will

change someday.
Andre DuBois
47
Kaiju Review
IIow I Learned
To Stop
Grimacing
and Love
TNT's ULTRA
SEVEN
by John "love it or leave it"
Mamba 11
like a lot of geeks, I always

wanted to sec Ultra Seven in
English. I would fantasize
about being magically whisked away to Hawaii, where I
would forego the palm trees, sand, surf, and other
natural beauties -- and spend all day in a hut with a TV
set, watching the 'Hawaiian* Ultra Seven. I even had a
girlfriend a few years ago who had vacationed in Hawaii
in the early seventies. I showed her some Ultra Seven-
related photos, to sec if she recognized anything. *Oh.
him I knowl* she exclaimed, pointing at Elcking. 'Arc
you sure?* I inquired, 'After all it was a long time ago
and you were just a young girl.'
'Excuse me??* she asked. I back -pedalled fast

and turned on that irresistible boyish grin, my chief
weapon. 'Oh. no. I meant, you were very young then
and you might just be thinking of something else.*
Her little nose crinkled in annoyance. *Oh, no, I

remember that monster,* she said, again pointing an
extensively-manicured finger at the photo. 'His
antennas would spin around like this.* She then
proceeded to twirl her fingers around her head like
someone doing the "he's crazy* routine, only each
finger was rotating counter to the other. This of course
was an exact duplication of what Elcking' s antennae
seemed to do.
Well, from that point on. things were different

between us. My jealousy of her ate away at me like
radioactive sap from Biollantc's bile duct. I could never
get over this — this advantage she had over me, this
secret knowledge that she had seen something I had
never seen and probably never would. We broke up
fourteen months, twelve days and thirteen hours and
seven minutes later.
I spent the next few years in a gloomy fog,

curled up at night with my little Bandai Ultra Seven
model next to me. Every day the dreary routine was the
same. I'd wake up. glue the model back together, and
trudge off to the den for another long day of watching
Ultra Seven in a language I did not understand.
And then Kip Dolo talked TNT into putting Ultra

Seven back on the air (says Kip) and then they had it
redubbed in Canada and then they slotted it for 6AM
EST and then they showed it for a couple weeks and
then it was gone again.
But was it my salvation? Well, I was certainly

salivating.
You sec, I didn't have cable at the time (and

don't again now, there's a pair o' ducks for you). A
friend of mine. Paul Levitt, was getting up at SAM
each day to tape the show. To do it. he drove through
the snow and ice of the worst winter New Jersey had
ever seen, dragging his best Bela machine to his
parents' house (because he didn't have cable either),
and taping the all-new, in-English Ultra Seven. Unable
to contain myself, I called him later that day and asked
him how it went.
I couldn't stand the suspense. 'So, how was

it?* I asked. 'Oh. pretty funny, I guess,* he said.
'Funny?* I asked. *Uh. yeah, sort of,' he replied,
'They kind a joked it up.' My inner alarm bell rang. I
have several such bells. There's the 'She won't look as
good as she sounds over the phone' bell, and the 'You
won't be getting any more writing assignments from
us* bell, and the 'Tires aren't meant to lost 150, 000
miles* bell that too often rings when I'm on the freeway
at two in the moming. Well, this was the 'They didn't
know what they had so the crocksmuckers camped it up'
bell.
With some hope I asked, 'Oh. you mean like on

Spcctrcman?' 'Well,' came the devastating reply,
'more like Dynaman.*
A little part of me died inside.

When I finally got to sec the redubbed Ultra Sevens,
I was more than unhappy. I was angry. You all know
the story, so any comment I could make about how I
felt, 1 can reduce to tossing out lines from the TNT
version, such as 'American trash!* and, *Gcc I just hate
being crushed by the weight of that rock!* If you've
seen TNT's Ultra Seven and arc an Ultra-series fan. you
know what I'm talking about.
But then, a few weeks later, while watching 'The

Brave One' for the first time. I had a transcendental
experience. I was watching the scene at Ultra Garrison
Headquarters, when Dan Moroboshi suddenly pieces
together the mystery of the *7.antar Battlcbot.' 'The
Zanlars arc scavengers. They have no cars of their
own. so they steal ours. And they need the humans for
chauffeurs. *
'Now that,' I howled, 'was inspired!*
After several more parlicuiarly-good episodes including

the uproarious 'Moon-Stuck,* 'The Quakcmastcrs,' and
'Death On Wheels* (from space!), I realized that the
scat-of-thcir-pants dubbing job by Cinar had. however
accidentally, produced a real classic of 'What the Hell?*
television. When in top form, Vlasta Vrana and Rob
Roy and the gang could be really funny.
(Side note: What is it about the name 'Rob

Roy' that, when appearing in conjunction with
Americanized Ultra Scries, is always a sign of utter
awfulncss?)
So I went back and watched the earlier episodes

again. Some were still pretty awful, but the majority
were pretty dam funny. Now I watch TNT's Ultra
Seven all the limc(on tape obviously). And besides, if I
want it 'straight, ' I can always watch it in Japanese like
I used to. They (TNT) never did show the redubbed
Elcking. so the memory of my favorite electrical slug
remains pure and unsullied. Ahh. And. you know,
those buildings really do look happier in the desert...
48
Kaiju Kcvrcw
ULTRA NEWS
* 33 *
While it appears that American fans will miss out on
seeing their favorite red and silver superhero show up on
U.S. IV screens anytime soon, it seems that
internationally Ultruman (and his kin) arc more popular
than ever.
Ultracom's 13 episode ULTRAMAN, ULTIMATE

HERO has so far failed to find any one interested in
picking it tip for syndication here in the U.S., the show has
befiun airing on Japanese television. Called
ULTRAMAN POWERED in Japan (aka 'Blue eyed
Ultraman'), the show which started broadcasting in April
has so farrccicvcd lukc warm reviews in Ultraman's
traditional stomping gnnmds. Find released on video in
Japan last year, the major complaint of most Japanese
fans seems to echo that of their American counterparts;
too slow, not enough action. While tlie best tiling to come
out of the series was the redesigned monster suits and
improved Ultra designs, the show itself has (so far) failed
to spark touch support umongst long time adherents.
Meanwhile ULTRA SEVEN has regained the

spotlight in Japan (hanks to the success of two recent tele-
film productions broadcast last year on NTV that brought
the character out of retirement and into the '90s. ULTRA
7 BIG SOLAR ENERGY PLAN and C11IKYU SHUIN
NO DAICI II, featured the return not only of several
familiar faces from tlie original show (including Koji
Moritsugu as Dan Moroboshi, Ikichi Isliii as Lumhashi
and Yuriko 1 lishimi as Ann Yuri) it also re-introduced two
of Ultra 7's most popular foes to a '90s audience; Elk ing
and tlie Alien Pitt. Die fan response was so great that
Isuburaya Eizou (the film production arm of Tsuburaya
49
lYoductions Ltd., that produced tlie tclc-fculurcs)

immediately began making plans for a new Japanese
bused Ultra series that would introduce a new version
of Ultra 7 called Ultra Seven 2*1, who would team up
with another curthbound brother from Nebula M78
culled Ultrumun Ncos. Die show is plunncd us a 52
episode series and is intended for broadcast sometime
in lute '96 or cariy '97 with actual shooting to
commence later this year.
The few plot details that hove so fur emerged from

Tsiiburayu reveal that the brothers will be pitted
uguinst a new 'evil alien Wariord* who will oversee an
array of kaiju intent on conquering tlie Earth.
There will be a new scientific task force similur to the

Ultra squads seen in previous incamutions of tlie
series, and at least one of tlie brothers will be a
member (in human form) of this team.
Mans ure ulso reportedly underwuy for still
unothcr Ultra hero to be created specifically for tlie
Chinese market As previously reported in KR, All tlie
original Ultra shows arc being broadcast in China
where they have become a huge hit, prompting
Isuburaya's interest in crcuting a show specifically
designed for this massive market More us details
become available.
Meunwhilc it seems that Russians have also

developed a taste for the heroes of Nebula M78.
Reportedly tlie animated series ULTRAMAN

JONIAS has spawned a cult following in tlie
former communist state. Ihe entire 52 episode
nni of the series has been made available to
M I K channel 3 hi Moscow, where it lias been
described as a ratings success, prompting
rumors about tlie possibility of further Ultra series
coming to Russian TV.
Back in the IJ.S. tlie only title currently available in

legitimate video release (live action) is ULTRAMAN,
TOWARD T1 IE FUTURE the Australian co-production
that actually enjoyed a brief nm in syndication buck in
'93. While Ultracom has apparently made a valiant effort
to get their ULTRAMAN, ULTIMATE HERO into
syndication they arc now confronted by u murket ulrcady
crowded with product of Japanese origin (although in
many eases significantly altered for American audiences)
that includes a second season of Saban's VR
TROOPERS, MASKED RIDER (produced by Suban for
l ox Television's Saturday morning line-up this l ull), and
at least three new syndicated re-workings of highly
successful Japanese cartoons ; SAILOR MOON,
DRAGONBALL Z, and PRINCESS TENKO. It seems
that Ultracom's 13 episode nm of Ul TRAMAN
ULTIMATE HERO is destined for video release through
their own video distribution arm.
In Ultrumun related product news; PLACO

lYoducts Company has announced plans to release a new
series of Ultruman figures for tlie U.S. murket this Spring.
Intended for collector; tlie figures arc approximately 17"
tall, and will feature the likenesses of the original
Ultraman, Ultra Seven, Ultraman Tan), and tlie more
recent Ultrumun Great (Toward tlie Future). The figures
arc expected to retail for $ 19.95 each, and will be
handsomely packaged in boxes featuring a history of
each character along with their individual statistics.
Ultra info provided by Bob Uugg, Lendl Bridges

and August Ragone. Art by Sean Bradford.
f^aiju Review
GO NAGAI'S
TERROR ZONE
Series Review by Max Della Mora
Go Nagai has conceived nol only some

of the most famous and original
characters in the manga and anime
world, just enough to mention
DKVILMAN, MAZINGER Z or
GRENDIZEU among many others, but
has been active as well as in the live
action productions but without obtaining
the same success. Indeed, his live
action characters arc almost unknown
even to his fans.
RATTLE HAWK is the first

example. A 26 episode serial produced
by Nagai and Dynamic (Nagai’s own
company), it has as central characters
three brothers able to transform into the
super heroes Hattie Hawk, Big Hawk,
and Queen Hawk. They have middle
ages like costumes and arc vaguely
similar to the previous serial
AKUMAI/.KR 3 and CIIOJIN
BIBIIJN (they aren't Nagai’s serials but
have been inspired, very probably, by
Nagai’s cartoon DEVI I. MAN). Armed
with giant axes, the three heroes defend
the earth against the evil monsters of the
Kyooni No Okitc (Law of the Demon)
army. 'Die serial was aired on Tokyo
Channel 12 from October 4, 1976 to
March 28, 1977.
Almost simultaneously 'IV NET
aired from October 7, 1976 to July 31 ,

1977 another offspring of Nagai’s
genius: PRO WRESTLING STAR
AZTECAIZER. Produced by
Tsuburaya, AZTECAIZER is again a
sort of demon with a flaming crest
similar to a cross between Ma/.ingcr and
El Santo, the famous Mexican masked
wrestler. The serial ran just 26
episodes. Curiously, even though the
two serials have the Nagai name, they
arc considered by Japanese fans just as
minor productions, now forgotten, and
worst of all not officially available on
video. Better known to the U.S.
audience is X BOMBER which doesn’t
have real human characters but puppets
in the THUNDERBIRDS style with
lots of spaceships, a remarkable giant
robot; the Big Dai X (an actor in
costume) and good spfx but it is
obviously heavily influenced by STAR
WARS.
Mid ’80s. Horror mania explodes

in Japan as well as in the U.S. Various
companies produce original short
features (usually around 30-50 minutes)
for the home video market. A prime
example is the infamous GUINEA PIG
an ultra gory serial, that was popular
with gore fans of all nations.
Go Nagai, a big fan of horror

movies (how could he not be?) produces
two videos titled; NAGAI GO NO
KOWAI ZONE - GO NAGAI’S
TERROR ZONE (another
interpretation of this could be ’Scary
Zone’). ’Die first tape, distributed by
BAN DAI on August 25, 1989 is
subtitled KAI ONI, (the strange
ghosts). Nagai himself introduces the
tape dressed in an impeccable
Transylvanian suit arrayed with a black
cloak. At this shoulders arc some
models of the dear Devilman.
ONI GA (The Hungry Ghost),

directed by Nagai, presents a young girl
obsessed by her diet so much that she
refuses to cat any food that her
50
Kaiju Review
mother offers. But at night the girl is

wracked by terrible spasms, a dragon
(yes! a dragon in perfect Ghidrah-stylc!)
bursts forth from her insides, devouring all
food in sight, table included. The day
after, the girl, smiling, wcip,hs herself after
having worked out her anorexic fears.
Decidedly horror-humoristic, the episode
is followed by short sketches (of dubious
taste) with characters such as a gay
werewolf, and an cxhibitionistic vampire.
The second episode features a

completely different tone, and is directed
by Ilikaru Hayakawa who directed other
medium features as UBAWARETA
SHINZO/THE EVIL HEART and
AGHI K1J IN NO IKAR1/AGI FURY
OE EVIL. 'Hie episode is titled
YOMIGAERU YAMI (Resurrection
From The Dark) it's a classic mystery set
in the style of the classic Japanese ghost
stories. A young bride spends most of her
time alone in a house while her husband is
away at work. The woman understands
very soon that there is something weird in
the old house and the old family servant
(Eisci Yamamoto, better known as
Doctor Who in KING KONG
ESCAPES, amonp, numerous other roles
in both Toho movies and Toci serials)
docs little to alleviate her fears. 'Hie
young bride is particularly frightened by a
painting of a horrible demon . It turns out
to be her own true image. She turns into
the monster and kills her husband.
While the Nagai segment is shot on

video, Hayakawa’s is shot on black and
white film underlining the reference to
’60s classic kaidan ciga (ghost movies).
Hie same happens with the second tape
released on August 24, 1990, subtitled
SEN ONI (War Spirits).
Go Nagai again is the host taking us

toward the first episode titled,
CONCRETE REVENGER. A gang of
punks viciously assault two lovers. 'Hie
boy, Jun, is tortured and while still
breathing gets immersed in a barrel of
concrete, watching helplessly as his girl is
raped. But later Jun comes back to life as

a "concrete zombie" who massacres all
the punks and saves the girl. When the
two lovers meet again, the concrete
crumbles and the body of Jun reappears
safe and sound. Quite gory, the best
moment of the episode is when the
gouged out eye of Jun, worn by the leader
of the punks as a sort of bloody pendant,
"sees" what is happening to the girl,
igniting Jun's fury and return to life.
Strange blood drinkers arc in the

second episode by Hayakawa titled
KYUKETSUKI KARI (Hunting
Vampires). Set in a secluded mountain
cabin where aftroup of skiers have taken
refuge from a snowstorm. One of them
badly injured by a fall. Paranoia and
suspicion soon take over the group after
the man dies. On his neck there is a
strange hole and all of his blood has been
sucked out. Who is the vampire? A girl
finds out the answer; the vampire is an
impalpable and nebulous ghost but she
will be its last victim.
While 'Die Nagai episodes arc quite

naive (even if offering ample doses of
naked bodies, the two female characters
spend most of their time stark naked),
Hayakawa displays great style and
capacities to create suspense with few
elements. I lis episodes arc more
psychological horror stories (but
KYUKETSUKI KARI in no way spares
the blood letting) than gore shorts as
Nagai's arc. 'Hie result is a strange mix
that won’t fail to satisfy those viewers
with a taste for such material..
Nagai, after KOWAI ZONE, in

1988 appears as a special guest in the live
action version of his character KEKKO
KAMEN (Wonder Mask) which features
a bizarre heroine, completely naked
except for a mask with bunny like cars
and a red cloak! KEKKO KAMEN has
two sequels (1988 and 1993) but Nagai is
credited only as the "creator of the
original character."
Kaiju Kcview
REVIEWS
JAPANESE. SUPERHEROES (AMERICAN

STYLE)
By Christopher Elam
The last yeor mid o tiulf has- seen the development of a

new trend in superhero TV series. U.S. pro dure is are
attempting to imitate the Japanese superhero
programs. Several of these American shows use
footage from actual Japanese shows, much to the
irritation of some long-time fans. In this article, I will
review all of these new scries. 1 have omitted
ULTRAMAN: THE ULTIMATE HERO (aka
ULTRAMAN POWERED) for two reasons: ( 1 ) it
hasn't been released in (he U.S. us of this writing and
(2) I haven't seen it yet.
TATTOOED TEENAGE: ALIEN LIGHTERS

FROM BEVERLY IIII.I.S
My thunks to Juson Murcuntcl for supplying me with
the tupe I used to review this series, which is
essentially a spoof/rip-ofT of both MIGI ITY
MORP1 IIN TOWER RANGERS and BEVERLY
I III .1 S 90210. I was really dreading watching this
show because no one I hud met had any tiling good to
say about it. I iowever, I must reluctantly admit that I
enjoyed TATTOOED TEENS. Try not to laugh too
hard.
Don't get me wrong. TATTOOED TEENS (I

refuse to write the full title unless necessary) is pretty
stupid. The I'X arc laughably bad and remind me of
Sid and Marty Kroft's 70s efforts. My favorite is the
"tattoos," which look suspiciously like the temporary
variety easily obtainable from vending machines.
None of llic footage used is lifted from Japanese
productions. As a result, the show isn't us flashy us its
competition. Eor some strange reason, though, I
found this exercise in ridiculousness involving and
appealing.
The plot? I'our "typical" Beverly I (ills teens

arc recruited by a glob of snooty snot named Nimbar.
I le turns them into giant superheroes dubbed
"Guluctic Sentinels" and they buttle the phony-
looking monsters of one Emperor Gorgunus. In times
of dire crisis, they combine to form a giant knight
called Nitron. When not saving the universe, our
hapless heroes must deal with the trials and travails of
life. You get the ideu.
I cannot adequately explain why I like

TATTOOED TEENS. Maybe it is because the
program bus reached what I hope is the highest
possible level of camp. Perhaps I have some deep-
xcutcd psychological condition. Regardless, I will
recommend the show, but remember that I am the only
person I know who likes iL IYocecd with caution.
MIGHTY MOKPIIIN POWER RANGERS
Well, the second season is in full gear. The Green

Hunger has become the White Ranger and Saban has
included enough mecha from GOSEI SENTAI
DAIRANGER to keep Bandai swimming in money.
'The feature film is coming soon and it might be out by
the time you read this. This has been a busy year for
those wacky Rangers.
ITobably the mast shocking development of the

year was the sudden departures of Austin St John,
Thuy Trang, and Walter Jones, reportedly in a
dispute over money. They’ve been replaced by three
new actors who arc decent fighters, but are a bit weak
(to say the least) as Ihcspians. It remains to be seen if
the kiddies of America can accept new people
replacing their old heroes. Of course, this is par for
the course in Japan, where the. shows themselves
change every year.
Stories and fight choreography have reached a

level where they are almast the equal of the Japanese
incarnations. Also, tire three remaining "old" Rangers
(Amy Jo Johnson, David Yost Jason Erunk) have
really shown me a lot of acting ability, especially
during the period where they were carrying the show
essentially by themselves. Two others worthy of note
arc Paul Schricr and Jason Narvy (Bulk and Skull).
They have become truly hysterical in the last few
months and their antics are the highlights of some
episodes.
Yeah, TOWER RANGERS is still clean,

mindless fun. What did you expect?
SUPERHUMAN SAMURAI SYBERSQUAD
Success inevitably breeds imitation. So, when Saban

has a huge hit with MIGI ITY MORPI IIN POWER
RANGERS, DIG Entertainment created
SUPERHUMAN SAMURAI SYBER SQUAD in
emulation. As mast of you know, this series
incorporates footage from Tsuburaya’s DENKO
Cl lOJIN GRIDMAN. Of course, that fact is
relatively unimportant compared to lire big question:
Is SYBER-SQUAD any good?
In my opinion, no. It is POWER RANGERS

done badly inneariy every respect While I've never
seen GRIDMAN, it must be superior to this mess.
DIG appears to have duplicated the format of the

Japanese original, but not the quality. The music is
terrible. The stories arc stupid No one gives a
decent performance, not even Matthew Lawrence (as
hem Sam Collins) or 'Tim Curry (as the voice of head
villain Kilokahn). In fact, a lot of the acting is
downright amateurish. And then, there’s the kiss of
dcatlu the "humor" isn’t very funny.
As far as the EX go, they are very flashy and

exciting. I didn't expect any less from the masters
at Tsuburaya. Too bad those awful voice actors
Kaiju Itevicw
dubbed tliosc parts too. And why was Gridman
rammed Servo? I Ic sounds like he should be on
MYSTF.RY SCIENCE THEATRE 3000!
If you've never seen GRIDMAN and you're a

hardcore Tsuburayu buff, this show might be worth your
time. Otherwise, don't bother.
VR TROOPERS
VR TROOPERS is Sabun's attempt to rip off their own

show. It utilizes footage derived from two different
Tociscrics. J1KIJU SENS! II SPEILBAN ('86-87) and
CIIOJINKI METALDER (*87-88). Unfortunately, VR
TROOPERS is nowhere ncariy as entertaining as
POWER RANGERS, much less the "Uchu Keiji" style
shows oil which it is bused.
Oil, the Toci EX arc certainly awesome und

they're edited together rather effectively. Even the U.S.
produced stuff looks OK, although it doesn't mutch up
loo well. The acting isn't very good, but it's nowhere
ncariy as inept as in SUPERHUMAN SAMURAI
SYBER'SQUAD. I he music is, in u word, grating. It
makes me appreciate those anti-classic tunes from
POWER RANGERS and SYHEK-SQUAD. Still, I
could overtook the show's deficiencies if it wusn't
lacking something else.
Hiat "something else" is a sense of humor. This

show is way too serious. Japanese shows can pull off
playing this stuff straight due to the high quality of their
actors and stories. Alas, the U.S. versions arc nowhere
nearly as well executed and require a light touch to
succeed The people involved in POWER RANGERS
seem to rcalbrc the show isn't great and play it for
lauglis. Amazingly, the same company appears to have
missed this crucial (in my mind) point regarding VR
TROOPERS. While I have trouble believing a show
fculuring bad guys named “Skugs" and a dog that talks
with a pseudo-Jack Nicholson voice is intended to be
serious, that appears to be the ease. The mind boggles.
Ultimately, my lack of involvement in the stories und
characters led me to be very bored
VR TROOPERS airs in syndication in many

maiicts, but not in my area. It's also available on
several outrageously overpriced videotapes (SEP
speed one episode per tape). My review is based on
two of those tapes, so perhaps my opinions arc not
entirely fair. If you can see VR T ROOPERS on free TV
and you think you might like it, I say go for it Rut don't
suy I didn't warn you.
In conclusion, here arc ray rankings of the four shows

covered Keep in mhid that tliis list is only my opinion.
You may feel much differently.
(1) MIGHTY MORPIIIN POWER RANGERS
(loi)
(2) TATTOOED TEENAGE ALIEN I ICIITEIIS

FROM BEVEHI.Y IIILLS (USA)
(3) VK TROOPERS (Syndicated)
(4) SUPERHUMAN SAMURAI SYIIEH SQUAT)

(Syndicated)
- Christopher Elam
SENTAI BUZZ CLIPS
MASKED RIDER COMING TO FOX
SARAN and E'ox Children's programming has

announced the addition of MASKED RIDER to the Eox
Saturday morning lineup this full. The series is being
re-worked TOWER RANGERS style using existing
footage from KAMEN RIDER BLACK RX and
KAMEN RIDER BLACK. The story line is entirely
different however from the original Toci superhero
show. In an effort to address criticism leveled at Saban
for too much violence in TOWER RANGERS, the
Kamcn Rider saga hus been abandoned in favor of a
"family sitcom" styled show concerning the
misadventures of a space bom orphan and his newly
adopted 'California' family. The show will reportedly
incorporate footage of the Shadow Moon character
from KAM1N R1DI R BLACK (a suit for this character
is said to have been shipped to Suban's stateside
production unit).
MIGHTY MORPIIIN POWER

RANCKR MOVIK
Opening June 9th, the MIGHTY MORPI I1N POWER

RANGER film has ulready been generating quite u bit
of biKZ uraong fans of the series. The film was originally
scheduled to be directed by Steve Wang of THE
GUYVER fume but Wang left the production over
disagreements in creative control. Bryan Spicer who
has been involved with the television version was
tapped to replace Wang.
Wang did manage to leuve hri touch behind

however having recruited some of Uie same stuntmen
who work on the Japunesc version of the series to
handle the 'hi costume' fight scenes for this film.
Variations on the new Ranger uniforms (first developed
by Wang who had previously re-worked the Batman
costume for BATMAN RETURNS) are present in the
film and from what we've seen in the trailers they look
great. The main villain is culled Ivun Ooze and the film
features a combination of unhnutronics and computer
graphics to bring the monster effects to life.
Eox is confident that the film will be a huge

success, and pluns urc ulready in the works for u sequel.
VR TROOPERS UKADS INTO

S EICON I) SEASON
Alreudy sold to u reported 80% of the American

syndicated market the second season of Suban's VR
TROOPERS will feature footage from the Tociscrics
SPACE SHERIFF SI (AIDER ('84). Hie series hus
steadily gained in popularity here in the U.S. und Subun
has begun efforts to distribute the show world wide. A
toy line hus been selling briskly hi stores, und the show
has spawned several video cassettes as well.
Subun has reportedly purchased the exclusive

worldwide rights to all Toci Sentai shows past, present
art l>y Dominick Tucci
iu Itew
PICTORIAL HISTORY
HOOK OP GODZILLA
Supervised by Yuji Nishinuira (M-l)
Written by Mitsumi Yumudu

ISBN-89425 059-4 Yen 3800
I ’ublished by Koichi Sato / 1 lobby Japan Co. Ltd.
’litis beautiful, must have, hardcover photo reference is

crammed wilh hundreds of excellent stills in its slick 200
pa/*cs; a deserving and superior follow-up to Dainhon
Kniga’s Godzilla hirst Si Second.
Nixhimura and Yumudu (with I lobby Japan)

obviously put this volume together with the modeler in
mind — but don’t let thul put you off: this is a VERY
SERIOUS volume for the God'illa enthusiast and the
comparatively minimal text gives (lie Japanese
language impaired reader little reason to avoid this
book.
The first 24 pages features a color section

showcasing each Godzilla film per page with two
devoted to the men who made the pictures; the tome
then breaks into five chapters denoting the different eras
of God/illa history: The Dawn, Golden Age, Maturity,
Rcvivul /^Renewal, all fully illustrated with a healthy
portion of rare and never before published stills-- all set
within a smart and dynamic lay-out, allowing close-up
study of minute Gotkzilla detail.
The Pictoriul I listory of God/illa is an essential

addition to your
Japanese fantasy
library, and at Yen 3800
it’s not too expensive
(despite import mark-
ups). It’s an important
book to own, well
packaged and jammed
wilh photos.
-August Ragone
GODZILLA
MUSEUM
Masami Yarnada
& Yuji Nishimura
ISBN-89366-295-3
Yen 2000
Aspect Ltd. (200 pages)
I hate fighting over

material items, like this
beautiful "companion” to tire out of print
God/illa Chronicles ( Takcshobo, 1993,
see KR #5 for review). Both authors worked
on the aforementioned Pictorial History of
God'illa, with both projects being designed
and laid out by Eimci Shimada of Bananna-
Globe Studios. Needless to say this is a
beautiful reference book pertaining to all
manner of Gudz illa/T oho ephemera and
arcana-worth all the blood that was spilled
at my local Kinokuniya.
The book is neatly organized into four sections; the

first 64 pages color pages take you on a tour through the
various ’/ones’ of Toho Fantasy film material (each
zone is denoted by a photo showing the number of a
different Toho soundstage): "Production",
"Advertising", "Movie material I & II", "Show Widow",

"Release", "International” and “Boom". This last
section showcases a cornucopia of Toho paper goods*
enougti to make any collector turn green with envy-to
which Nishimura and Yamuda show off their spoils
Ihc second is Utc elicited (and obligatory)

filmography of Toho SE / Monster films-fortunatcly
saved by an interesting lay-out and beautiful still
selections; the thin! covers the fictitious media (mostly
newspaper stories- illustrated wilh reproductions of the
mock newspaper front pages seen in the Japanese
versions of the films (as well as items like I-Tunkic
Sakai's Press ID from MOT! IRA); spiced with fictitious
asides and anecdotes by equally fictitious reporters! All
sandwiching mini photo profiles of actresses like Kurai
Mizuno.
lliis is followed by a section on Toho Mccha,

including Toho Art Department blueprints — which
leads into a section on the evolution of Godzilla's
physiognomy through the present — taking us to the final
section a photo and text
detail of the color section,
"zone" by "zone".
As soon as I saw this

book I knew I has to have
it; I'm sorry about the guy
who unfortunately run his tyf\\
face into my fist, while I J tr
was trying to yank this

copy of "Godzilla
Museum" from out of his
grubby mitts— but this
essential work was worth
every drop of his blood
54 -August Ragone
art by Mike Ortiz
Kaiju Review
--'/A \
TETSUKD KDEAYASH1
REMEMBERED
The Empress of Mu
is dead.
Actress Tctsuko Kobayashi passed

»wsy on December 9th. 1994. She
was 53 years old.
The Tokyo bom Kobayashi

(3/12/41), always wanted to
become an actress. She had
appeared in a stage production of
Hamlet while still in her early
teens. Soon she became a regular in
the Television drama SEINEN
NOKI in 1961. Her film debut
followed in 1962— that's when
Toho fantasy film director
extraordinaire, Ishiro Honda
•potted her for a special role. Most
fans of Japanese fantasy arc familiar
with the late actress' sole 'genre'
role as the exotic and iron-
willed ruler of the
submarine empire in Ishiro
Honda's 1963 spectacle
ATRAGON. A role she
essayed at the tender age
of 18. For her part, Honda
allowed the young theapian
to devise her own make-up
in developing her regal
character.
She continued
acting throughout the
1960s, and semi-retired
during the '70s, only to
make a come back in the
1982 tele-feature
FUKJSUIDO. Her last
theatrical role was in the
film GEKKO NO NATSU
in 1993.
LONG LIVE
THE EMPRESS
OF MU!
■August Ragone
©COlL6ER“35
Kaiju Review
SKELETON ART
57
KAUU REVIEW
MAX
anutwwo
PLUG SUCTION
The latest issue of MONSTF.lt ATTACK TFAM has

arrived. It is a 'fat looking' issue and features a Sentai
ISSUE s' Series hisloiy by
August Hagone, an
interview with the
propm aster of
power
RANGERS, by Ed
I lolland, Ullraman
episode 1 28 plot
synopsis, and Alien
Da-Da feature by
Kevin Grays, A
look at kaiju related
nuisic by Michael
Keller, a synopsis of
the new Camera
i film, a short
MONST ER ATTACK TEAM MEGA ISSUE S ; j„t crv j cw w jUi
ULTRAMAN POWERED director King Wilder, news

on Ultraman, Godzilla and more! Issue five is called a
’double issue’ and costs $6. (postage included). Send
check or money orders to Ed I (olluud e/o 9 1 1 Bernard
112, Denton, Texas 76201*7152
As the MA T slogan says: "Lets Light Monsters, Lets

really Light!’’
Hon Wilber (creator of

DOMINO LADY, and
THE OCELOT)
whose art work has
uppeared frequently in
these pages has just
completed work on the
Tirst two issues of a
new series for lirus
ailed
WOMAN.
A three purt mini series

M which features the
adventures of the
"Astro Squad ‘who
'j come to rely on the
1 protection and
assistance of u powerful being called Ultima-Woman in
the course of their battles against evil aliens, robots and
giuut monsters. In u (wist on the typical ’Ultra’ hero
transformation , two members of the Astro Squad, Hick
uud Emmy must achieve orgasm (together) in order to
summon Ultima-Woman to battle (even more fun then a
Beta Ca|>sule!) Ron’s love of Japanese Monster Culture
comes through in every page of this comic. Ul .T1MA*
WOMAN features some very erotic material (this is an
Eros comic) and is not in any way intended for minors.
Each issue retuils for $3.50. An uge statement is required.
Eor more information consult your local comic shop or
write to Eantugruphics Books, 7563 I akc City Way NE,
Seattle Washington 981 15. 1 lighly Recommended
I he latest issue of Damon Foster's ORIENTAL

CINEMA feulures an in depth guide to the history of
Camera on the big screen. Also included are the
(uu)tisuul round-up of news and reviews on all tilings

Asian and fantastic. Damon has just launched a new
publication called HEROES ON Ell.M that covers a
wide variety of hero films and tele-series from around the
world. For more information cheek out your local
magazine stand or write to Draculina Publishing,, P.O.
Box 969, Ccntralia, II. 62801
KUNG FU GIRL is an e xcell ent fanzine written and

published by Keith
Kunc-Fu cm
Allison. It features
detailed coverage of
I IK ’action* genre
related films, but also
includes features on both)
animated and live action
Japanese, films and
shows. Keith writes
about the history of I IK
action films witfi a
crisply professional
style not commonly
found in a fan medium
crowded with women
hating homophobes,
who tend to spend too much time talking about
themselves rather then the genre at hand. $4.00 (postage
included). Write to KUNG EU GIRL, 1215 SW Fourth
Avenue, Gainesville, Florida 3260 1. Well worth
checking out
Just out is the SIGHT & SOUND JAPANESE AN1)

HONG KONG IMPORT LASER DISC CATALOG
VOLUME' 4. With a great Gocbilla cover by Kevin
Grays, this 420 page tome provides a most excellent
reference guide to all manner of Asian film and video
titles. Chiipters are broken down in a variety of ways
including; genre, availability of subtitles, widescreen
features, country, etc. Cast, credit listings, and capsule
synopses arc provided throughout the volume. Selling
for $39.95 this catalog is mainly intended for serious
laser disc and CD collector;, but serves well for Asian
pop culture fans looking for a new (English language)
reference book for their film libraries. Write to Sight A
Sound , 27 Jones Hoad, Waltham, MA 02154 or call f617)
894-8633 for more information.
CINERAIDER, published and edited by Richard

Akiyama of Honolulu, is a digest si/cd zinc that
celebrates the wild worid of I IK film. Its coverage goes
fur beyond the typical John Woo retrospectives, to
include an abundance of I IK ephemera designed to
delight even the mast discerning I IK film fanatic. This is
a great zinc, and well worth checking out, subscriptions
may be had for $ 12. for 3 issues. Write to Richard
Akiyama, P.O. Box 240226, 1 lonolulu, I lawuii 96824-
0226.
Kaiju Review accepts no responsibility for these

publications, this information is provided in the spirit of
logrolling among the people who do more than just
watch, in the hopes that those who like to read about this
stuff (as opposed to helping their fellow man, and making
the world a better place to live) will sit up uud take
notice.
DORSAL NOTES
Kajju Kcvicw
©COIlBEfto<ft
Japan's Hard Times
The first port of 1995 has been a tough period for some
of our friends in the land of the Rising Sun. Between
curtltquukes in Kobe / Osaka, and poison g us attacks in
Tokyo, llie public confidence of that proud nation hus
beat a bit ruffled. But true to character, Japan is already
on the mend. Hie re-building of Kobe is underway
(although the true Kobe seems gone forever) and the
police have been quick to round up sispccts bi (lie
terrorist attack.
Those of you who would like to contribute to

the relief effort being curried on m the Kobe urea ore
strongly recommended to do so directly to those
agencies that ore responding to the crisis there.
Two agencies that arc assisting in this effort arc the

AMERICAN RED CROSS (mdicatc that your donation
is to be lurgeted to llie Kobe Relief effort, and mail it to
The American Red Cross, l\0. Box 37243, Washington
D.C. 20013) and AMERICARES ( this relief agency was
on the scene in Kobe withm days of the quake with
several tons of food, mcdicul, and shelter supplies, they
cun be reached at 1-800- 486-4357). Remember to
earmark all donations toward the Kobe Relief.
GODZILLA PROJECT
Two I. .A. based urtists Nuncy Uyemuru and
Qathryn Brehm have proposed crcuting a God/: ill a
Memoriul / Museum m I -A.’* l.iule Tokyo district. Hiis
idea emerged from u series of meetings held by the
Little Tokyo Community Redevelopment Agency. It is
hoped by tire urtists Uiut the project might receive
support from elements of the entertainment industry,
including hopefully Toho itself.
"We thought it would be really fun to have

Godzilla and unothcr monster on the building, perhaps
several stones high, having a laser battle on weekend
nights”, said Uyemuru, "You hear that people don't want
to go downtown at night But perhaps they would feel
safer in tire light and there would be plenty of light m a
laser battle.”
Sounds good to us.
CONTEST
I ast issue we published u selection of entries for Kuiju

Review's first unnuul Krazy Kaiju Art Kontest We asked
reuders to vote on their top four favorite entries. As
determined by readers votes the following prv.es will
be awarded:
IYizc went to Roy Ware. Mr. Ware has won an

official Toho crew jacket from the film Godzilla vs
McchaGod'illa.
Second Prize went to Jeff I Iollcran.
Mr. 1 Iollcran has won Tsukudu's soft vinyl Godzilla kit

from the film Godzilla vs. McchaGodzilla.
Third IYkc went to Bob Johnson.
Mr. Johnson won a Bandai Real Action Gorbilla kit.
I'ourth l*rizc went to James Cho, who won u Bandui

King Kong figure.
A special random voter's prv.c went to Dominick

TuccL Mr. Tucci won a Bandai I'sychodroid Remote
control God'.illu / Mo thru kit
Congratulations to all the winners and our thanks to
everyone who participated in this contest
Kumi Mizuno and Toho's Femme Fatales

o Women of Japanese Science Fiction Television
Jvlv o Space Women in the Kaiju Eiga
1995 Ultxaman Ultimate Hero Episode Guide
Complete Synopsis of the TriStar Godzilla Script

Go Nagai, Ultra 7, Eiji Tsuburaya, News, Reviews, and More!
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@media (min-width: 1300px) {

.media-button-1 .web.media-button .label.media-button {

}</style><style scope="media-menu-

@media (min-width: 890px) {

.media-menu-1 .media-menu.tx-slide.open.media-menu,.media-menu-1 .media-

}</style><style scope="primary-nav-

.primary-nav-1 .search-trigger.primary-nav .fill-color.primary-nav {

.primary-nav-1 .upload.primary-nav span.primary-nav {

.primary-nav-1 .user-menu.primary-nav img.primary-nav {

@media (min-width: 890px) {

.primary-nav-1 .ia-logo.primary-nav,.primary-nav-1 .ia-wordmark.primary-nav {

.primary-nav-1 .hamburger.primary-nav,.primary-nav-1 .search-trigger.primary-

.primary-nav-1 .user-menu.primary-nav img.primary-nav {

.primary-nav-1 .upload.primary-nav:active,.primary-nav-1 .upload.primary-

.primary-nav-1 .upload.primary-nav svg.primary-nav {

.primary-nav-1 .upload.primary-nav:hover svg.primary-nav,.primary-nav-1

@media (min-width: 990px) {

.primary-nav-1 .upload.primary-nav span.primary-nav {

.search-menu-1 button.search-menu:focus,.search-menu-1 input.search-

.search-menu-1 label.search-menu,.search-menu-1 a.search-menu {

@media (min-width: 890px) {

.search-menu-1 .initial.search-menu,.search-menu-1 .closed.search-menu {

.search-menu-1 label.search-menu + label.search-menu {