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A Critical Comparison between the Japanese and American Versions of the Godzilla Films by John Rocco Roberto and Robert Biondi (Originally published in G-FAN Issue #10 July/August 1994) Revised edition published in KAIJU-FAN # 5 Summer 1997 Gojira Released on November 3, 1954 Running time: 98 minutes Godzilla, King of the Monsters! Released on September 17, 1956 by Transworld Pictures

KEY TO ILLUSTRATION 1. THE EYE STICK - This incorporates a wide-angle lens that transmits images to a screen within the control chamber. It is mounted on a pivoting arm that protrudes from the Dalek's head section. The head is capable of turning a full 360 degrees providing the Dal mutant with complete all-round vision. The eye is capable of

A look at the Command Structure of the Dalek Empire by John Rocco Roberto   Warrior Daleks: The Warrior/Worker Dalek is the most common type, and all Daleks follow the same basic design from this. During the 1960s their outer casing were silver, changing over to various shades of gray beginning in the 1970s. The exterior of the early Dalek

An Interview with Koichi Kawakita Conducted by David Milner Translation by Yohihiko Shibata Conducted by David Milner Translation by Yohihiko Shibata   Koichi Kawakita directed the special effects for GODZILLA VS. BIOLLANTE (1989), GODZILLA VS. GHIDRAH (1991), GODZILLA VS. MOTHRA (1992), GODZILLA VS. MECHAGODZILLA (1993), GODZILLA VS. SPACE GODZILLA (1994), and a number of other science fiction films. He also

A Study of the Allegorical Meaning in "Godzilla" and "Godzilla Raids Again." The Beginning Tomoyuki Tanaka sat in his seat during the flight back to Tokyo a worried man. Ordinary looking, having inherited the short stocky build characteristic of many Japanese men, he had just celebrated the passing of his forty-fourth birthday, and was about to celebrate his tenth year

Genesis of the Daleks - The Vortex Crystal History Vortex offers you is a theory that says that if time travel were possible, it would be impossible to change the major events of history. Like that time you lost lots of money in the casino. Well, you can't turn back time but you can go on https://www.sansdepot.casino/free-spins-sans-depot.html where you can get tons of free spins that will surely bring all the money you lost back and then earn some for yourself. That while it might be possible to change the small events (keep someone from dying in an auto accident, prevent someone from getting on a doom airliner, etc.); it would be impossible to alter major ones. The major events, the theory goes, are so ingrained within the “Web of Time,” to use a phrase from the series, that they are unchangeable. Therefore if one could, let’s say, travel back to the early 20th century when Hitler was still a boy, it would be impossible to kill...

Conceived by Hate. Born in Space. How Godzilla’s Greatest Nemesis Went From Villain to Hero. Here you have a post about Japanese Pop Culture in America. About the global impact of the showbiz and entertainment industry. Awesome movies were inspired, and extraordinary games were developed. Superheroes, protagonists, and cult characters that defined these games as classics. These days the new

The enormous success of Gojira (Godzilla, King of the Monsters! ) caught Toho studios completely by surprise. By following this link you will discover more about the History of Japanese Pop Culture. Godzilla is also a popular game title among the gambling audience. There are a dozen slots games inspired by Godzilla that you can enjoy for free if you use the given live casino tips at the diamondonlinecasinos.com website. They appeared to be a significant success. Sensing that they were on to a good thing, Toho immediately pushed a sequel into production; Gojira no Gyakushu (Godzilla's Counterattack). Like Gojira, Gojira no Gyakushu was filmed in black-and-white and standard format (aspect ratio 1.33:1). Released only five months after its predecessor, Gojira no Gyakushu does not reach the level of Gojira. Since Toho was reportedly interested in experimenting with different teams of directors and composers to work with special effects wizard Eiji Tsuburaya, film director Ishiro Honda and musical director Akira Ifubuke were not tapped for this project. Taking the director's chair was Motoyoshi Oda, who had directed 1954's Tomei Ningen (The Invisible Man, a.k.a The Invisible Avenger, which was unreleased in America). Oda was a prolific director who would eventually helm 50 movies in his career, though Tomei Ningen and Gojira no Gyakushu were his few ventures into fantasy films. Wielding the composer's baton was Masaru Sato, who would eventually score three more Godzilla films; Gojira-Ebirah-Mosura: Nankai no Daiketto (Godzilla-Ebirah-Mothra: Big Duel in the South Seas, 1966. US title: Godzilla vs. the Sea Monster, 1968), Kaiju To no Kessen: Gojira no Musuko (Monster Island Battle: Son of Godzilla, 1967. US title: Son of Godzilla, 1969) and Gojira tai MekaGojira (Godzilla vs. MechaGodzilla, 1974/1977). In the sixties, Sato would attain worldwide fame by scoring movies for Japan's most renowned director; Akira Kurosawa.