saw trembling all over. This is the Godzilla movie I haven't seen in 32 years, like nothing else.
I'm really confused as to where the eyes of the viewers who compare Evangelion to this movie are going. How does this movie look like Evangelion? Disasters and government perspectives are not uncommon in the Godzilla series, and more literary dramas than martial arts have also emerged in the last few films of Honda, and it is not necessary for animation directors to produce animated performances, especially this film. Looking left and right, the new Godzilla is just like the script and style of the 2012 "Giant Soldier in Tokyo" (Giant Soldier Tokyo にpresent わる) - the same group of directors, the same group of teams , It is also a special shot, and it is also the theme of Tokyo's destruction. From the color to the mirror position, it refers to the resume of Toho movies, but it is very different from "Evangelion", which imitates the Tsuburaya TV genealogy. Dongbao must also know about this film. The proof is how similar the looking-up mirror positions were when Godzilla landed in Liancang, and how similar the giants were when they landed in the sky. Even in the low angle of the city, even the truck's moving line was the same; The two Gainax people, Kamano Hideaki and Higuchi Shinji, came to shoot the camera just because they wanted their fame and coincidence? Obviously more than that.
Furthermore, although Hideaki Anno is the director, but with director Shinji Higuchi and assistant director Kuro Ogami in front of him, who have ten times more shooting experience than him, the possibility of him needing to do the mirroring himself is very small; It must be his most "authentic" - the one with the clearest self-awareness of making live-action films, and he completely shed the clumsy treatment of Shuji Terayama in "Love & Pop" (1998) and "Shikiri" (2000). The imitation also takes off the wavering between Tsuburaya imitation and the interest of end-of-the-century special photography in "Cutie Honey" (2004), and finds the path he took when he started his career in special photography and animation in the 1980s. So, how on earth is it possible to think of Evangelion, because of the flooded telephone poles peeping at the composition? The style of the song has not been quirky since "The Ghost", and it has become more and more alive in the past. Shirou's composition? Or the Showa-style white font that Anno inherited from the Ichikawa Kun movie? But these have appeared and been used maturely since "Twenty Thousand Leagues Under the Sea" (ふしぎの海のナディア), and the directors are Anno and Higuchi again. If there is any evidence, the image of Godzilla should also be "Twenty Thousand Leagues Under the Sea" instead of Evangelion. So where is the gospel and where is the warrior? ......The
complaints stop here.
I appreciate Otaku Anno, who produced a lot of weirdness in the Gainax era, and also appreciate Anno, the boss of Khara who is now investing in Japan's 3D future, but just because I appreciate it, what I want to say is: he is trying to get rid of the frame of an animation performer, and he is completely eastern A movie that started from the standard of Bao Te’s photography is cheaply compared to a copy of a famous work, which is obscene to the work, even if it is pieced together by the director himself and one of the most important animations in Japanese history. Destined to make a name for itself in the history of Godzilla, this is especially the case with Taiwan's insolent and accurate translation of "Authentic Godzilla" (シン・ゴジラ).
Why keep your name? Because this is a Godzilla movie that has not been seen before in 32 years, creating an unprecedented revolutionary Godzilla movie.
▲The contradiction of the main theme goes out of tune: the embarrassing restart and then restart
Before entering the main topic of this time - "Why is the 2016 version the most different Godzilla in 32 years", let's talk about my thoughts on the entire Godzilla series A little subjective point of view, let's talk about a common question: why does the Godzilla series restart again and again?
The Godzilla series has developed for 62 years, with a total of 31 episodes. There are 3 episodes that are said to be finished, and 9 episodes (including remakes) are set to restart. In other words, the defeat from "Mechanical Godzilla Counterattack" (1975) made the series the first in the series. The first time the shutdown was announced, the series fell into the embarrassment of reopening and reopening. Most people think of it as an external strong enemy, such as the shift of audience tastes, the unintentional action of Dongbao Studio, and the impact of North American special effects films such as "Jurassic Park". In fact, this is not the case; the Godzilla series cannot be within itself. Resolved contradictions are also the main reason.
In my opinion, the essence of this contradiction is that there should be a choice in photography among the three symbols Godzilla possesses - "Nuclear Sin", "National Treasure", and "Monster".
The beginning of the series is also summed up by two key works: 1954's "Godzilla" established the image of nuclear atomic sin, and the 1955 sequel "Godzilla's Counterattack" established the tone of the monster. The contributions of the two are different. The first generation Godzilla in 1954 learned from the monster theme trend in the United States at that time, but after combining the national psychology of the Hiroshima nuclear explosion and the Fifth Fukuryu Maru incident, it became a vengeful head. symbol incarnation. Godzilla's rampage in Tokyo is like the revenge of nature, which was maliciously affected by the war, and Japan's powerless people "again" indirectly become victims of the war. In the end, Japan fought poison with poison and killed it with a stronger weapon, the Oxygen Destroyer. The ending's famous dialogue "What if the monster was defeated? Humans will continue to develop the next new weapon, and the next revenge will still unfold". The visual effects based on this raging revenge have legitimacy. At that time, Tsuburaya Eiji (1), who was still named to assist in special effects, noticed this, so in 1955, the second-generation Godzilla established the unique giant of monster movies. The visual pleasure is magnified under the lens, and the possibility of the audience being replaced by monsters is opened. The second-generation Godzilla and the enemy have their first monster wrestling fight. From then on, there are fifteen episodes, and there are wrestling in Jiji. The story enters the cathartic function that any type of bridge with combat behavior has, and the two-pronged approach of both purpose and vision. With the rise of the monster dynasty created by Toho, Godzilla also entered one of the most important post-war film works in Japan, as famous as Akira Kurosawa and Toshiro Mifune, and the name of the national treasure spread like wildfire. Nuclear original sin, national treasures, and monsters are all together.
However, the more and more the series is shot, the contradiction between the three characteristics of nuclear original sin/national treasure/monster gradually emerges. How can the audience substitute for the murderer and the victim at the same time? In front of me, I thought I was a monster and beat up the room, laughing, and when I jumped the point of view, I realized that I was the resident who lived in the house and was dug into mud. The essence is contradiction, and even the ignorant will look at him, just like "Twenty Thousand Leagues Under the Sea". "Nadia yelled at the protagonist who loves American warships, "Are you sick? How can you like killing machines?" (Oh, I still mentioned Anno...) It doesn't really matter. The works of cathartic nature always use ten satires to avoid guilt (Han Fu Zaju is a typical example), but in Godzilla in this kind of plot In addition to the contradiction between the two, there are also other off-screen entanglements: Godzilla cannot die or even lose, because Godzilla has become a national treasure, the director of the four knights and Miso, the most powerful cultural export in post-war Japan, However, this Japanese national treasure is an avenger who wants to destroy Japan. So there is no reason at all to let the second-generation Godzilla, like the first-generation Godzilla, use death as an export inside and outside the play. The point is: what else will Dongbao Studio eat?
The ambivalence of the Japanese audience is formed:
Godzilla cannot be demeaned, because it is a national treasure of Japan, and excessive devaluation or even killing it is suspected of insulting national self-esteem.
Godzilla cannot be praised, because it is the incarnation of the Japanese nation's dream of nuclear energy. If you praise it too much, you cannot avoid the suspicion of encouraging the original crime of war.
But Godzilla has to do something, because it is the object of the audience, and letting the monster appear but doing nothing is equivalent to denying the significance of the monster's huge power in the movie.
Can't belittle, can't praise, but can't do nothing--Director Ioshiro Honda gave the most incisive footnote for these three contradictions. He said: "Monsters are born too tall, too strong, too heavy, that is their tragedy." In 2014, screenwriter Kawasho wrote by extending this sentence in his fantasy historical work "Superman Fantasy" conceived by him. A rather brilliant meta-fable: In the hypothetical forty years of the Showa era, a group of monster-loving college students disliked the government's behavior of killing monsters, and advocated that monsters are also creatures that should not be unconditionally attacked but should be appeased equally, and launched repeated attacks. Parade; however, in the end, when the student watched the tamed monster stand still on the road, he silently picked up the flashlight and madly lit the monster's eyes, hoping to stimulate him to make a scene. "Why do this! Isn't that what you want?" "Yes, but we like monsters because they can do things for us that we can't do. If monsters don't make trouble, are they still monsters?" Chuan Shen Pen. Godzilla, who has a national treasure and a burden of original sin, naturally has a heavier burden.
So Godzilla was schizophrenic. For the next forty years, Godzilla became a personality disease of sometimes the patron saint and sometimes the destroyer of the god.
In 1965, the image of the "Guardian Series" appeared. The image of the patron saint is equivalent to choosing the latter two among Godzilla's nuclear sin/national treasure/monster. Godzilla, the second generation, suddenly became Japan's protector of the country, and became the patron saint of Japan who would rush out of the sea to resist every time Japan was invaded by monsters, demons and aliens. Once you choose, you can't go back. In the next ten years, Godzilla's image has become more and more good. It is not only a patriot, but also a caring father and a child's companion; the story has become more and more unable to think of the reason for it to be rampant. , and finally let it become a child's dream. It was not until 1975 that "Robot Godzilla's Counterattack", which could not be saved even with the return of the handsome Daimoku Mechana and Ishiro Honda, hit the worst box office in history, and the Patronus ended.
Ten years later, 1984's Godzilla, the first reboot of the God of Destruction series, arrived. The meaning of the God of Destruction's route, it chose the first two among the nuclear original sin/national treasure/monster. The 1984 and 2016 editions of the present have an interesting combination, and the viewpoint elements of the popular disaster films in Japan can be regarded as the prototype of the 2016 edition. Wudaimu) has been playing for 11 years and a total of 7 movies. The plot is coherent, and it will ravage Japan every now and then, so it is called the God of Destruction, which seems to be exactly the same as the first generation. However, the realistic consideration mentioned above has come again: what reason should we find to let a monster that destroys Japan keep appearing, but it does not destroy Japan, and does not make people feel that it is an evil murderer? The answer is: no way. After time travel, alien attacks and Godzilla's Sons ideas all came together, the God of Destruction series ended 1995's "Godzilla vs Destoroyah" with one of the best endings ever.
Five years later, the "Millennium Series" will come again, and the frequency of restarts will suddenly increase in units of years. The choice of nuclear original sin/national treasure/monster is like a slot machine randomly produced. Every year Godzilla is a parallel world species after smashing and reassembling the previous Godzillas. The Godzilla in 1999 was the resurrection of the third generation in the 21st century. The Godzilla in 2000 was the new second generation with the soul of the first generation. The Godzilla in 2001 suddenly became the incarnation of the dead ghost of World War II, in turn with other protectors. Beast Fighting (the most interesting part of this piece is: Ghidorah's resurrection timing was chosen at the moment when a Japanese "suicide" in the sea of trees, there is a national fable), in 2002, an unknown person who recognized the bones of a generation suddenly appeared. For several generations, in 2004, the unknown Godzilla was frozen in the Antarctic for decades (but there was another child, Minila, why?), everything came, no matter what, and finally the box office was crumbling, until the 2004 "Brother". The final battle of Gila announced that filming had been suspended again. The only thing the Millennium series have in common is that they all acknowledge the historical existence of Godzilla, the original 1954 version of "Godzilla," as if to declare that the film's canon is unbreakable, but this declaration is seen off-screen. Lai is more like the indescribable contrast between the deceased and the ancestors.
If you think that the North American version made by foreigners can get rid of suspicion, you are very wrong - 1998's "Kusra" and its animated sequel, which is more exciting than the movie, is a god of destruction and a guardian of the second generation. The short version of history, the only difference is that the second generation does have a clear blood relationship with the first generation; 2014's "Godzilla" can be said to be the peak of the US and Japan respecting each other, and the story of taking care of the national treasure signboard more than Dongbao simply let Godzilla fight from the mother's womb It is the patron saint of the second generation, who traveled all the way to San Francisco to solve the world crisis. The whole United States is grateful for this Japanese monster, and the Japanese monster does not destroy the United States at all. To get to the bottom of it, the reason still has to continue to make the sequel, not because the orange surpasses Huai Huai. Citrus aurantium, the problem and invisible.
This is the original sin of swinging that Godzilla seems to never be able to get rid of. If it is placed on either extreme of the Patronus or the God of Destruction, it will go out of bounds and have to start all over again.
▲The powerless 32-year knot: Godzilla's ending
Godzilla has many restarts, but only one convincing ending: "Godzilla vs Destoroyah" in 1995.
I don't know how long ago, when I first saw this movie (also known as "Dinosaur Empire"), I knew for sure: this is the best way to end the Godzilla series, and it can't be surpassed. Dongbao clearly made three movies to close the factory for Godzilla, in order: 1968 "Monster Attack", this film, and 2004 "Godzilla Final Battle", but this film is higher in concept than the other two episodes. The upper level is the only Godzilla movie that tries to confront the contradiction between nuclear original sin/national treasure/monster and try to solve it.
Destoroyah is a monster specially designed for the ending. He is a creature born from the contamination of the wreckage of the oxygen destroyer who killed a generation of Godzilla half a century ago, just like a nuclear bomb was to Godzilla; The two monsters Ra and Destroyia had a final battle in Tokyo, but the outcome was unexpected. Destroya suppressed the Red Lotus Godzilla, but in turn was killed by the frozen weapon SUPER X3, which took nine years to develop by humans. The monster is once again suppressed by the new technology of mankind, which clearly shows the reincarnation of the arms race. Who knows that in fifty years, there will be another monster born from the pollution of SUPER X3? The last point of a metaphor for war.
As for Godzilla? At this time, the 3.5th generation Godzilla was burning all over due to high body heat, and would die at any time. After the decisive battle, in order not to destroy the world with its self-exploding firepower, human beings desperately tried to stop it with SUPER X3 shooting. That scene was quite contradictory. It was the final battle of human beings with long-standing enemies for survival, but the interweaving of firelight and snowflakes seemed as if humans were not killing, but putting out the fire for Godzilla. This contradiction is the visual epitome of all the contradictions of the Japanese nation towards Godzilla. In the end, Godzilla was dissolved in the 3.5th generation. "It has made atonement for us human beings." The members of the G Countermeasures headquarters shed tears while watching the fire-fighting scene. Godzilla II woke up in the wasteland at this moment; Will it be the God of Destruction or the Patronus? No one can understand, Godzilla's soul has not left Japan. This is the end and the beginning.
32 years. This is the time that has elapsed between the first reboot in 1984 and the ninth reboot in 2016. "Godzilla vs Destoroyah" is not the last Godzilla filming time, but its important significance is that it creates a concept not only applicable to the third and fifth generation, but also applicable to any generation of patron saints and gods of destruction end of the story. The triple contradiction of nuclear original sin/national treasure/monster cannot be resolved, and can only disappear together. This is the conclusion that Toho spent half a century racking his brains to kill Godzilla for 32 years. Denying its original sin does not ignore the end of the tension of monster destruction. This ending is a funeral for every Godzilla, because the problems behind them are the same, and the audience's contradictions are the same. At least until 2016's The Authentic Godzilla came out.
▲Then, finally arrived at the Fukushima Incident...: Godzilla freshman
said so far, maybe some people have guessed why I think the 2016 film is a revolution that broke the cycle of 9 restarts in 32 years work. The correct answer is: In 2016, "Authentic Godzilla" solved the contradictory cycle of nuclear original sin/national treasure/monster with an unprecedentedly light restart attitude.
That is: Humans do not have to hold or kill Godzilla, but coexist because they have already done so.
In the story, the origin of the tenth Godzilla was quietly changed. According to the speculation of Dr. Muguro in the play, Godzilla is a creature that has existed in the deep sea since ancient times, and is believed by residents as a god of wildness. Later, as nuclear waste enters the sea and pollutes the ocean, it slowly becomes a new species adapted to the nuclear energy environment. It satisfies Anno Hideaki's statement to the outside world: The title of this reboot "Shin・ゴジラ" has many meanings, and Shin can be new, true, or god, and you can interpret it.
However, these are more like word games and smoke bombs. The real sound lies in the disaster behind Godzilla. The Hiroshima nuclear disaster and the fifth Fukuryumaru accident, which have never changed since the first generation, have been replaced by the aforementioned Fukushima first. A nuclear power plant accident. In fact, it is not difficult to see that "Authentic Godzilla" in 2016 was born from the impact of the 311 earthquake on Japanese audiences. The audience's viewpoints on the disaster relief government's response to extraordinary disasters (according to Toho's promotional copy, this is called "reality versus fiction") include 1984's "Godzilla" and 2000's "Godzilla vs. Butterfly Dragon" (ゴジラ×メガギラスG Elimination of Zaku War) ), but the point of view is closer, and even the disaster relief equipment is not included in the mirror, and the focus is completely on the pivot of disaster relief: government officials, and the administrative procedures are therefore more detailed, because these experiences are not unfamiliar to Japanese audiences after the disaster . The consumable radiation released by Godzilla as he walks, and humans trying to solve the monster with cooling instead of the usual freezing in the series, are all metaphors for the Japanese government's cooling strategy for the disposal of the Fukushima Daiichi nuclear power plant in 2012.
This unprecedented monster (this time the world view obviously does not have the existence of some ancient species of the cosmos family and the king of Xisa) chose to go ashore in 2016, and began his journey westward to Japan, which is equivalent to destruction. From the beginning to the end, Godzilla was not explained how to go ashore, and the giant eyes that did not spin did not reveal any information. Godzilla is really not a creature but an incarnation of natural disasters, and there is no way to ask its motives; in order to fight against it , The Japanese government's elite came out and started the most realistic national mobilization battle in the history of Godzilla.
Although the whole film is very close to the real atmosphere, if you think that this is a satire or sympathy for the current situation in Japan - such as Abe's violent right-leaning, or the process of post-disaster reconstruction - it is a big mistake.
These seemingly plausible political terms are only written for the purpose of simulating the disaster relief process and satisfying the closeness of the viewpoint. On the contrary, the public opinion is discarded, and in the two-hour film (which is quite long in all dynasties), you can't see any scenes where the victims of the disaster are crying and praying for the audience to resonate, and there is no scene where the people of the past look up to their brother. A huge and frightened or awe-inspiring picture of Gila. The people are excluded from the camera and the plot, and even the media reporters who symbolize the public have no way to participate in the natural disaster's confrontation with the country, and the story has no intention of starting from this, even a bit indifferent: When Godzilla landed in Tachikawa, The entire city is actually brightly lit and the streets are crowded, and there is no sense of moving natural disasters that can be seen with the naked eye.
Corresponding to the division of public opinion, it is a disaster relief government that is irresponsible and has the supremacy of ability. The Japanese government is the only point of view that the audience can hold, but it is not complete. You can't see how many public speeches, how many emergency calls, how many slogans to appease the government, and nothing (plus the emperor and the imperial family are always absent in the play as traditionally). ), some just deal, deal, deal. Although the cabinet missed its prime time when Godzilla first came ashore because of bureaucratic redundancies and situations that never happened, it was quickly mobilized after Godzilla officially captured Tachikawa and began a desperate battle both internally and externally. These officials did not shy away from talking about their own ambitions (such as Akasaka Hideki), nor did they shy away from the facts of the county (such as Yaguchi Randang), which did not hinder their unity and strategy. They are real state machines, and they can even give up their national feelings after the strategy. Hideki Akasaka even announced to the media that he supported the US nuclear bombing of Tokyo, saying "the nuclear bomb must be voted, even in New York", once again Shows full film trade-offs.
In other words, this is a film that made a lot of human beings, but chose not to express most of the "emotions" of human beings, but only to express the "power" of human beings, and to confront each other with strength and strength.
In the Showa Godzilla series, whenever the story wants Godzilla closer to the audience, it will add humanity to it, such as fatherly love, anger, dignity and protection, making the monster "more human"; On the contrary, human beings are "not like human beings", and human nature is only a reference in the state apparatus. As Yaguchi Rando said, Japan is a battle against Godzilla "a combination of human, material, and intellectual power to fight a monster beyond human imagination." The war is not a confrontation between human nature and animal nature, not a fable between small human beings and nature, but only pure force versus force, facing a positive death-and-death struggle. You can't see the big monsters looking up to the little people in the tradition of the series, and you can't see the disparity between the big government and the small people in the disaster complex, no character fell in love, no character showed loyalty, and no character ever mourned the tragedy of the capital's fall—— This point of view is so bold that it is almost cold. Don’t forget that this is a film made after the 311 earthquake. Dongbao has 10,000 ways to make the post-disaster situationist famous and politically correct, but nothing is done, just to shape the power of the story. A pure melody like an inorganic substance that confronts power.
▲So, a new generation arrives...: Godzilla's new solution In the
end, this head-to-head, inorganic confrontation was won by a slight victory over the whole of Japan. However, in the face of Godzilla, who stood still in Tokyo but did not die, the representative of Japan, Yaguchi Rando, said an unprecedented sentence: "From now on, we will coexist with Godzilla." Yes, he is not talking about destruction, but coexistence. why?
Because mankind has long been inseparable from nuclear energy.
This is Hideaki Anno's most reasonable and revolutionary reversal of the entire series, and it is also the true meaning of Godzilla's silent change from nuclear pollution to nuclear waste.
Remember 1954's "Godzilla" to Hiroshima's black rain? Remember the background of the 2000 "Godzilla vs. Butterfly Dragon" monster smashed into a nuclear power plant, causing Japan to have no nuclear power for 40 years? Remember these fears of everything under the umbrella of nuclear energy and Godzilla as the inverse of that fear, incarnated as an Avenger? Never again. For 50 years, nuclear energy has long been common in Japan and the world. The biggest dialectic brought about by the leakage of the Fukushima Daiichi nuclear power plant is that even Japan, the only human country that has been neutralized by nuclear power, has long been unable to avoid the embarrassment and current situation of relying on nuclear energy. Nuclear energy is both a demon and a miracle. It is absurd to shut down nuclear power generation completely. However, the prevalence of nuclear power plants is undoubtedly suspected of a radiation threat. Nuclear energy is mankind's most convenient and most suspicious neighbor.
Godzilla was different. This time Godzilla is still a nuclear monster, but not from a nuclear bomb, but as a metaphor for the entire nuclear energy society. If the first-generation Godzilla was born and became a weapon because of weapons, then this 2016 Godzilla was born because of nuclear waste pollution and became the existence of nuclear energy. Since ancient times, he was forced to degenerate in the predicament of swallowing nuclear waste, and mankind was forced to survive under the power of Godzilla, but nuclear energy continued to be used. The story does not abandon the nuclear explosion, but the master and the subordinate have changed: because of the nuclear explosion, there is Godzilla? No, it was because of Godzilla that there was a nuclear explosion. For the Yamato nation, the nuclear bomb was not an oppression, but a fight with poison. The overtones in the second half of the story vibrate again.
Of course Japan has to coexist with nuclear energy. The same goes for Godzilla.
This is the Godzilla born after 311, the first Godzilla to correct the symbol of nuclear explosion in 32 years.
This must be a paradigm shift that has captured the hearts of people. The dangerous relationship between modern humans and nuclear power plants has been sneakily transferred to the contradiction between the audience and Godzilla; so far, there are still not many audiences who feel abrupt or even unaware of this setting, which is a clear example. Another example is the countless puns in the play that shout to fans outside the play - "Japan will stand up again!" It is shouted to the Japanese nationals and to fans who support the tradition of monsters. This time, "ゴジラ" was studied by the United States The first-named "Godzilla" pinyin translation is a humble tribute to the 2014 US version of the remake where Japanese actors named the US military -- generally, they are all impeccable metamorphoses, returning to a beautiful symbolic exit. The continuous evolution ability displayed by Godzilla is not only for fun, but also a visual metaphor for the rapid expansion of energy technology. Godzilla's 60-year history of constantly revising its styling, setting, and audience is the most concrete reenactment of genre history.
In 2016, this Godzilla movie, which was restarted for the tenth time, took a group of the most rational, most arrogant, most inorganic, least marketable, least Yamato complex, and perhaps most capable human government human views in history. The tallest and heaviest monster in history, a natural disaster monster that completely surpassed its own human material and intelligence, made a comment that was the most rare in history, but must be faced in the future: coexist with it. In the scene of coexistence at Yaguchi Rando, he and Kayoko Ann Paterson, the Japanese envoy, are symmetrical on the balcony, facing the back of the giant cooling monster Godzilla, and the three are not hostile to each other. But it is not an ally, not abrupt but still able to do something, Japan, the United States and the nuclear power monster have "coexisted" on the screen at this moment - the motto of Ioshiro Honda, the audience's expectations for monster movies, and Godzilla's 32 years of experience The unresolved contradictions of the three rings of nuclear sin/national treasure/monster all complete the meaning under the coexistence of this moment.
Coexistence is because I don't want to leave nuclear energy, or, I don't want to leave the national treasure, I don't want to leave the history of monsters, and I don't want to leave Godzilla. After 32 years, Dongbao and the audience finally found a definite reason that they could not leave Godzilla with peace of mind.
▲Concluding remarks: The origin
of fantasy With the possible announcement of the abdication of the current emperor, this film will become the last Godzilla in Heisei at any time.
Heisei was a difficult time for Tesho. The special photo was once the source of fantasy for the entire generation in Japan, but now it is gradually ebb. Kamen Rider took off his scarf and became a hybrid of metal heroes. The people of Ulla gave up their red clothes and moved towards the direction of the human neon float. The super team is reincarnated. , the monster restarts Forge Feather... Fortunately, there are still animation people who have lived through the heyday of special photography, remembering this period, trying to use the special photography in the animation to preserve the evidence that Superman's fantasy once existed. So now in 2016, we have Hideaki Anno, a Jack who once came back wearing a jacket, and Tsuruya fans who let Asuka Soru lead Jack's MAT special search car to the third Tokyo City, and there is Shinji Higuchi With Gainax, an otaku company that started with special photography and animation, there are Naoya Tsurumaki, Bancho Mashayuki, Maeda Maeda, Kenji Kamiyama... and a series of animation names that flashed in the end credits.
No one knows how the future will develop. Four days ago on August 20, Toho announced that the next Godzilla animated version will start filming, with Shizuo Kongwen and Seshita Hiroshi as the supervisors, Xu Yuanxuan as the script, another group of animators, and a group of people with Anno Hideaki. Like people who have been fed supermen and fantasies. Now, it is their turn, who have become tree trunks, to inject seeds and traces that can re-germinate into superman, fantasy and Godzilla. They found a reason why Godzilla can continue to be loved in Japan in the hearts of audiences around the world now, 32 years later, as they were in the beginning.
I can't think of any reason not to applaud this fantasy legacy.
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