Medusa - Images

Here are the images I threatened promised you with. Actually, they are the same image, but from two different periods in my learning the craft, is it were.

The subject, as the title suggests, is the Gorgon Medusa. I have always been a fan of Greek Mythology, especially Perseus and Theseus . I'll never know why that is; perhaps it was because of the monsters they fought.

One of the joys of drawing Medusa is you really can't do it wrong. So what if the face is misshapen, or the eyes are misaligned? She's supposed to be ugly after all. Am I right or am I right?

Below are the images:

The top one is the original, more or less as I drew it. I'm thinking around three years ago, give or take. All I did was scan it into the computer, clean it up a little, then added color. It's not great, as the sides of her face look a bit uneven. The eyes are excellent, but I can't remember if I "cheated" on them or not (i.e. copied and pasted the eye shape I preferred)

The bottom one is a touch up job I did today using Jasc Paint Shop Pro. What I did was "ink" the out lines of the various parts of the face. I evened the sides of the face by cheating. I also cheated with the low hanging snakes near the neck, and with the neck itself. The hairline (snakeline?) I moved down a bit, thus giving her head a bit of a smaller look. I also took out the snake eyes; they really weren't working, and, in the end, weren't necessary.

While there are differences, I think I maintained the spirit of the original with the touchups. Whether Medusa herself would be pleased, I can not say.

Wild Ride - A Photo

In order to make up for a more or less lackluster day (as if there haven't been oh so many before this!) I present something you don't see every day:

It's sad. I look at that picture and think, "Gee, I wish my desk was still that tidy..."

More images tomorrow. Come and see if you dare!

MUAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA (cough, hack) HA!

(I'm in a strange place right now... Real strange.)

It's Interesting...

...that I just have to delete a fair sized (and fair written) post, and yet I'm fine with keeping something as vapid as "Serious Belief" up.

I must be tired.

Serious Belief

That's one of the most important things when you're a Writer of the Fantastic.

Serious Belief.

I don't mean you have to believe what you're writing is real, nor that you can't have a good time when writing (snickering at the perdicament of your characters, say.) You just have to believe it when you're writing it and take it seriously. Never say "I'm above this" or "I could do better than this". Because unless you are a master of the craft (and sometimes not even then), it will show in the work and weaken everything.

Examples are abound in the various arts. The best come from films. Compare Tim Burton's Batman films to Joel Schumacher's. Or Tom Holland's (Fright Night) to that of Schumacher's vampire movie (Lost Boys).

(Looks like I'm picking on Schumacher, doesn't it? Well when you put nipples on the Bat suit, you should expect some grief. Decades worth, in fact.)

Of course, there are exceptions. Parodies, for instance, and the like. But I think its a good rule of thumb not to wink at your audience, nor elbow them in the ribs and whisper "But we all know better, don't we?"

Second Thoughts on a Post

I had a post for today. Good sized, real nice. I even published it.

And, not five minutes later, I pulled it down. There was nothing wrong with the post that I could see. It just felt off some how. Like I shouldn't do it.

Thus we are left with this random post. Such is life.

Personal Cowardice - an Annoying Bit of Autobiography

This is a little tale of Cowardice, one of those annoying biographical bits I warned everyone about. Don’t worry, it’s quite long and no one’s going to want to read it all.

Once upon a time, towards the end of the nineties, I bought myself a PlayStation. It was the first game system I bought for myself using my own money and it was a blast.

(We are not going to talk about how old I was then, because that involves talking about the long period between me leaving High School and flirting with College, all the while struggling with writing something, anything. As well as highlighting how I wasted large chunks of my life doing so. If it was interesting, maybe, but sadly…)

Any way, I was excited. I bought my first PlayStation game, a RPG called "Wild ARMS".* It had this feature where you could customize certain icons, as well as the background and certain frames.

Which I did.

Over and over again.

I put more hours into doing that actually playing the game.

Such anal behavior is why the background on the Blog keeps changing, but that’s not the point.

Right now I’m sitting on a nice story I’m calling "Hero of Uillias Castle." It’s 39 pages double spaced and consists of approximately 9280 words, give or take an asterisk or three being counted as words. It’s a nice story, I love it to death, but a little voice in my head says it could be better. It could be better and if it was better it would sell. It would sell and I would be on my way.

I have another story, called "The Specter." Seven pages double spaced, over 1200 words. I love it to death too, but I don’t think it would go over to well at all. (Too short, not structured to my satisfaction, this, that, the other thing.) I can do something with it; I know I can. It's just I'm sputtering about and not making progress.

I’ve got another story… Well, could go on, list the other stories I’ve finished, came close to finishing, came close to starting, finished then deleted it all, finished then thought I saved but really didn’t, thank you so much modern technology and faulty brain. I could give reasons, excuses, proof of a massive conspiracy to keep me humble, evidence that Bigfoot and Elvis stole my brain, and perhaps something someone might find hard to believe. None of this matters.

What matters is I’m not even trying. I’m spinning my wheels, telling myself that there is a problem and not doing something about it. Or, worse yet, telling myself there is a problem when there is nothing wrong.

In other words, I'm designing icons for the game instead of playing. I might have the greatest of stories, I may have the worst of stories, but I’m not going to know until I ship them out.

The purpose of this Blog, I've said before and will no doubt say again to the annoyance of everyone including me, is to improve my writing. Between this site and my posts at various message boards, I feel better about my writing and my writing skills than I have in years.

I feel good about writing. Better than I have in years.

I feel frustrated. I can feel the seconds crawl over my skin as they go passing me by. And they’re giggling, the lot of them. Little snots.

There is only one thing to do.

Sometime this week, I‘m going to start working on "Hero of Uillias Castle" and get it to where I want it to be. I’ll give me until the end of May. If I don’t finish it to my satisfaction, I’m going to make sure what I do have is ship shape and I’m going to send it out, warts and all. See if it’s all in my head.

I’m also going to hammer out a publishable “The Specter” (One with a better name, damn it). That bad boy is going to sing. I’ll give myself to the end of June. If I don’t finish it, then I drop it and move on. It’s waited this long, it can wait a bit longer.

The Comparison Essay I was planning for this week… probably won’t be finished in time. Again. Sorry about that. (Yeah, like there are thousands of people dying for that opus.) I’m going to keep on plugging on it, though, as trying to summarize Beast from 20,000 Fathoms and make the summary as interesting as the movie is a trick.** Plus, I said I was going to do it.

I’m going to set a deadline for it too - before mid May. That I’ll hit or give up on the essay, one of the two.

If I think of a story or (God, please) figure out a way of restarting the novel, then I’m going to do it too. I’m going to work my fingers to the bleeding point if I have too.

I’m going to see my blog profile changed or know the reason why.

I will keep you posted as to how well I do.

Well, that’s far too many words on this subject. Close to a thousand if my word counter is to be believed (Give or take an asterisk or two, as well as HTML commands). Four pages or so double spaced. About standard when I’m hot.

Sadly.
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* - Fun game, by the way. It’s being re-released in an all new edition for the PlayStation 2 later this year.
** - Summarizing Godzilla is going to be especially fun, as I don’t intend to refer to Raymond Burr’s character once. Not that I don't like Burr, mind you...

Fun Fact

I typed "welltun cares presents" into Yahoo today and had a link to this site pop up. My God, is that cool.

Tried it with Google and saw the name connected to "Blogshare", a fantasy stock market. Weirdness.

Sorry. No Post Today

I blew today off. What can I say? Sorry about that. It'll happen (up until May, that is, when I hope to get my act more together.)

Right now I'm goofing around with a Science Fiction short story which may see the light of day here, as well as working on an old story that I hope to see published. So it's not like I'm not doing any work at all.

Just nothing today.

Be seeing you.

Site Report - Started Work on Essay

I watched The Beast from 20,000 Fathoms this morning (in fact, I just finished it before writing this post.) I took notes all the way through it, which was an odd experience. I hadn't done that since High School.

Ha! I kid. Taking notes while watching movies was done by the smart kids who wanted to pass the class, and not for the fools who thought life was going to keep handing them things on silver platters. Movies in school were for Thinking DEEP Thoughts utterly unrelated to the subject at hand.

God I miss those days.

I kid again. Thinking DEEP Thoughts is about all I do. Part of doing this Blog is to give me some focus and make those DEEP Thoughts into worthy thoughts at the very least.

Anyway, about midway through I began to suspect that two synopses before the main essay might be a bit of over kill. I'll make my final decisions on that after I watch Godzilla later.

While I'm talking about Beast, let me just say what a neat little movie it is. I remember being bored with it the last time I watched it, noticing all the tiny little flaws. This time, I left the jaded old man eyes behind. It's a neat little film, worth watching and owning.

Any way, that's about that. I'm shooting for a firm Friday post on the essay. Not sure of what I'll do for the other days of the week; maybe another Fantastic Writer essay, maybe a few little reviews. Maybe... The Horrors!... a few old pictures I drew. After blowing this essay's deadline I'm going to play it a little loose for a bit.

See you soon.

Site Update - Wasting My Day

I don't expect to start on my comparison essay before Sunday. Today I'm going to be general prep work on various story ideas I have had. If I can think of something else worth talking about, I will. Otherwise, I'll see you soon.

Capsule Reviews - Millennium Godzilla

Here, for your consideration, are capsule reviews for the Godzilla movies in the Millennium series, made between the years 1999 to 2004. Only minor spoilers are given, with only the barest of plots to preserve some of the joys of the films. Longer reviews will appear when warranted.

The reviews for the Heisei series begin here

The reviews for the Showa series begin here

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Note on these Reviews

With the exception of Gojira tai Mekagojira (2002) and Gojira tai Mosura tai Mekagojira: Tôkyô S.O.S. , none of the Millennium Series are connected. For that reason, I’ve stuck a review of the American Godzilla in here. Hey, it’s a Godzilla film (sort of) and there is no other place for it…

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Godzilla (1998)
Director: Roland Emmerich

A mutant (Jira) created by nuclear testing appears. It heads with a purpose towards New York.

A “realistic” Godzilla, one that could be harmed by conventional weapons and followed the laws of physics and nature to a reasonable degree, would make a very interesting film. It also would be interesting to see what real world effects a Kaijû would have on the world, from the damage it would do to the surrounding landscape to the sociological effects its presence would have on civilization.

Unfortunately, this movie isn’t it. Hell, it doesn’t even meet most of the above criteria.

Between questionable situations (how many eggs did that lizard lay?), a horde of unnecessarily, borderline unlikable characters (pretty much all of the news related characters), an almost cowardly stance (blaming French nuclear testing instead of the usual homegrown accidents and experiments), and rather smug writing and directing, it’s not surprising that the film suffered so many harsh reviews. However, it does have its charms in places. Jira, while not quite Godzilla enough, is suitably impressive and all of his scenes are worth watching.

While a failure, it really isn’t that bad. Maybe a better over Gojira tai Hedorà, Chikyû kogeki meirei: Gojira tai Gaigan, and Gojira tai Megaro, but not that much better…

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Gojira ni-sen mireniamu (1999)
aka Godzilla 2000
Director: Takao Okawara

A recently discovered artifact proves to be some sort of living creature that is far too interested in mighty Godzilla.

In many ways, the best Godzilla movie since Gojira tai Biorante. The Kaijû Orga (which is never referred to by name) is very inventive, with a motive that makes him unique among all of the other foes Godzilla has faced. The special effects are more or less impressive, with only a few weak moments. The plot is a bit silly in places, but in the end most serviceable.

All in all, an excellent Godzilla Movie.

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Gojira tai Megagirasu: Jî shômetsu sakusen (2000)
aka Godzilla vs. Megaguirus
Director: Masaaki Tezuka

An experiment in a new weapon to use against Godzilla unleashes a new threat upon the world.

While Megaguirus was a very interesting choice for a foe for Godzilla (the Kaijû first appeared in Sora no daikaijû Radon/Rodan ) the plot makes him and his kin superfluous. Speaking of plots, the weapon concept is phenomenally bad; it must be heard to be believed. And even then…

The effects in this movie are good, except for one scene where the wires supporting Megaguirus is clearly seen. In this day and age, such errors really shouldn’t be made.

Not a very good movie, it does have one saving grace: it does illustrate one of the benefits of little continuity…

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Gojira, Mosura, Kingu Gidorâ: Daikaijû sôkôgeki
(2001)
aka Godzilla, Mothra and King Ghidorah:
Giant Monsters All-Out Attack
Director: Shusuke Kaneko

Once more the mighty Godzilla has risen from the sea to punish Japan for its sins. All that stands between the nation and utter destruction are the Guardian Monsters. And even they might not be enough…

One of the best Godzilla movies in years, period. And a very odd statement coming from a Showa fan, as Godzilla has never been as evil as he is in this movie.

Which is really the reason why this movie is so good. It is so unlike any of the movies that came before it or after it. Malicious and dark, Godzilla is clearly a threat that must be destroyed at all cost. The special effects are constantly excellent and while the story is questionable in places, it never becomes utterly ridiculous. (Well, maybe a bit at the end…)

If this isn’t the best of the Godzilla films, it’s damn close.

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Gojira tai Mekagojira (2002)
aka Godzilla Against MechaGodzilla
Director: Masaaki Tezuka

Using state-of-the-art technology, the Japanese Defense force builds a robot protector from the remains of the first Godzilla. It is successful in defending Japan from the threat of the second Godzilla, but proves to be just as big a threat to innocents.

A return to the usual, with a monster that’s been seen before, a hero with a personal grudge against Godzilla, and one of the most static battle scenes in the history of the character. By all rights, this should have been another low point. And yet, it is one of the best of the Millennium series.

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Gojira tai Mosura tai Mekagojira: Tôkyô S.O.S. (2003)
Aka Godzilla, Mothra, Mechagodzilla:
Tokyo S.O.S.
Director: Masaaki Tezuka

The Moth Goddess Mothra warns Japan to abandon its experiments with Kiryu/Mechagodzilla or face her wrath. However, Kiryu is still needed as protection from a still marauding Godzilla.

Rather disappointing, after the fun Gojira tai Mekagojira (2002). Although it begins promisingly enough, it soon sinks back into the same old routines of Godzilla’s past. It might have been interesting to see Kiryu battle Godzilla and Mothra at the same time, or see Kiryu and Godzilla team up against Mothra. Instead, events unfold pretty much as one might expect.

Still, it is an entertaining film, worthy of a viewing.

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Gojira: Fainaru uôzu
(2004)
Godzilla: Final War
Director: Ryuhei Kitamura

A monster mash in the spirit of Kaijû sôshingeki (Destroy All Monsters)

Of all of the Godzilla movies talked about in these capsule reviews, this one is the most unique, the most inventive... and the most empty. Not that one notices while watching; while watching it's thrilling, exciting, and funny. It's only afterwards that a sort of empty feeling comes.

It's a very interesting experiment. I wish more of the Millenium series was as daring. I just wish that this, the last Godzilla for the forseeable future, had a bit more substance to it.

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Fantastic Writers - Edgar Allen Poe

I can’t tell you exactly when I started reading Edgar Allen Poe . Long years, back into my childhood. I can’t tell you why I read Poe, either. He’s stuff seldom if ever touched on monsters and I was a monster boy. All I know is that I loved his stories, and that has never changed.

Going back to his work, I wonder how the hell I finished any of his stuff. I don’t know if it’s all the TV watching I’ve done or the videogames, but it’s an uphill slog to get through most of his stuff these days. I know I finished the stories, but did I understand half of what I read? And why don’t I now?

Modern difficulties aside, I believe that Poe’s influence on the Fantastic and literature in general can not be understated. Any would-be writer would be well served reading his works. He is the master of Effect, and while you might walk away from some of his stories thinking this character or that character was little more than paper thin, you’ll find that with Poe, more often than not, it doesn’t matter.

Here is a small list of some of my favorite Poe stories:

• The Cask of Amontillado - One of the greatest horror stories ever written and one of the best examples of the short story there is. Poe wastes no moment here, and it’s all to the good. I probably shouldn’t reveal this, but every time I think about this story, a small smile creeps onto my face. No doubt that’s wrong of me…
• The Fall of the House of Usher - When I made reference to paper thin characters, I was thinking of this story. You don’t learn much about the narrator or the Ushers, or exactly what is going on. I read one essay suggesting that it’s a vampire story - remember that vampire stories today and vampire stories back then are two different beasts. Another theory, coming from H. P. Lovecraft, suggest that "Roderick Usher, his sister Madeleine, and the house all shared one common soul”, and that when one went they all went. (deCamp 246).
  
  None of this matters.
  
  What matters is the effect of the story, and this is one creepy little tale. It also has in it one of my favorite of Poe’s poems, The Haunted Palace .
• Hop Frog - If this was never a part of “Tales from the Crypt”, “Vault of Horror”, or any of the other EC funny books, it’s a crying shame, for this story of revenge would have fit beautifully. A bit obvious in places, but still an excellent, excellent story.
• The Raven - I suppose you could talk about Poe without mentioning “The Raven”, but I’m not sure why you’d want to. A very powerful piece, and this is from the man who doesn’t care for poetry…

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Small confession here: while I have read the below work, and dimly remember the quote, I do not currently have the book on hand. The page number I cite is second-hand information and may very well be wrong. I apologize for any inconvenience this might cause and, if I learn that it is wrong, I will correct the information as fast as I can.

One other note: I find it amusing that the one book I do cite in this essay is about another author entirely.

de Camp, L Sprague. Lovecraft: A Biography Garden City, N.Y: Doubleday, 1975

Site Update - Setting Goals

Either today or tomorrow I will start up a new series of essays called “Fantastic Writers,” covering my thoughts on author’s of note in the field of Fantastic Fiction. (My explanation for the term Fantastic Fiction can be found with this essay). While I might not like the works of a given author, I’m not about to put up a name I don’t think worthy of reading. Lord only knows that my tastes aren’t everyone’s. Hell, my tastes aren’t always good.

Friday I will wrap up the capsule reviews of Godzilla movies. One page on that, I think… But we shall see what we shall see. It’ll be nice to see it done; it’s one of the first major projects I set for myself for this site.

Saturday or Sunday may find us with the start of a comparison essay between The Beast From 20,000 Fathoms and Godzilla. I’ve been meaning to do it for a while, but have been putting it off for one reason or another. It’ll consist of a brief synopsis of both movies plus the comparison essay itself. I mean it to be a rather serious piece of work, so the deadline might be pushed back. Even as I write this, I’m thinking a week or two later for the main essay, if not waiting for my days off in May, might be sane.

In the future, I plan another series of capsule reviews, this time on Roger Corman’s Edgar Allen Poe pictures. Fiction will rear its head, hopeful before April is out, and I can almost guarantee no more poetry for a bit.

I will try to post again later today, but if I don’t, I’ll see you tomorrow.

Some Points to Consider When Viewing Bad Movies

In my time, I have sought out, rented, or bought some really bad horror movies. Here are a few guidelines I have concerning them that might be useful if one decides to follow my lead. (Which I don't advise; I don't know where I'm headed any more.)

No doubt there are other lists like this one out there on the web. I admit it isn't the most original of ideas. But my other essay stalled and this was the result...

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1. Bad movies are in the eye of the beholder. Some of the best films I've seen other people consider bad.
2. If the movie's entire plot is contained on the back of the box, you can count the movie watched and move on.
3. If the movie has a fancy cover (Holographic image, talking covers, etc.), then you may want to consider passing it by.
4. If the actor you rented the movie to see dies before the film is over, you can, in good conscience, stop the movie.
5. Any Dracula movie made beyond 1943 in which Dracula successfully hides his identity by spelling his name Alucard is probably not worth your time.
6. If you can predict plot points five to ten minutes before they happen, you no doubt can finish the movie even without seeing the rest of it.
7. If the film has the word "Blood", "Gore" or the like in the title, it is probably trash.
8. No one has ever made a decent Killer Santa Claus movie. Ever.
9. No one has ever made a decent Killer Snowman Movie. Ever.
10. "Troma" is "Trauma" misspelled.
11. Big name directors who have never made a Horror movie before probably shouldn't start now.
12. Bats on wire never, ever look convincing.
13. If you know how the movie's going to end in less than 3/4 of the running time, you might be wasting your time watching the movie.
14. With very few exceptions, you won't be penalized for not finishing a movie. Beyond, of course, paying the rental fee (or, worse yet, buying the thing out right.)
15. No one needs to know you paid money to see any film. In fact, there are some films you don't want people to know you've watched and enjoyed. Which is why I refuse to tell anyone I own Frankenstien V. Dracula or that I have two copies of Godzilla v. Megalon.
16. If there are two or more horror stars in a given horror movie, odds are good they won't appear together on screen very often.
17. If the author of the work name appears in front of the movie's title (i.e.Bram Stoker's Dracula, Stephen King's Graveyard Shift), odds are good that you can rent the story from your local library and save wear and tear on your VCR/DVD/Immortal Soul.
18. If you simply must know how a movie ends, remember that the fast forward button is your best friend.

The Plot Archetypes of Giant Monster Movies

Stephen King, in his book Danse Macabre, wrote that Horror Fiction could be divided up into four archetypes: The Vampire, the Monster (as in Frankenstein’s), the Werewolf, and the Ghost. It’s an interesting idea; one that’s I’ve given a bit of thought to over the years. At one point I even considered using something like it for quick and easy movie reviews.

And then sanity returned to me. I mean, capsule reviews are one thing, but there is such a thing as taking an idea to extremes.

However, I thought it might make an interesting little essay or two for the Blog. So, without further ado, and with some apologies to Mr. King for “borrowing” the idea (as if he’ll ever read this), the archetype plots of Giant Monster Movies:

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• The Beast - Due to science run amok, an ancient creature, usually a dinosaur, has been disturbed and lashes out at the world. Named after The Beast from 200,000 Fathoms, there are a whole slew of movies based on this theme, including Gojia (Godzilla) and Sora no daikaijû Radon (Rodan)
• The Invader - A monster journeys from another world to threaten the Earth. The monster is either directed by aliens (Kronos), comes of its own accord (The Giant Claw), or is brought here accidentally (The Giant Spider Invasion, The X from Outer Space).
• The Lost - A lost world or a distant planet is discovered to be teeming with unique life forms. One such life form is brought back to civilization, where it runs amok. Movies with this plot, to one degree or another, include The Lost World, King Kong, and 20 Million Miles to Earth
• Monster Mash - These movies (generally sequels to Kaijû movies) are more or less excuses to see two monsters fighting each other. The Monsters themselves might have various origins (from Lost to Beast, and so on.)
• The Mother - Something precious has been stolen from a monster and the monster comes to take it back. Examples of this archetype include Mosura (Mothra), Gorgo, and Daikyojû Gappa (Gappa the Triphibian Monster). Unlike the other Monsters, Mother tends to win by the end of the film.
• Them Intended - Normal creatures (and sometimes people) are altered by Science for purposes either benign or terrible. They become monster that threaten the world. Examples of this archetype include Tarantula, Konga, and Python.
• Them Unintended - Normal creatures (and sometimes people) are altered by nuclear tests or other such carelessness and become terrible monsters. Them is the best example of this plot. Other films include Beginning of the End and The Amazing Colossal Man. (And, if one wanted to stretch the concept a wee bit (and why not?), one could also include The Incredible Shrinking Man)

Capsule Reviews - Heisei Godzilla (2)

Here, for your consideration, are capsule reviews for the Godzilla movies in the Heisei series, made between the years 1993 to 1995 . Only minor spoilers are given, with only the barest of plots to preserve some of the joys of the films. Longer reviews will appear when warranted.

The reviews for the Showa series begin here

The first part of this series is located here

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Gojira VS Mekagojira
(1993)
aka Godzilla vs. Mechagodzilla II
Director: Takao Okawara

A new weapon is built to fight Godzilla: a giant robot replica known as Mechagodzilla. Meanwhile, an Godzilla egg is discovered and brought to Japan, drawing not only Godzilla but also a second monster…

The return of Mechagodzilla and Rodan should have meant a little bit more, somehow. This is little more than a light show and typical of what was wrong with the Heisei series. Not as aggressively irritating as the previous two film, but not equal to Gojira tai Biorante, either.

Two points of interest do exist with this film. This is the first film in the Heisei series to treat Godzilla as anything other than a pure villain. Also introduced during the course of the movie is the series final reoccurring major character: Baby Godzilla (aka Little Godzilla, aka Godzilla jr.)

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Gojira VS Supesugojira
(1994)
aka Godzilla vs. Space Godzilla
Director: Kensho Yamashita

An attempt to control Godzilla leads to problems as gangsters try to steal the control device. However, there are worse problems afoot as a Space Monster comes to Earth to battle Godzilla.

All sound and fury signifying nothing. Yet another Godzilla movie where very little makes sense. For instance, take Space Godzilla’s entire existence. According to a scientist in the film, Space Godzilla was created by a fragment of Biollante passing through a Black Hole. Aside from the specious origin, there are two questions that remain unanswered in the movie:

1. How does the scientist know all this?
2. How is any of this possible when Biollante can’t even exist in this timeline due to the events of Gojira tai Kingu Gidorâ?

One might think that such questions are a result of thinking too much. Which is probably true.

In any case, Space Godzilla is, without a doubt, the dumbest ideas to come out of Toho. Godzilla with crystals out of his shoulders; real imaginative. More lights flashing, more thunder, and more boredom. Not even the presence of a second Kaiju foe (the robot Moguera from the movie Chikyu Boeigun/The Mysterians) can help this one.

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Gojira VS Desutoroia (1995)
aka Godzilla vs. Destroyah
Director: Takao Okawara

Creatures created by the Oxygen Destroyer device that killed the first Godzilla appear and wreck havoc on Japan. However, there are bigger problems afoot; something is wrong with the current Godzilla and if it isn’t stopped, the world will be destroyed.

The final film in the Heisei series is a vast improvement over what has come before, despite being as silly as the rest. (Freezing laser?) Destroyah is a wonderful looking creature (ignoring its debt to Alien) and his battle with the dying Godzilla is great. All in all a good movie and a sad reminder of what the Heisei series could have (and should have) been.

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This ends the Heisei Capsule Reviews.

The first part of this review can be found here

The reviews for the Showa series begin here

Site Report - Minor Stuff

I have been informed by various sources that there's "a lot of reading" in my posts. My response is, simply, "Duh. Writer here."

However, in the intrest of keeping the intrest of people who don't like mammoth essays, I might start cutting more of them into parts, keeping them readable segments with links to earlier posts. Just a thought on my part...

Also, we're heading into the last bits of site design. I might touch up the footer a bit, change the picture or something, but I've gotten everything about the way I want it. Might change the picture in the side bar on occasion, but nothing more than that.

Later today, the last of the Heisei Godzilla reviews.

See you soon.

Categories of Fantastic Fiction

I have tried to keep the Dread Pronouns “I” “me” and “my” to the bare minimum in these little essays out of respect of what I’ve learned in the MLA Handbook and my oh so brief brush with College. (Which may be lengthened in near future.) However, with this essay, the pesky pronouns will not be denied. It’s all good; this essay not only details the subgenres of Fantastic Fiction, but also my preferences and why I’ve chosen what I’ve chosen.

The first part of this essay, the Categories of Fiction, can be found here.

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In many ways, Fantastic Fiction can be as restrictive as Ordinary Fiction. In scope, however, there is no comparison. Exploring this, I will be talking about the three basic categories of Fantastic Fiction: Horror, Science Fiction and Fantasy. Unlike the differences between Ordinary and Fantastic Fictions, these categories are not as hard and fast.

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Horror

Of the three subcategories, Horror is the freest. It can exist as well inside of Science Fiction as it can in Fantasy. It can even work outside of the category Fantastic as long as the writer is willing to work within the rules of Ordinary Fiction.

Horror Fiction is an attempt to unsettle the reader, to disturb, to frighten, to terrify. It works best under tight supervision; the closer it is to Ordinary Fiction, the better chances it has of success. The ultimate threat in Horror Fiction is that something bad will happen. It will happen sooner than the reader might want, and to characters the reader might wish unharmed.

When I started out to become a writer, I was going to be a Horror Writer. I read volumes on the subject, delved into the dark corners of the genre, and vowed to watch every Horror movie ever made. I was young, I was sure, I was ambitious.

I was also very ignorant and burned myself out on the subject.

Oh, I’ll still seek out Horror stories and movies. Some of my favorite books and films scare the pants off of me. So to speak.

But I no longer want to write just Horror.

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Science Fiction

If Horror is the freest, then Science Fiction has the potential for most restrictions. It exists right on the boundary of the Fantastic. Current understanding on how nature and the universe functions guide and shape this subcategory. It is the study of what might be on other worlds and in the future.

Science Fiction can be divided further into two more categories, Hard Science Fiction and Soft Science Fiction. Hard Science Fiction must be completely based in known possibilities. Time travel, faster-than-light (FTL) travel, telepathy, and the like have no place in this category.

Soft Science Fiction can imagine other possibilities, with in reason. The aforementioned time travel, FTL, and the rest. However it is still restricted in what it can and can not cover.

I would love to do Science Fiction. My grasp of science is, unfortunately, not so good. It will have to wait until I get a better grasp (or a bit more courage to risk more).

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Fantasy

This is the largest category, as it encompasses damn near anything can imagine, seeking out all sorts of emotion responses. While a writer may at will disregard natural laws, there must be a sense of consistency within the work, least the reader find the work confusing or, worse yet, utterly pointless. As an example, if a Wizard needs to say a specific word to cast a spell nine times in the story, he can’t just wave his hand and cast the same spell the tenth time without some reason for this sudden lapse or strength.

While not as free as Horror (it cannot exist in Ordinary Fiction), it is close. Troupes of Science Fiction, such as space travel, robots, and the like can exist quite well in Fantasy. Examples of this would include the “Star Wars” series, the “Final Fantasy” video games, and the “Shadowrunner” role playing game system.

I decided to be a Fantasy Writer back in my Senior year of High School (oh so long ago). It was this very freedom I liked. I could do and say what I want, and who could say I was wrong?

Like I said, I was very ignorant.

Just as a brief for instance to explain what I mean, say I wanted to set a story in a land similar to Ancient Egypt, it would behoove me to know how life was like. How crops were grown, the type of government, and the like. The closer one can mimic Ordinary Fiction in Fantasy, the strong the work and the more readily the reader can accept what is going on.

There are, of course, examples of where this is not the case. I believe, however, they are the exceptions and not the rules.

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Writer of the Fantastic

As I matured (grew older, gained grey, whatever), I came to the conclusion that I didn’t want to be limited as a writer. Titles such as Horror Writer, Fantasy Writer, and the like began to chafed, and I really hadn’t even produced anything of note yet. How much more so would it be when I went pro?

This is why the Fantastic appeals to me, and why Ordinary Fiction just won’t do. This is also why I use the more generic, and yet, I think, wee bit mysterious title of Writer of the Fantastic.

Site Report - Son of Miss-Day

I mentioned that Wednesdays and Thursday were a bit off for me. Yesterday was a bit more so that usual; it was my Uncle's birthday. So no posts for me.

It happens. I'll try to keep a smoother ship from here out.

Sometime today or tomorrow I will get that other essay on fiction categories up. More Godzilla reviews are on the way, rapping up the Heisei series. And perhaps a whole lot more.

See you soon.

Site Update - Potential Miss-Day Today

I might not have anything up today. Wednesday and Thursdays will be like that. (Which would mean taking those days as my weekends this May might be a good idea, now that I think about it). If I can juggle it, I'll finish up my second essay on Fiction. If not... Well, I have been posting a bit extra lately, so I don't feel TOO neglectful.

I'm also going to do more work on sight, specifically dropping the Thoughts on for my essay titles. I've noticed that's pretty much all I've been doing. I would have thought I'd do more day to day stuff, but that hasn't been the case. By dropping it, I mean a major overhaul on everything I've posted, and a change to the links. Hi ho.

Any way, if this be the only word I send out to the world today, or even if it isn't, then I wish you all a good and happy day.

See you soon.

:-{ ?

Y'know, I've been surfing the web a lot in the past few years, and I've seen a lot of smilies. Happy faces :-) Winking ; - ) Angry >:-( and the like.

I've yet to come across a smilie for Homicidal Rage While Holding a Cheese Grater and Thinking of My Ex-Girlfriend Who Said She Wanted Us to Be Just Friends But Went to All of My Real Friends and Started Telling Horrible Lies About Me and a Cockapoo Which Never Happened Because I Was In California at the Time Doing A Favor For Her No Good Brother Who Stole Thirty Bucks From My Wallet Then Gave It Back To Me As a Loan (With 20% Interest) A Week Before He Shoved Me Down A Cliff Into the Wrath Full Sea From Which I Was Only Escaped Through the Fortuitous Aid of a Pod Of Passing Dolphins and A Beautiful Blonde Who Still Won't Return My Phone Calls Damn It.

Which makes me feel really restricted in what I can say on-line. I mean, what if all of that happened to me? Am I supposed to write that out every time? I think not.

There's got to be some way of doing it. Maybe with a hyphen and a couple of commas... Yeah... Yeah, maybe...

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This post is dedicated to Dead Robin in the hopes he can finish it. Assuming, of course, he ever learns to read. (Private joke)

Fiction's Main Catagories

One of the great Truths I’ve learned in life and in my quest to become a great writer is that people tend to put things in little boxes. I’m no better nor worse than anyone else in this matter.

The following essay, in combination with tomorrow's, is my thoughts on the various categories of fiction that I will be dealing with in this blog. They may not mesh with the ideas of other. They may not mesh with my own thoughts further down the road.

However, they are what I think now.

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Fiction can be divided into two main categories: Ordinary and Fantastic. No one category is inherently better or more worthy than the other, but the difference between the two is distinct.

Ordinary Fiction is of this world, following, taking from, and guided by what is known of the laws of science and nature, as well as the course of history. It covers the present and the past and only slightly dips its toes into the future, if it does so at all.

In Ordinary Fiction the severed hand running around killing people is just the delusions of a madman. The dead husband haunting his wife turns out to be alive and seeking to drive her insane. The UFOs performing cattle mutilations are in truth stealth helicopters used by the government. If the supernatural is suggested, it is usually done ambiguously, or as a winking joke between the writer and those that know better.

On the other hand, Fantastic Fiction deals with situations that are impossible or improbable, or with possibilities that may or may not come to pass. Things like physics and history can be tossed out the window or altered to suit the creator’s needs. It can cover past, present, and future with a will, or invent other worlds and other histories.

In Fantastic Fiction, cities can be thinking entities, bent on enacting their will upon their citizens. A medieval town might decide they must be ruled by a magic lord. A world might exist as a disk on the back of a giant turtle. A future civilization come under the rule of the very machines they created to serve them.

As this blog is run by a Writer of the Fantastic (one who writes Fantastic Fiction), Ordinary Fiction will not be discussed more than in passing beyond what has been done in this essay. It should not be interpreted that there will be no Ordinary Fiction posted, nor will works of Ordinary Fiction be past up as matters of debate or review. It just won't happen very often.

The focus of the next essay will be devoted to detailing thoughts on the three basic subcategories of the Fantastic: Horror, Science Fiction, and Fantasy.

Cthulhu and Son - A Comic

"Now Jimmy. What did I tell you about teaching your friends the pleasures of pain?"

"Um... That's yer job?"

"Darn tootin' it's my job."

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Another sample from my files, this fits the bill as both art and fiction to boot. Not much, but every little bit helps...

Capsule Reviews - Heisei Godzilla (1)

Here, for your consideration, are capsule reviews for the Godzilla movies in the Heisei series, made between the years 1984 to 1992. Only minor spoilers are given, with only the barest of plots to preserve some of the joys of the films. Longer reviews will appear when warranted.

The reviews for the Showa series begin here

The second part of the series begins here.

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A Note About the Heisei Reviews

Nothing major. Just a bit of trivia.

When worked on the first portion of these reviews, I was unaware that Gojira (1984) was technically a part of the Showa era. However, the Heisei series has a continuity (albeit a loose and confusing one) that starts with that particular movie. So, rather than squeezing it back in the Showa reviews, I’m keeping it here.

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Gojira (1984)

aka Godzilla 1985
Director: Koji Hashimoto

A second Godzilla appears, resuming where the first left off with the destruction of fishing vessels and a slow approach towards civilization. A modern Japan must now face an indestructible force from Earth’s prehistory.

A decent, albeit slow, start to the new series, this movie is a combination sequel to and remake of the original Gojira. The special effects are a vast improvement over the earlier movies and the human protagonists are given the rare victory over mighty Godzilla.

Like the original, this movie was graced by the presence of Raymond Burr. Unfortunately his scenes were not inserted with near the care and skill of the first time through. Which, all things considered, says something about the job done.

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Gojira tai Biorante (1989)

aka Godzilla v. Biollante
Director: Kazuki Omori

A grieving scientist mixes the cells of his dead daughter with the cells of a rose and Godzilla. Meanwhile, terrorist try to blackmail the Japanese government. Either the government agrees to their demands or they release Godzilla from his volcanic prison.

And what father wouldn’t want to mix his child’s DNA with that of Godzilla’s? Nothing FREAKING BIZARRE about that, now is there?

Questionable motives and science aside, this is an excellent movie and, unfortunately, the best of the Heisei series. There are some great scenes here, from a class of psychic children drawing a very specific figure from their shared dream to Godzilla’s first battle with the massive Biollante. Biollante herself is spectacular, suggesting imaginative possibilities that the Heisei series never quite lives up to.

This film introduces the psychic Miki Saegusa, one of the few reoccurring human characters in Godzilla’s history.

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Gojira tai Kingu Gidorâ (1991)

aka Godzilla v. King Ghidorah
Director: Kazuki Omori

A team of scientists from the future come back in time to modern Japan to enlist help in dealing with the Godzilla situation. Their plan: prevent Godzilla from receiving the initial dose of radiation that made him such a terrible force.

After the heights of Gojira tai Biorante, there is this. Widely considered one of the best of the Heisei series, this film makes no sense what so ever and effectively screws up the continuity set up in the previous two films. Consider this: the protagonists go back in time, accomplish what they set out to accomplish, return and are promptly asked by the people they left behind if they were successful in moving Godzilla. It hurts the head.

On this, the only real way this movie works is if some of the characters are absolute morons. That and the villains’ scheme could have been accomplished in a far easier way without the hassle they go through…

Such daft plots and shaky characterizations might have been okay during the Showa series, but that was solely because that series seldom asked to be taken seriously. A waste of opportunity and time.

Also the most likely of the Heisei series to get a full review, for that very reason.

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Gojira tai Mosura

(1992)
aka Godzilla and Mothra: The Battle for Earth
Director: Takao Okawara

As the Earth screams in rage at the damage inflicted upon her, she sends out the Destroyer Battra to punish those involved. Only the Moth Goddess Mothra can stop the end of all life. However, greed humans have stolen her priestess and she before she battles her ancient enemy, she will stop at nothing to get them back.

Note the distinct lack of Godzilla in that summery. While theoretically a remake of Mosura tai Gojira, it is in truth an inferior remake of Mosura with Godzilla in a more or less extended cameo. Again, as with the previous Gojira tai Kingu Gidorâ, character motivations change at a drop of the hat with little to no rational explanation. In fact, the summery above, the complete basis of the whole story, is proven inaccurate by the closing moments of the film. A disappointment.

Mothra would continue from this movie to appear in a series of her own, in which she would take over Gamera’s role as a Friend to Children Everywhere. Lucky girl.

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Here ends the first part of the Heisei Godzilla Review series.

The second part is located to this series is located here

The Showa Reviews begin here

Site Report - On Fiction

I've been having a problem with posting fiction.

I've been going through my files, checking for something suitable to post. Unfortunately, everything falls into one of two catagories: "Yeah, I want that crap seen" and "My God this is good enough to send out." Makes posting on that subject hard.

I have come up with a ingenious way around this.

First off, I'm going to get the former stories sent to a variety of places to see if I can sell it. If it doesn't sell, then and only then do I post it here.

Secondly, I have a book sitting around my house called What If?. It's filled with writing exercises. I figure I periodically do one of those exercises and post it here, thus upping the Fiction content, showing how well I write, and getting practice outside these little essays.

This will start maybe after Wednesday of this week. I don't know if it'll be a regular thing or not, so I'm not going to touch the Statement of Intent. However, I am going to have the title look something like this Title -Exercise and detail which exercise I'm doing (briefly). I'll set some kind of index up so that anyone who cares to can go through it and see how I'm doing.

Today I'm planning on starting the next portion of the Godzilla series of reviews. Plus, on the distant horizon, I've picked up a couple of Gamera movies that might do for a full review.

See you shortly.

Similar Thought, Copying, and the Dread P Word

This one starts a bit odd, and perhaps suggests something I don't intend, but bear with me. All will be revealed. If in a rambling, anticlimactic fashion...

Damon Knight and Me
or: What Inspired This Nonsense

Born in 1922, Damon Knight wrote better than twenty science fiction novels and countless stories by the time he died in 2002. However, he will probably be always known for a single story, "To Serve Man", which appeared during the initial (and still best) running of the Twilight Zone.

Knight wasn't one of the BIG ONES for me. The first time I knowingly read a work of his was when I picked up his book on writing Creating Short Fiction in my efforts to improve my craft. (More on this in a bit.) The only short stories of his I've read are "Semper Fi" (which is in Creating Short Fiction) and, of course, "To Serve Man." Of his novels I've read but one, Why Do Birds, a really strange novel about the end of the world. All of this works I've mentioned I enjoyed, but I recommend Why Do Birds with some reservations; it's probably not for everyone.

The reason I bring up Knight is that I was flipping through Creating Short Fiction not too long ago and I came across a portion that gave me pause.

Knight writes, "There is an implied contract between the author and the reader that goes something like this: Give me your time and pay your money and I'll let you experience what it's like to be" a variety of different people in various situations (Knight 54). A very valid and perceptive view of the author/reader relationship.

My problem was, when I read it, I was certain I had copied the sentence in one of my essays. (This one, to be precise.) I was fairly sure I hadn't done it word for word, but it was, in my head, close enough to warrant a little owning up, and as soon as possible. Lord only knows I don't need the P-word attached to my name.

I start this essay up, gather information on Knight, keep Creating Short Fiction on hand to quote from, and then, and only then, I go back and look at the offending sentence. Which is this: "Every writer, no matter the field, promises to divert, to inform, or to provide some combination of the two."

Now I don't know about you, but I don't see any similarity between the two. Both talk about what the writer owes the reader, granted, but the thrust is entirely different. I'll humor myself and say that my sentence is more succinct than Knight's. It is pretty much the only thing I'll grant me; Knight's comment on the writer/reader contract is much better and one I would endorse fully. If I might further compliment myself, I think the two ideas complement each other and worth considering whenever one approaches Fiction.

Now where does that leave us? Well, with an essay that isn't as relative as I had feared, of course.

(There is still that little whisper I have at the corner of my mind about one of my other sentences in that essay, but I'll only bring that up if I can site it and if it's not another phantom of my self doubt.)

Similar Thought

The aforementioned confusion is an example of similar thought. Sometimes when writing on a subject matter, writers will come perilously close to duplication. It happens.

There are excellent examples of this through out the creative field. One that springs readily to mind is between Ramsey Campbell and Richard Matheson. Campbell's short story "A Street Was Chosen" is about a science experiment being run on unknowing neighbors which leads to violence and self destruction. It is very similar to Matheson's "The Distributor", in which a man moves into a neighborhood and performs similar actions there.

While the stories share similar trains of thought, they aren't copies by any strain of the imagination. Campbell's tale is more experimental, for one thing, while Matheson's is a bit more personal in nature. However, they tread the same path, reach the same destination, and leave the same disturbing realization that what happens in both stories could well happen in real life.

And maybe happening right now.

Another even better example comes from listening to two songs: "McCarthy Park" and "Classical Gas". For the most part two distinct pieces, there is a passage that is exactly note for note. The thing of it is, both songs were written at the same time; all it was was a startling coincidence.

As was said before, it happens. While the imaginative realm is vast and deep, it is not infinite. There's a good chance that, when writing, one will brush shoulders with another writer's work. The trick is recongnizing a brush when one sees it. Far too often readers will see a similar thought and call out "Copycat", or worse, the P-word.

Copying

This is not to say that there isn't copying in the writing world. Far from it. One writer reads another work, is inspired from it, and goes off and writes something like it. Sometimes it's within brushing distance, sometimes its a wee bit closer than that.

The worse offenders tend to be new writers struggling to find their voice. A good example of this would be Terry Brooks. Reading his first novel, Sword of Shannara , one can not help but notice similar beats to that of J. R. R. Tolkien's Lord of the Rings. Which isn't surprising as Lord of the Rings was one of the inspirations for Sword of Shannara . (Brooks talks about the novel's origins here.) If fact, to be brutally honest, one can't walk through the garden of Fantasy Fiction without tripping over a sprawling Tolkien wanna be.

Another example would be, again, Ramsey Campbell, whose first stories resembled that of Howard Phillip Lovecraft. Which, again, surprises no one. When running through the halls of Dark Fantasy, one tends to trip over the shatter remnants of Lovecraft imitators. A situation that might have well appalled Lovecraft to no end.

In time these writers move into their own niche and their works look less and less like their inspirations and more like the writers themselves. It's a growing process too many would-be critics think of as the P-word.

The P-Word

And, finally, there is the dread P-word. Plagiarism. It's a word tossed around far too often. It is the theft of ideas, of plot, of character.

The only example of plagiarism that comes readily to mind dealing with a specific author is perhaps the very worse example possible: that of William Shakespeare. Shakespeare stole. He stole a lot. But the problem with using him as an example is for one thing in his day and age plagiarism hadn't the connotation it does now. For another, Shakespeare made such vast improvements on what he took from it seems rather petty to complain about.

In Closing

Well this has been a bit of a ramble, hasn't it? Almost anticlimactic, too, as if the writer lost track of where he was going towards the end and sort of stumbled to a stop. But that can't possibly be what happened could it?

For a third time, it happens.

There is more to say on this particular issue (specifically on plots and characters), but that is better suited for other essays. Ones that are better structured, say...

Oh well. I can't always be brilliant...

______________________
I'm going to try and follow what I remember of MLA style report writing while composing essays. Which will result in source siting sections such as this one:

Knight, Damon. Creating Short Fiction. New York: St. Martin's Press, 1997

Night Visitors - A Poem

Let me not open my eyes to find
What I suspect is with me tonight
Let them be merciful and kind
And give me not a single bite.

Let them whisper where they stand
Let them poke and tickle my feet.
Let them try all the tricks they can
Our eyes shall never ever meet.

Let it all be just a dream
Let it end with dawn's break
Let it not be what it does seem
Let it be sleep alone from me they take

Let it all end 'fore it begins
Let there be no real goblins

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I was going to post the picture this poem inspired. It's a nice little picture, with three goblin creatures sitting at someone's feet. The poem fits it perfectly.

Problem is, the pictures, dark, and when it's reduced to fit, it makes everything in it that much harder to see. I supposed I could lighten it up a tad, but it ruins the effect.

Oh well.

Sonnets are not the easiest things in the world to write, at least for me. When I hear rhymes it's usually in couplets. It's good thing to stretch and try difficult things sometimes.

It might be a while before the next poem. I REALLY have to put up some fiction soon... Else that subheading beneath my title will be really incorrect.

Site Report - Future Predictions

Well that's a bummer.

I suspected I would miss a day. I didn't think it would happen due to computer miscues. Yesterday, fully prepared to post, I tried to log in only to be thwarted. I couldn't even get on to the sign in page.

Was it my computer's fault? An error on this site's part? A problem with the internet connection? Martian mind probes? Who knows? Who cares?

Oh well. It's not that it's vital I post every day. I'm not getting paid less, nor will I lose my job over it. I've only been trying to post at least once a day every day in a week in the hopes of making it a habit. So far so good

I was doing this for two purposes. The first wass to improve my writing skills. The more you do something the better at it you become. I hope that my spelling and grammar is also boosted as I go back through these posts and edit my little gaffs.

The second was simply to set and meet deadlines. A way for me to get used to the idea. After all, when I finally "go pro", as it were, there are going to be deadlines and consequences for missing deadlines. Best to work out any problems I have now while it doesn't matter as much.

Having said that, I plan to take weekends off in May, starting the first week of May .

Sounds like a bit of a contradiction, doesn't it?

I'm not talking about a literal Cullen goofs off type day off. Instead, I plan on working on content for this site. Partially to create a bit of a buffer in case I have to skip a day, but mainly to ease some of the "Gotta Get A Post Up!" Hopefully a more relaxed attitude might improve the quality of my posts. And, as I'm not working with current events just yet, I think I can get away with it.

Taking the weekends off should last only through May, though I might do it again or extend it if I need to. If something occurs to me on those weekends, I'll post; I just won't feel obligated to post on those days.

Ultimately I'd like to set a certain schedule of articles, reviews, and (God willing) fiction and be able to stick to it. Perhaps having a bit of a buffer will be one step towards that goal.

(And perhaps not.)

In the near future, I remind you, I intend further discussion on my views on writing, (types of genre, the pros and cons of Outlining, the use of "How To" books, that sort of thing), authors I have read and who've inspired me, more capsule reviews covering the Godzilla series, and a little essay dealing with the writer Damon Knight.

Tomorrow, however, I hope to have a little picture and poem up for the enjoyment of all. And yes, I realize that makes 3 poems over the zero pieces of fiction I've put up. That's gotta change, too. (The particular picture I'm thinking of using sort of inspires other thoughts... It'll be nice seeing it again. Sort of.)

Be seeing you then. Assuming, of course, this modern technology doesn't bite me again.

(Keeps up, I might become a Luddite...)

Capsule Reviews - Showa Godzilla (3)

Here are capsule reviews for the Showa Godzilla movies that were released in the years between 1971 and 1975. Only minor spoilers are given, with only the barest of plots to preserve some of the joys of the films. Longer reviews will appear when warranted.

Part One is located here
Part Two is located here

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Gojira tai Hedorâ (1971)
aka Godzilla v. Hedora
aka Godzilla v. the Smog Monster
Director: Yoshimitsu Banno

A terrible monster is created from the pollution of man. Only Godzilla and a dedicated scientist can save the Earth from its devastating power.

Poor Yoshimitsu Banno. Here he was, thinking he made an excellent movie, even planning a sequel using Hedora again, only to have the producer, Tomoyuki Tanaka, tell him that he had “ruined Godzilla”.

As if Gojira-Minira-Gabara: Oru kaijû daishingeki hadn’t already done as much…

In comparison to the previous outing, Gojira tai Hedorâ is almost praiseworthy. There is no recycling of footage, for one thing. While it clings to the Godzilla Plot, Hedora is an actual threat to both Godzilla and Humanity. What could be better?

This movie, for one thing. It drags. It’s filled with bizarre and pointless imagery. It preaches, oh how it preaches. Godzilla suddenly becomes a scientist at the end, or psychic. His breath obtains mystic and magical properties…

Godzilla fans have been calling this the worst Godzilla movie, and it’s hard to argue.

Still, it’s almost worth recommending for just one moment: Godzilla, chasing Hedora, flies. The damnedest moment in the whole Showa series. However, as it is possible to see the scene online (for instance, here at Badmovies.org, if you happen to want to spare yourself the anguish), you might want to spare yourself.

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Chikyû kogeki meirei: Gojira tai Gaigan (1972)
aka Godzilla on Monster Island
aka Godzilla v. Gigan
Director: Jun Fukuda

Alien invaders plot to kill Godzilla and take over the world with the help of the Kaijû Gigan and Ghidora. Only a manga artist and his friends can save the radioactive dinosaur from certain doom.

While this movie isn’t nearly as good as Fukuda’s earlier work, it is still a step up from Gojira tai Hedorâ. Just not a big step. Gigan is one of the most unusual of Godzilla’s foes, with his hook hands and saw blade belly (!). Ghidorah, when not presented via scenes from previous Godzilla movies, looks awfully stiff.

Notable for the only Godzilla movie where the viewer can understand a portion of Godzilla’s speech. (It was revealed that Godzilla was capable of communication way back in San daikaijû: Chikyu saidai no kessen, remember.)

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Gojira tai Megaro (1973)
aka Godzilla vs. Megalon
Director: Jun Fukuda

The underground dwelling Seatopians, furious at Humanity’s mistreatment of the Earth, steal the robot Jet Jaguar from its creators. It is immediately set to diabolical use, acting as a guide to the Kaijû Gigan and Megalon in the destruction of the surface.

This marks the last of the REALLY BAD Showa Godzilla movies. It’s mainly about Jet Jaguar, that Ultraman/Spectreman wannabe, and his creators struggle to regain control of him. Dull as dirt.

Except, to be perfectly honest, there is some small degree of charm towards the end as Godzilla finally enters the picture. It might be worth fastfowarding through the other parts to see. Beyond that…

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Gojira tai Mekagojira (1974)
aka Godzilla v. Bionic Monster
aka Godzilla v. Cosmic Monster
aka Godzilla v. Mechagodzilla
Director: Jun Fukuda

The heroic Godzilla has gone rouge, returning to his city stomping ways and even brutally attacking his friend Anguirus. The only hope of stopping the rampage can be found in an ancient prophecy and, perhaps, the God King Shisa.

That synopsis keeps the mystery of what’s going on far better than the movie does; one roar from Godzilla and viewers know something is up. (Well, that and the title). On top of this is yet another alien threat and the Godzilla Plot unadorned and unloved.

Still, this is an entertaining entry in the series and a decent farewell from Fukuda to the series. Shisa is distinctive looking in amongst the dinosaurs and giant animals Godzilla usually encounters, though his powers are a bit of a dud. Well worth a watching.

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Mekagojira no gyakushu
(1975)
aka Terror of Mechagodzilla
Director: Ishirô Honda

Once more the world is threatened by the terror of Mechagodzilla. But this time he has help from the mammoth Titanosaurus. Can Godzilla alone stop them both?

The final Godzilla of the Showa era, this isn’t a bad way to go out. Titanosaurus is a bit of a drip, however, and we have yet again another alien invasion to deal with (same ones as last time, by all appearances.) But, all in all, not a bad little film.

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This ends the look at the Showa era Godzilla.

Part One is located here

Part Two is located here

Capsule Reviews - Showa Godzilla (2)

Here are capsule reviews for the Showa Godzilla movies that were released in the years between 1966 and 1969. Only minor spoilers are given, with only the barest of plots to preserve some of the joys of the films. Longer reviews will appear when warranted.

Part One is located here
Part Three is located here

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Gojira, Ebirâ, Mosura: Nankai no daiketto (1966)
aka Godzilla v. the Sea Monster
Director: Jun Fukuda

The four castaways wake on an island that is, unfortunately, far from deserted. It is the base of the military group known as the Red Bamboo as well as the home of the Kaijû Ebirah, a massive man eating lobster. On top of all of this, the four find Godzilla sleeping in an underground cave. With discovery by the Red Bamboo's search parties only a matter of time, they form a desperate plan: wake Godzilla and hope to find a way off the island in the resulting confusion.

From this point on, Jun Fukuda is the regular series director. Unlike the majority of Honda's films, Fukuda's Godzilla films are decidedly absurd and do nothing for the radioactive dinosaur's fearsome image.

Nevertheless, they are entertaining films and Nankai no daiketto is one of the best of the bunch, with one incident following the next so quick that one has little time to wonder at how daft it all is. (But afterwards... oh, afterwards...)

Originally, this film was to star King Kong and it shows. Godzilla uses physical attacks far more often than usual, and at one point shows a decided interest in a beautiful woman, something far more suited for his erstwhile ape opponent. Ebirah is, while somewhat impressive visually, a poor choice of monster to pit against the aquatic fire breathing dinosaur.

Note that this an inversion of the previous film, Kaijû daisenso, in which not only the Guardian Kaijû defeated by the Invader, he is defeated twice.

(One could make a case for Godzilla being a Guardian Kaijû as well, as he does show an interest in the beautiful woman, to the point of rescuing her. However, that particular moment goes nowhere. He never returns her phone calls and later pretends not to know her.)

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Kaijûtô no kessen: Gojira no musuko (1967)

aka Son of Godzilla
Director: Jun Fukuda

A scientific research team, located on a jungle island plagued by giant mantises known as the Kamacuras, learns that they also share the island with a lost egg belong to Godzilla. Unfortunately, the egg has been emitting a distress signal and Godzilla arrives to rescue his newfound son, destroying the team's camp in process. Now the scientists have to deal with the savage Kamacuras, a sudden illness, and a radioactive dinosaur teaching his son the tricks of the trade. If that isn't bad enough, the island's true threat, Kumonga, wakes and begins to scuttle about the island for food.

This movie is notable for several reasons, primarily the introduction of the mildly disturbing son of Godzilla, Minya. The second is that, while the Kamacuras and Kumonga are both inclined to eat the Humans, they also lean towards dinosaur meat, making them a markedly different threat than Godzilla's previous foes. Finally, this is one of the rare Godzilla films that end with Humanity triumphant over Godzilla.

After a wee slow patch at the start, the movie takes off and, like the previous Nankai no daiketto, does not let up. Most entertaining, so long as you like goofy movies.

(Small note: the English version refers to the Kamacuras as Gimantis and Kumonga as Spiga.)

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Kaijû sôshingeki (1968)
aka Destroy All Monsters
Director: Ishirô Honda

In the far flung future of 1999, all of Earth's Kaijû have been contained on a single island known as Monster Island. This proves to be a less than sound an idea as aliens invade the island and take possession of the titans, sending them out to beat Humanity into submission.

The return of Honda to the series brings with him a mild return of form to the series. The movie spends entirely too much time on the search for the alien invaders, but as nearly every one of Toho's monster roster is on display within its running time, it's hard to complain.

At one point intended to be the end of the Godzilla series.

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Gojira-Minira-Gabara: Oru kaijû daishingeki (1969)
aka Godzilla's Revenge
Director: Ishirô Honda

A troubled young boy imagines himself to be Minya's best friend and learns a little bit about courage in the process.

The Showa Godzilla series drops straight to the bottom with this film. That's not to say there aren't good moments in this movie; there are. Unfortunately, they've all been stolen from previous Godzilla movies. This film is little more than a rehash episode with a few new sequences added in.

It's tempting to label this not only the worst Godzilla movie of all time, but also the worse Kaiju movie ever released. Sadly, this is not the case. Three other future Showa Godzilla movies would rivaling it for the spot.

On this is the existence Uchu kaijû Gamera (Super Gamera) which redefines pain. It uses the same cost cutting measures as Oru kaijû daishingeki, using footage from earlier Gamera movies. Only, unlike Oru kaijû daishingeki, it is without the wit, humor, and intelligence a kick to the head provides. Avoid. At all cost.

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This ends Part Two of this look at the Showa Godzilla.

Part One is located here.

Part Three is located here

Site Report - Closed on Account of ZZZs

Today will be a bit of a dud, as I've gotten next to zero sleep due to personal stupidity and roofers working on my roof. Tomorrow I hope to finish up the Showa Godzilla reviews. Later in the week, more essays on writing, including genres and divisions in fiction, favorite writers, and Damon Knight.

Capsule Reviews - Showa Godzilla (1)

Here, for your consideration, are capsule reviews for the Godzilla movies in the Showa series, made between the years 1954 to 1965. Only minor spoilers are given, with only the barest of plots to preserve some of the joys of the films. Longer reviews will appear when warranted.

Part Two to this series is located here.

Part Three is located here

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Gojira (1954)

aka Godzilla
Director: Ishirô Honda

A giant dinosaur, disturbed by atomic testing, begins destroying fishing boats. When the military steps into end this threat, the beast leaves its hunting grounds to wreck havoc on Japan. Its downbeat nature really sets it apart from the other monster movies of the period.

A bit slow moving, this is nonetheless an excellent example of the giant movie genre in general and Kaijû (Japanese Giant Monsters) in general. The film comes in two varieties: regular version and Raymond Burr enhanced.

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Gojira no gyakushû (1955)

aka Gigantis the Fire Monster
aka Godzilla Raids Again
Director: Motoyoshi Oda

A second Godzilla appears, battling a new monster (Anguirus). After defeating its opponent, the massive monster continues the destruction his predecessor started.

This is one of the lesser known Godzilla movies, and for good cause: it’s very dull. It’s notable for the introduction of Anguirus (who is notable for the wide variety of indignities put upon him), and being one of two Showa Godzilla movies directed by someone other than Ishirô Honda or Jun Fukuda.

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Kingukongu tai Gojira (1962)

aka King Kong v. Godzilla
Director: Ishirô Honda

As Godzilla escapes his icy prison, an expedition to a distant island captures the Ape God Kong. As the expedition bringing Kong nears Japan, he detects the presence of Godzilla and frees himself in order to hunt down the monster.

A rather silly movie with a sad looking Kong, this is nonetheless one of the highlights of the Showa series. It is also the first Godzilla movie to follow the Godzilla Plot.

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Mosura tai Gojira (1964)

aka Godzilla v. the Thing
aka Godzilla v. Mothra
Director: Ishirô Honda

A giant egg washes up on a Japanese beach and claimed by a land developer. As Godzilla wakes from his slumber to once more thunder across the countryside, a pair of reporters and a scientist struggle to convince the developer to return the egg to its rightful owner, the Moth Goddess Mothra.

A more serious sequel than Kingukongu tai Gojira, this is another entertaining installment in the series and a step up in quality. (Not a large step, mind you…)

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San daikaijû: Chikyu saidai no kessen (1964)

aka Ghidorah, the Three-Headed Monster
Director: Ishirô Honda

A foreign princess, injured in an assassination attempt, reveals herself to be a Prophetess from Outer Space. She predicts the return of the monsters Godzilla and Rodan, but these monsters pale besides the coming world destroyer, Space Monster Ghidorah. Mothra is summoned to convince Godzilla and Rodan to fight against the newcomer, but neither monster is willing assist humanity

A bit of a dip after Mosura tai Gojira, this is Toho’s first monster mash, featuring all of its major monsters and introducing Godzilla’s greatest enemy. From this point on, Godzilla would be portrayed as less of a monster and more of a hero.

Note the hypocrisy going on as Mothra talks with Godzilla and Rodan. Both monsters object to saving the Earth based on Humanity always attacking them. The nerve! They started it!

(This marks Rodan's second appearance. His first, in the movie Sora no daikaijû Radon/Rodan, is reviewed here)

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Kaijû daisenso (1965)

Aka Godzilla v. Monster Zero
Director: Ishirô Honda

Ghidorah has left Earth and is now plaguing the hidden Planet X. The inhabitants there ask for the assistance of the monsters Godzilla and Rodan, but their motives are less than benevolent...

Another dip in the Godzilla series, though not out and out terrible. This movie stars Nick Adams and varies the standard formula by having the Guardian Monsters beat the Invader twice instead of just once.

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This ends Part One of this look at the Showa Godzilla.

Part Two to this series is located here.
Part Three is located here