Gaira Dwelling within the pitch-blackness of the ocean depth, a powerful green giant lurked. Armed with unquestionable strength and a bloodlust matched by nothing, Gaira showed itself to be a murderous creature. Acting like the right hand of the devil, the ape like creature not only defeated the Giant Octopus, but attacked the very ship that the sea beast was just latched upon. Shoving the vessel beneath the waves, Gaira devoured most of the crew members that managed to flee the boat. Like rats from a sinking ship, they paddled their way through the waves. Unfortunately their efforts would be in vain, as the beast swam after them hungrily. But the monster's belly called for more than just a few scrapes of humans on ships, and Gaira made his way to land. First arriving at an airport, the sea beast made its presence known to the mainland. After eating a poor woman he snatched up, Gaira finally left as the sun pulled itself from the darkened clouds. Mulling over the destruction, the Japanese military went into action shortly after and set a trap for the beast. Waiting for the right time, the brave men and woman lured the creature deeper and deeper into the mainland. Burning villages and blasting with tanks together forced the creature to the electrified lake. Once he stepped into the sapphire waters the trap was sprung and Japan now had Gaira on the ropes. Electrified with over a million volts of sizzling power, the monster looked that its reign would be over, that is until his brother Sanda intervened. Saving his kin, the twin giants ran. However, it was not long before their differences in regards to human life tore them apart. Realizing that human life meant nothing to Gaira, after gazing at the torn tourists cloths that laid beside the killer, Sanda attacked his brother. However, even in his weakened condition, the murdering beast Gaira was able to flee. Within a few days the brothers made it to Tokyo and continued their battle where they had left off. Like Cain and Able they fought, each knowing that only one would survive. So intense was their battle, that not even the land could contain their fury. Throwing themselves into the harbor, the gargantuas continued to battle in the ocean's waters. Even the countless bombs that mankind dropped from their helicopters did little to detour their lust. Yet, as fate would have it the bombs trigged an undersea volcano. Erupting with godly force, their bodies were soon engulfed in the flames. Their bodies soon destroyed in the molten fires, burning their images from existence… Powers/Weapons Able to grow back body parts; severed cell tissue can take on a life of its own Films The War of the Gargantuas (1966) Other Appearances: Godzilla vs. Gigan (stock footage, mistake); Godzilla vs. Megalon (stock footage, mistake); Godzilla Against Mechagodzilla (stock footage); Godzilla: Final Wars (stock footage) Sanda Dwelling within the mountains, Sanda, the offspring of Frankenstein, lived. Finding peace and solitude in his mountainous lair, the giant grew with love for humankind. As a child, he was found and cared for at Doctor Paul Stewart's lab, where he quickly befriend one of the doctor's aids: Akemi. The warmth of human kindness stayed with the giant, even as it escaped the laboratory. However, blood is thicker than water as they say, and Sanda, upon hearing the screeching cries of Gaira, rushed to his brother's aid. Tearing the electrodes from their generators, the monster lifted, and carried, his kin away from the stunned military. However, in time, Sanda realized that his brother didn't share his same compassion toward humanity, as Gaira continued to kill and eat innocent humans. The act angered the brown giant beyond anything, sending him to attack his bloodied brother with malicious hate. The green gargantuan was sent into retreat from the assault, running straight to Tokyo, traveling through the dark waters of its harbor. Citizens ran in fear from the killer, until Sanda arrived again. Pleading with his brother, the brown gargantuan tried to get his kin to turn away from civilization, but the call went unheard and the two giants fought. Dragging their battle into the ocean, both of the monsters were destroyed in an undersea volcano. Taken by a power greater than their own. Powers/Weapons
Able to grow back body parts; severed cell tissue can take on a life of its own Films The War of the Gargantuas (1966)
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Rodan (ラドン Radon) is a fictional Japanese mutated pterosaur introduced in Rodan, a 1956 release from Toho Studios, the company that produced the Godzilla series. Like Godzilla and Anguirus, he is designed after a type of prehistoric reptile (the Japanese name "Radon" is a contraction of "pteranodon"). Radon is usually referred to as "Rodan" in the United States, possibly to avoid confusion with the atomic element Radon; any time his name is written in English in Japan, it is written as Rodan. He is occasionally portrayed as a rival and enemy of Godzilla, but is usually depicted as one of Godzilla's allies, much like Anguirus. Rodan and Anguirus both started out as enemies of Godzilla, which explains the occasional enmity between the creatures and Godzilla himself on the rare occasion that they are pitted against one another. Appearance Rodan first emerged in 1956 from a giant egg that lay underground in a mountainside. A group of miners had dug up and released a swarm of ancient bugs known as Meganulon. Once hatched the infant Rodan began feeding on the insects. It took only days for Rodan to reach its full size. It grew large horns on the back of its head and sharp serrated spikes on its chest. Rodan's skin is dark brown in color, although after turning into Fire Rodan in the Heisei film Godzilla vs. Mechagodzilla II Rodan's skin turned brick red. In the Showa and Millennium eras Rodan stood as tall as Godzilla but in the Heisei era Rodan and Fire Rodan stood only about 2/3 as tall as Godzilla. In the Heisei era the prominent rows of spines on his belly are replaced with overlapping ridges of bone and he has three horns on his head instead of two (the outer two curve outwards and the center curves up) as well as a wider beak and a more predatory face. Millennium Rodan looked more like the Showa version as it retained the Heisei era ridges of bone on its chest. It also had only two horns again, and its color is similar to the Showa version. Powers and Abilities Rodan has layers of spikes on its chest that can be used as a weapon. In the film Ghidorah, the Three-Headed Monster Rodan slammed into Godzilla at full speed and its chest colliding with Godzilla's head to send the behemoth crashing to the ground. Rodan was once one of the fastest known Kaiju but now unfortunately[citation needed] he is one of the slowest flying Kaiju in the series, flying at mach 1.5. The Heisei incarnation flies at mach 3 and others such as Megaguirus fly at mach 4. But one thing most other flying Kaiju lack is Rodan's ability to emit sonic booms from its body, destroying any and all structures in its path. Sometimes called merely hurricane winds, it is clearly visible in Godzilla Final Wars that Rodan can choose to emit the sonic booms, as demonstrated when it flew over the ship "Rumbling" and released a sonic boom destroying the air craft. In the 1956 film Rodan was given another weapon that was never used again, a concentrated blast of wind from its mouth. This ability was most likely never used again because it was too much like Godzilla's atomic breath. An in-universe explanation can be that the Rodans from the 1956 film died in a volcano, leaving their one and only offspring to survive throughout the entire Godzilla series. The infant lacked the ability to fire a concentrated blast of wind. Fire Rodan was able to fire a uranium heat beam from its mouth, an ability acquired from Godzilla. Fire Rodan could also instill energy in others by sacrificing itself, putting its life force into another being to bring them back from the dead. Origin Showa series In the 1956 film Rodan, two Rodans were unearthed and awakened by mining operations in Kitamatsu along with a swarm of prehistoric insects called Meganulons. After devouring several people and reducing Sasebo to ruins, one Rodan is maimed in a bombardment of their nest in Mount Aso and falls, into a volcanic eruption triggered by the attack. The other Rodan, in a doomed attempt to save its mate, flies into the mouth of the volcano as well. Also, as with Godzilla, the American version differs from the original Japanese release by more than simple matters of language translation; the original Japanese version is much darker in tone. It also has one of the Rodans damaged by a jet fighter, hindering its ability to fly at supersonic speeds. Rodan went on to cross over into the Godzilla series. Rodan, resurrected by volcanic gas accumulated in the crust, emerges from a volcano in Ghidorah, the Three-Headed Monster first to do battle with Godzilla, then after some persuasion by Mothra, Rodan helped Godzilla and Mothra defeat King Ghidorah. After this point Rodan was no longer a monster of destruction, it was an ally of Godzilla, who after this point turned good as well. Rodan appeared with Godzilla again in Invasion of the Astro-Monster, where both were mind-controlled by Xilians to destroy Earth's cities. After the mind control was broken on them, they attacked King Ghidorah defeating the creature once again. Both Godzilla and Rodan were plunged into the sea, Godzilla would go on to fight other Monsters, while Rodan was collected with all of Earth's other Monsters and placed on Monster Island. In Destroy All Monsters, the monsters of Monster Island including Rodan were used by aliens to wreak havoc on Earth via mind control, this time by the Kilaaks. Again the mind control was broken and the monsters fought King Ghidorah, this time killing the monster once and for all. Rodan was then placed back on Monster Land to live out his days in peace. Rodan would only appear again in the Shōwa series in stock footage used for Godzilla vs. Gigan, Godzilla vs. Megalon and Terror of Mechagodzilla. Heisei series Rodan in the Heisei series appeared in Godzilla vs. Mechagodzilla II, where he sought to protect Baby Godzilla, whose egg was in the same nest as Rodan. Heisei Rodan, while the suit was much bigger and heavier than the Showa version, is notably much smaller relative to the larger version of Godzilla, standing only about 2/3 as tall as the other monster and having a wingspan 1/2 Godzilla's height. After being defeated and left for dead by Godzilla, Rodan was revived by the psychic song of an ancient plant that had covered Baby Godzilla's egg. Godzilla's radiation mutated Rodan, changing his colors from brown and tan to brick red and light yellow/gold. Fire Rodan also gained a purple colored uranium heat beam similar to Godzilla's nuclear pulse. His beak is powerful enough to break through boulders. Like the Showa version, Rodan seems impervious to Godzilla's breath but only to an extent, being hit several times and not seeming affected until later in the battle. Rodan played a vital role in the film's climax, sacrificing his own life to revive Godzilla by transferring his life-energy to him. Godzilla then destroyed Super-Mechagodzilla as retribution for Rodan's death. Millennium series In the 2004 film, Godzilla: Final Wars, Rodan is used as a weapon of destruction by an alien race called the Xilians via mind control. He appeared alongside an all-star cast of classic Showa monsters, as they wreaked havoc on the major cities of the world and were sent to fight Godzilla. Rodan attacked New York City while under the aliens' control. Rodan, King Caesar, and Anguirus are pitted against Godzilla at Mt. Fuji. He successfully defeats all three monsters. King Caesar, Anguirus and Rodan are then left in a heap at the base of the mountain. Godzilla did not kill his fallen foes as a nod to their status as allies of Godzilla during the Showa era. This is in contrast to the remaining majority of the monsters seen in the film, all of whom, aside from Zilla, were enemies of Godzilla during the Showa era, and were slain either by Godzilla, the Gotengo, or the mutants who were part of an anti-monster task force near the beginning of the film. Film appearances
Rodan Ghidorah, The Three-Headed Monster Invasion of Astro-Monster or Monster Zero (US release) Destroy All Monsters Godzilla vs. Gigan (Stock Footage) Godzilla vs. Megalon (Stock Footage) Terror of Mechagodzilla (Stock Footage) Godzilla vs. Mechagodzilla II Godzilla Final Wars Mechani-Kong (メカニコング Mekanikongu) is a remote-controlled robot double of King Kong introduced in the 1966 animated television series The King Kong Show and featured again in the 1967 film King Kong Escapes. The robot was created by Dr. Hu (not to be confused with the British television series Doctor Who or its main character) to kill the giant ape King Kong. Television Mechani-Kong first appeared in the ninth episode of The King Kong Show (the segment titled "Mechanikong") as one of several monsters in the series used by Dr. Hu to fight Kong. Film Mechani-Kong was built by Dr. Hu to dig for Element X, a large core containing a natural abundance of nuclear power. However Mechani-Kong was not strong enough to dig out the element, as the robot's circuits were destroyed by magnetic waves. Dr. Hu then kidnaps the real Kong to dig for the element, placing him in a hypnotic trance. Kong eventually breaks out of his trance and swims to Tokyo, where he and Mechani-Kong fight atop Tokyo Tower. After a long battle, in which both of them nearly fall off the tower, Dr. Hu's associate Madame X rips out the robot's control cords, causing Mechani-Kong to malfunction. The robot falls to its destruction from the top of the tower, mirroring Kong's demise in the original film. Lost projects After abandoning a remake of King Kong vs. Godzilla in 1991, Toho attempted to produce a film called Godzilla vs. Mechani-Kong. However, though Toho had created the live-action Mechani-Kong, Turner demanded payment for using King Kong's image. The film was dropped in favor of Godzilla vs. King Ghidorah. Abilities Aside from its great strength, Mechani-Kong possesses a dome on the top of its head which features a flashing light that can be used to blind or hypnotize its foes. Although not as agile as the real Kong, Mechani-Kong possesses greater endurance. It is later modified with attachments on its waist which it uses to carry multiple grenade-like explosives. He can also fire beams from his eyes. Influence
Mechani-Kong inspired the creation of Mechagodzilla for Godzilla vs. Mechagodzilla. Mechani-Kong also inspired the creation of an enemy character named 'Mecha Pong' from Capcom's 1989 arcade game Strider. Akira Ifukube utilized a reworked version of Mechani-Kong's theme for Mechagodzilla in the Heisei film Godzilla vs. Mechagodzilla II. In Godzilla: The Series, a monster appeared called Robot Yeti who is very similar to Mechani-Kong. In The Grim Adventures Of Billy And Mandy episode "Giant Billy and Mandy All Out Attack" Mandy gets a robot named Mecha-gorillasaur in order to stop a gigantic humanoid fish hero version of Billy. Varan (バラン Baran) is a kaiju that first appeared in Varan the Unbelievable (1958). Physically, Varan resembles a giant reptile with skin membranes between his arms and legs, allowing him to glide much like a flying dragon or flying squirrel; he also has a horned head. Appearance and abilities Eiji Tsuburaya and Akira Watanabe based Varan's design on that of a Draco lizard, Godzilla, and a kappa. The name Varan is derived from Varanus pater, or "Father of lizards." In his film appearances Varan does not have any special abilities such as fiery or radioactive breath. He can however glide at speeds of Mach 1.5, and has a row of spines along his body which may afford protection. Film Appearances Varan the Unbelievable Destroy All Monsters (Cameo) Godzilla Final Wars (Stock Footage) Film history In his first appearance, Varan is a monster that lives in a saltwater lake within the Kunishiroshima valley, where he is known to the natives as Baradagi-Sanjin. He kills an expedition duo and then completely destroys a nearby village. After his home is invaded again, the monster proceeds to attack Tokyo and is seemingly unstoppable until he is tricked by the military into eating bombs. After a few detonate in his stomach, Varan is mortally wounded and escapes back into the ocean, but one final bomb explodes, apparently killing the creature. Years later, Varan reappears in Destroy All Monsters living in Monsterland with many other monsters including Godzilla, Mothra, Kumonga/Speiga, Anguirus, Baragon, Minilla, Rodan, Gorosaurus,and Manda. Varan is seen, however only in publicity photographs for the film, gliding in to join the other Earth monsters to fight against King Ghidorah, even though he does not actually take part in the fight. After King Ghidorah is killed, Varan, along with the other monsters return to Monsterland. Within the context of the film itself he is only seen gliding through the air prior to the fight against Ghidorah, and in the last scene as a static model rather than as a suit. Varan makes a semi-cameo in Godzilla: Final Wars using stock footage from Varan the Unbelievable during the narrative at the beginning, claiming that Varan was one of many monsters that arose due to the devastation that the World Wars brought, along with Gezora, Baragon, Gaira, Titanosaurus, and Megaguirus. Lost Projects In one of the early drafts of what would become Godzilla vs. Gigan, Varan was to have joined Godzilla and Rodan in defending the Earth against King Ghidorah, Gigan, and a new monster that had never been seen before with the name Mogu. Shusuke Kaneko, director of the popular Heisei Gamera trilogy had originally considered Varan, along with Anguirus to star in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack as antagonists to Godzilla. Varan and Anguirus were however replaced with the far more popular Mothra and King Ghidorah. The suit designer compromised by giving some of Varan's facial features to King Ghidorah. Game appearances Godzilla: Monster of Monsters (1988) Nintendo Monster King Godzilla (1993) Game Boy Godzilla: Unleashed (2007) Wii Godzilla Trading Battles (1998) PS1 Varan was considered for Godzilla: Save the Earth, but was scrapped at some point. Varan made his first playable video game appearance in the Wii version of Godzilla: Unleashed as an Earth Defender. He is given the ability to fire a sonic beam and a concentrated sonic energy ball. He has a gliding ability that works much like Rodan's flying, he can be unlocked by destroying the three purple objects on the Vortaak mothership while playing as an Alien. Varan himself appeared purple in Godzilla: Monster of Monsters. Action figures
Few figures of Varan have been issued compared to other kaiju. Bullmark released the first Varan vinyl toy in 1970. Bandai has only issued Varan in gashapon form as part of High Grade series 6, in promotion for the film Godzilla 2000. Y-MSF has also released a figure on the 6" scale in 2005. Other companies, such as CCP, Marmit, Trendmasters, and the modern version of Marusan have also released Varan figures. King Kong is a fictional character, a giant movie monster resembling a colossal gorilla, that has appeared in several movies since 1933. These include the groundbreaking 1933 movie, the film remakes of 1976 and 2005, as well as various sequels of the first two films. The character has become one of the world's most famous movie icons and, as such, has transcended the medium, appearing or being parodied in other works outside of films, such as a cartoon series, books, comics, various merchandise and paraphernalia, video games, theme park rides, and even an upcoming stage play. His role in the different narratives varies, ranging from a rampaging monster to a tragic antihero. The rights to the character are currently held by Universal Studios, with limited rights held by the estate of Merian C. Cooper, and perhaps certain rights in the public domain. Overview The King Kong character was conceived and created by U.S. filmmaker Merian C. Cooper. In the original film, the character's name is Kong, a name given to him by the inhabitants of "Skull Island" in the Pacific Ocean, where Kong lives along with other over-sized animals such as a plesiosaur, pterosaurs, and dinosaurs. An American film crew, led by Carl Denham, captures Kong and takes him to New York City to be exhibited as the "Eighth Wonder of the World". Kong escapes and climbs the Empire State Building (the World Trade Center in the 1976 remake) as Denham comments, "It was beauty that killed the beast," for he climbs the building in the first place only in an attempt to protect Ann Darrow, an actress originally offered up to Kong as a sacrifice (in the 1976 remake, the character is named Dwan). A mockumentary about Skull Island that appears on the DVD for the 2005 remake (but originally seen on the Sci-Fi Channel at the time of its theatrical release) gives Kong's scientific name as Megaprimatus kong, and states that his species may have evolved from Gigantopithecus. Filmography King Kong (1933) – The original film is remembered for its pioneering special effects using stop motion models, and evocative story. The Son of Kong (1933) – A sequel released the same year, it concerns a return expedition to Skull Island that discovers Kong's son. The critics' response to the film was generally mixed, but it was successful. King Kong vs. Godzilla (1962) – A film produced by Toho Studios in Japan, it brought the titular characters to life via detailed rubber and fur costumes, and presented both characters for the first time in color. The Toho version of Kong is much larger than the one in the original film. This is more than likely because of a significant difference in size between the 1933 King Kong and Godzilla (and, for that matter, all of the company's giant monsters), with Kong automatically rescaled to fit Toho's existing miniature sets. King Kong Escapes (1967) – Another Toho film (co-produced with Rankin/Bass) in which King Kong faces both a mechanical double, dubbed Mechani-Kong, and a giant theropod dinosaur known as Gorosaurus (who would appear in Toho's Destroy All Monsters the next year). This movie was loosely based on the contemporaneous cartoon television program, as indicated by the use of its recurring villain, Dr. Who/Dr. Huu, in the same capacity, Mechani-Kong as an enemy, Mondo Island as Kong's home and a female character named Susan. King Kong (1976) – An updated remake by film producer Dino De Laurentiis, released by Paramount Pictures, and director John Guillermin. Jessica Lange, Jeff Bridges and Charles Grodin starred. The film received mixed reviews, but it was a commercial success, and its reputation has improved over the last few years. It was co-winner of an Oscar for special effects (shared with Logan's Run). King Kong Lives (1986) – Released by De Laurentiis Entertainment Group (DEG). Starring Linda Hamilton, a sequel by the same producer and director as the 1976 film which involves Kong surviving his fall from the sky and requiring a coronary operation. It includes a female member of Kong's species, who, after supplying a blood transfusion that enables the life-saving surgery, escapes and mates with Kong, becoming pregnant with his offspring. Trashed by critics, this was a box-office failure. King Kong (2005) – A Universal Pictures remake of the original (set in the original film's 1933 contemporary setting) by Academy award-winning New Zealand director Peter Jackson, best known for directing the Lord of the Rings film trilogy. The most recent incarnation of Kong is also the longest, running three hours and eight minutes. Winner of three Academy Awards for visual effects, sound mixing, and sound editing. It received positive reviews and became a box office success. Print media The literary tradition of a remote and isolated jungle populated by natives and prehistoric animals was rooted in the "Lost World" genre, specifically Arthur Conan Doyle's 1912 novel The Lost World, which was itself made into a silent film of that title in 1925 that Doyle lived long enough to see. The special effects of that film were created by Willis O'Brien, who went on to do those for the 1933 King Kong. Another important book in that literary genre is Edgar Rice Burroughs' 1918 novel The Land That Time Forgot . A novelization of the original King Kong film was published in December 1932 as part of the film's advance marketing. The novel was credited to Edgar Wallace and Merian C. Cooper, although it was in fact written by Delos W. Lovelace. Apparently, however, Cooper was the key creative influence, saying that he got the initial idea after he had a dream that a giant gorilla was terrorizing New York City. In an interview, comic book author Joe DeVito explains: "From what I know, Edgar Wallace, a famous writer of the time, died very early in the process. Little if anything of his ever appeared in the final story, but his name was retained for its saleability ... King Kong was Cooper's creation, a fantasy manifestation of his real life adventures. As many have mentioned before, Cooper was Carl Denham. His actual exploits rival anything Indiana Jones ever did in the movies." This conclusion about Wallace's contribution agrees with The Making of King Kong, by Orville Goldner and George E. Turner (1975). Wallace died of pneumonia complicated by diabetes on February 10, 1932, and Cooper later said, "Actually, Edgar Wallace didn't write any of Kong, not one bloody word...I'd promised him credit and so I gave it to him" (p. 59). However, in the October 28, 1933, issue of Cinema Weekly, the short story "King Kong" by Edgar Wallace and Draycott Montagu Dell (1888–1940) was published. The short story appears in Peter Haining's Movie Monsters (1988) published by Severn House in the UK. Dell was a journalist and wrote books for children, such as the 1934 story and puzzle book Stand and Deliver. He was a co-worker and close friend of Edgar Wallace. Several differences exist in the novel from the completed film, as it reflects an earlier draft of the script that became the final shooting script. The novelization includes scenes from the screenplay that were cut from the completed movie, or were never shot altogether. These include the spider pit sequence, as well as a Styracosaurus attack, and Kong battling three Triceratops. It also does not feature the character of Charlie, the ship's Chinese cook, but instead a different one named Lumpy, subsequently used in both the 1991 comic book version and the 2005 big-screen remake. The original publisher was Grosset & Dunlap. Paperback editions by Bantam (U.S.) and Corgi (U.K.) came out in the 1960s, and it has since been republished by Penguin and Random House. In 1933, Mystery Magazine published a King Kong serial under the byline of Walter F. Ripperger. This is unrelated to the 1932 novel. The story was serialized into two parts that were published in the February 1933 and March 1933 issues of the magazine. As well, that fall King Kong was serialized in the pulp magazine Boys Magazine. Over the decades, there have been numerous comic book adaptations of the 1933 King Kong by various comic-book publishers, and one of the 2005 remake by Dark Horse Comics. Kong: King of Skull Island, an illustrated novel labeled as an authorized sequel to King Kong (1933), was published in 2004 by DH Press, a subsidiary of Dark Horse Comics. A large-paperback edition was released in 2005. Authorized by the family and estate of Merian C. Cooper, the book was created and illustrated by Joe DeVito, written by Brad Strickland with John Michlig, and includes an introduction by Ray Harryhausen. The novel's story ignores the existence of Son of Kong (1933) and continues the story of Skull Island with Carl Denham and Jack Driscoll in the late 1950s, through the novel's central character, Vincent Denham. (Ann Darrow does not appear, but is mentioned several times.) The novel also becomes a prequel that reveals the story of the early history of Kong, of Skull Island, and of the natives of the island. The book's official website claims a motion picture version is in development. The novelization of the 2005 movie was written by Christopher Golden, based on the screenplay by Fran Walsh, Philippa Boyens, and Peter Jackson, which was, of course, in turn based on the original story by Merian C. Cooper & Edgar Wallace. (The Island of the Skull, a "prequel" novel to the 2005 movie, was released at nearly the same time.) In November 2005, to coincide with the release of the 2005 movie, Weta Workshop released a collection of concept art from the film entitled The World of Kong: A Natural History of Skull Island. While similar collections of production art have been released in the past to complement other movies, The World of Kong is unusual — if not unique — in that it is written and designed to resemble and read like an actual nature guide and historical record, not a movie book. Also in 2005, Ibooks, Inc published Kong Reborn by Russell Blackford. Ignoring all films except the 1933 original, it is set in the present day. Carl Denham's grandson finds some genetic material from the original Kong and attempts to clone him. Late in 2005, the BBC and Hollywood trade papers reported that a 3-D stereoscopic version of the 2005 film was being created from the animation files, and live actors digitally enhanced for 3-D display. This may be just an elaborate 3-D short for Universal Studios Theme Park, or a digital 3-D version for general release in the future. To coincide with the 80th anniversary of both characters, Altus Press announced on January 29, 2013, that King Kong would meet pulp hero Doc Savage in a new, officially sanctioned book written by Will Murray and artist Joe DeVito, who will also do the cover artwork. Set in 1920, shortly after returning from military service during World War One, Doc Savage searches for his long-long grandfather, the legendary mariner Stormalong Savage, with his father, the explorer-scientist Professor Clark Savage, Sr., that ultimately leads father and son to the mysterious Skull Island and its prehistoric denizens, including King Kong. Doc Savage: Skull Island is slated to be released in March 2013. Appearances and abilities In his first appearance in King Kong (1933), Kong was a gigantic prehistoric ape, or as RKO's publicity materials described him, "A prehistoric type of ape." While gorilla-like in appearance, he had a vaguely humanoid look and at times walked upright in an anthropomorphic manner. Indeed, Carl Denham describes him as being "neither beast nor man". Like most simians, Kong possess semi-human intelligence and great physical strength. Kong's size changes drastically throughout the course of the film. While creator Merian C. Cooper envisioned Kong as being "40 to 50 feet tall", animator Willis O'Brien and his crew built the models and sets scaling Kong to be only 18 feet tall on Skull Island, and rescaled to be 24 feet tall in New York. This did not stop Cooper from playing around with Kong's size as he directed the special effect sequences; by manipulating the sizes of the miniatures and the camera angles, he made Kong appear a lot larger than O'Brien wanted, even as large as 60 feet in some scenes. Concurrently, the Kong bust made for the film was built in scale with a 40-foot ape, while the full sized hand of Kong was built in scale with a 70 foot ape. Meanwhile, RKO's promotional materials listed Kong's official height as 50 feet. In the 1960s, Toho licensed the character from RKO for the films King Kong vs. Godzilla and King Kong Escapes. For more details on the Toho Kong see below. In 1975, Producer Dino De Laurentiis paid RKO for the remake rights to King Kong. This resulted in King Kong (1976). This Kong was an upright walking anthropomorphic ape, appearing even more human-like than the original. Also like the original, this Kong had semi-human intelligence and vast strength. In the 1976 film, Kong was scaled to be 42 feet tall on Skull island and rescaled to be 55 feet tall in New York. 10 years later, DDL received permission from Universal to do a sequel, King Kong Lives. Kong more or less had the same appearance and abilities, only he tended to walk on his knuckles more often and was enlarged, being scaled to be 60 feet. Universal Studios had planned to do a King Kong remake as far back as 1976. They finally followed through almost 30 years later, with a three-hour film directed by Peter Jackson. Jackson opted to make Kong a gigantic silverback gorilla without any anthropomorphic features. Kong looked and behaved more like a real gorilla: he had a large herbivore's belly, walked on his knuckles without any upright posture, and even beat his chest with his palms as opposed to clenched fists. In order to ground his Kong in realism, Jackson and the Weta Digital crew gave a name to his fictitious species, Megaprimatus kong, which was said to have evolved from the Gigantopithecus. Kong was the last of his kind. He was portrayed in the film as being quite old with graying fur, and battle-worn with scars, wounds, and a crooked jaw from his many fights against rival creatures. He is the most dominant being on the island; the king of his world. Like his predecessors, he possesses considerable intelligence and great physical strength; he also appears far more nimble and agile. This Kong was scaled to be only 25 feet tall on both Skull Island and in New York. Jackson describes his central character: “We assumed that Kong is the last surviving member of his species. He had a mother and a father and maybe brothers and sisters, but they’re dead. He’s the last of the huge gorillas that live on Skull Island, and the last one when he goes...there will be no more. He’s a very lonely creature, absolutely solitary. It must be one of the loneliest existences you could ever possibly imagine. Every day, he has to battle for his survival against very formidable dinosaurs on the island, and it’s not easy for him. He’s carrying the scars of many former encounters with dinosaurs. I’m imagining he’s probably 100 to 120 years old by the time our story begins. And he has never felt a single bit of empathy for another living creature in his long life; it has been a brutal life that he’s lived.” Origin of the name Merian C. Cooper was very fond of strong hard sounding words that started with the letter "K". Some of his favorite words were Komodo, Kodiak and Kodak. When Cooper was envisioning his giant terror gorilla idea, he wanted to capture a real gorilla from the Congo and have it fight a real Komodo Dragon on Komodo Island. (This scenario would eventually evolve into Kong's battle with the Tyrannosaur on Skull Island when the film was produced a few years later at RKO). Cooper's friend Douglas Burden's trip to the island of Komodo and his encounter with the Komodo Dragons there was a big influence on the Kong story. Cooper was fascinated by Burdens adventures as chronicled in his book Dragon Lizards of Komodo where he referred to the animal as the "King of Komodo". It was this phrase along with Komodo and C(K)ongo (and his overall love for hard sounding K words) that gave him the idea to name the giant ape Kong. He loved the name as it had a "mystery sound" to it. When Cooper got to RKO and wrote the first draft of the story, it was simply referred to as The Beast. RKO executives were unimpressed with the bland title. David O. Selznick suggested Jungle Beast as the film's new title, but Cooper was unimpressed and wanted to name the film after the main character. He stated he liked the "mystery word" aspect of Kong's name and that the film should carry "the name of the leading mysterious, romantic, savage creature of the story" such as with Dracula and Frankenstein. RKO sent a memo to Cooper suggesting the titles Kong: King of Beasts, Kong: The Jungle King, and Kong: The Jungle Beast, which combined his and Selznick's proposed titles. As time went on, Cooper would eventually name the story simply Kong while Ruth Rose was writing the final version of the screenplay. Because David O Selznick thought that audiences would think that the film, with the one word title of Kong, would be mistaken as a docudrama like Grass and Chang, which were one-word titled films that Cooper had earlier produced, he added the "King" to Kong's name to differentiate. RKO filed the copyright for the name King Kong on February 24 1933. Character rights While one of the most famous movie icons in history, King Kong's intellectual property status has been questioned since his creation, featuring in numerous allegations and court battles. The rights to the character have always been split up with no single exclusive rights holder. Different parties have also contested that various aspects are public domain material and therefore ineligible for trademark or copyright status. When Merian C. Cooper created King Kong, he assumed that he owned the character, which he had conceived in 1929, outright. Cooper maintained that he had only licensed the character to RKO for the initial film and sequel but had otherwise owned his own creation. In 1935, Cooper began to feel something was amiss when he was trying to get a Tarzan vs King Kong project off the ground for Pioneer Pictures (where he had assumed management of the company). After David O. Selznick suggested the project to Cooper, the flurry of legal activity over using the Kong character that followed—Pioneer having become a completely independent company by this time and access to properties that RKO felt were theirs was no longer automatic—gave Cooper pause as he came to realize that he might not have full control over the figment of his own imagination. Years later in 1962, Cooper had found out that RKO was licensing the character through John Beck to Toho studios in Japan for a film project called King Kong vs Godzilla. Cooper had assumed his rights were unassailable and was bitterly opposed to the project. In 1963 he filed a lawsuit to enjoin distribution of the movie against John Beck as well as Toho and Universal (the films U.S. copyright holder). Cooper discovered that RKO had also profited from licensed products featuring the King Kong character such as model kits produced by Aurora Plastics Corporation. Cooper's executive assistant, Charles B FitzSimons, stated that these companies should be negotiating through him and Cooper for such licensed products and not RKO. In a letter Cooper wrote to Robert Bendick he stated: "My hassle is about King Kong. I created the character long before I came to RKO and have always believed I retained subsequent picture rights and other rights. I sold to RKO the right to make the one original picture King Kong and also, later, Son of Kong, but that was all." Cooper and his legal team offered up various documents to bolster the case that Cooper had owned King Kong and only licensed the character to RKO for two films, rather than selling him outright. Many people vouched for Cooper's claims including David O. Selznick (who had written a letter to Mr. A Loewenthal of the Famous Artists Syndicate in Chicago in 1932 stating (in regards to Kong), "The rights of this are owned by Mr. Merian C. Cooper." But unfortunately Cooper had lost key documents through the years (he discovered these papers missing after he returned from his WW2 military service) such as a key informal yet binding letter from Mr. Ayelsworth (then president of the RKO Studio Corp) and a formal binding letter from Mr. B. B. Kahane (the current president of RKO studio Corp) confirming that Cooper had only licensed the rights to the character for the two RKO pictures and nothing more. Unfortunately without these letters it seemed Cooper's rights were relegated to the Lovelace novelization that he had copyrighted (He was able to make a deal for a Bantam Books paperback reprint and a Gold Key comic adaptation of the novel, but that was all he could do). Cooper's lawyer had received a letter from John Beck's lawyer, Gordon E Youngman, that stated: "For the sake of the record, I wish to state that I am not in negotiation with you or Mr. Cooper or anyone else to define Mr. Cooper's rights in respect of King Kong. His rights are well defined, and they are non-existent, except for certain limited publication rights." In a letter addressed to Douglas Burden, Cooper lamented: "It seems my hassle over King Kong is destined to be a protracted one. They'd make me sorry I ever invented the beast, if I weren't so fond of him! Makes me feel like Macbeth: 'Bloody instructions which being taught return to plague the inventor'." The rights over the character didn't flare up again until 1975, when Universal Studios and Dino De Laurentiis were fighting over who would be able to do a King Kong remake for release the following year. De Laurentiis came up with $200,000 to buy the remake rights from RKO. When Universal got wind of this, they filed a lawsuit against RKO claiming that they had a verbal agreement from them in regards to the remake. During the legal battles that followed, which eventually included RKO countersuing Universal, as well as De Laurentiis filing a lawsuit claiming interference, Colonel Richard Cooper (Merian's son and now head of the Cooper estate) jumped into the fray. During the battles, Universal discovered that the copyright of the Lovelace novelization had expired without renewal, thus making the King Kong story a public domain one. Universal argued that they should be able to make a movie based on the novel without infringing on anyone's copyright because the characters in the story were in the public domain within the context of the public domain story. Richard Cooper then filed a cross-claim against RKO claiming while the publishing rights to the novel had not been renewed, his estate still had control over the plot/story of King Kong. In a four-day bench trial in Los Angeles, Judge Manuel Real made the final decision and gave his verdict on November 24, 1976, affirming that the King Kong novelization and serialization were indeed in the public domain, and Universal could make its movie as long as it didn't infringe on original elements in the 1933 RKO film, which had not passed into public domain. (Universal postponed their plans to film a King Kong movie, called The Legend of King Kong, for at least 18 months, after cutting a deal with Dino De Laurentiis that included a percentage of box office profits from his remake.) However, on December 6, 1976, Judge Real made a subsequent ruling, which held that all the rights in the name, character, and story of King Kong (outside of the original film and its sequel) belonged to Merian C Cooper's estate. This ruling, which became known as the "Cooper Judgment", expressly stated that it wouldn't change the previous ruling that publishing rights of the novel and serialization were in the public domain. It was a huge victory that affirmed the position Merian C. Cooper had maintained for years.[30] Shortly thereafter, Richard Cooper sold all his rights (excluding worldwide book and periodical publishing rights) to Universal in December 1976. In 1980 Judge Real dismissed the claims that were brought forth by RKO and Universal four years earlier and reinstated the Cooper judgement. In 1982 Universal filed a lawsuit against Nintendo, which had created an impish ape character called Donkey Kong in 1981 and was reaping huge profits over the video game machines. Universal claimed that Nintendo was infringing on its copyright because Donkey Kong was a blatant rip-off of King Kong. During the court battle and subsequent appeal, the courts ruled that Universal did not have exclusive trademark rights to the King Kong character. The courts ruled that trademark was not among the rights Cooper had sold to Universal, indicating that "Cooper plainly did not obtain any trademark rights in his judgment against RKO, since the California district court specifically found that King Kong had no secondary meaning." While they had a majority of the rights, they didn't outright own the King Kong name and character. The courts ruling noted that the name, title, and character of Kong no longer signified a single source of origin. The courts also pointed out that Kong rights were held by three parties: RKO owned the rights to the original film and its sequel. The Dino De Laurentiis company (DDL) owned the rights to the 1976 remake. Richard Cooper owned worldwide book and periodical publishing rights. The judge then ruled that: "Universal thus owns only those rights in the King Kong name and character that RKO, Cooper, or DDL do not own." The court of appeals would also note: "First, Universal knew that it did not have trademark rights to King Kong, yet it proceeded to broadly assert such rights anyway. This amounted to a wanton and reckless disregard of Nintendo's rights. Second, Universal did not stop after it asserted its rights to Nintendo. It embarked on a deliberate, systematic campaign to coerce all of Nintendo's third party licensees to either stop marketing Donkey Kong products or pay Universal royalties. Finally, Universal's conduct amounted to an abuse of judicial process, and in that sense caused a longer harm to the public as a whole. Depending on the commercial results, Universal alternatively argued to the courts, first, that King Kong was a part of the public domain, and then second, that King Kong was not part of the public domain, and that Universal possessed exclusive trademark rights in it. Universal's assertions in court were based not on any good faith belief in their truth, but on the mistaken belief that it could use the courts to turn a profit." Because Universal misrepresented their degree of ownership of King Kong (claiming they had exclusive trademark rights when they knew they didn't) and tried to have it both ways in court regarding the "public domain" claims, the courts ruled that Universal acted in bad faith (see Universal City Studios, Inc. v. Nintendo Co., Ltd.). They were ordered to pay fines and all of Nintendo's legal bills from the lawsuit. That, along with the fact that the courts ruled that there was simply no likelihood of people confusing Donkey Kong with King Kong, caused Universal to lose the case and the subsequent appeal. Since the court case, Universal still retains the majority of the character rights. In 1986 they opened a King Kong ride called King Kong Encounter at their Universal Studios Tour theme park in Hollywood (which was destroyed in 2008 by a backlot fire), and followed it up with the Kongfrontation ride at their Orlando park in 1990 (which was closed down in 2002 due to maintenance issues). They also finally made a King Kong film of their own, King Kong (2005). In the summer of 2010, Universal opened a new 3D King Kong ride called King Kong: 360 3-D at their Hollywood park replacing the destroyed King Kong Encounter. In 2012, Universal will open another King Kong ride, a King Kong-themed dueling roller coaster at Universal Studios Dubailand. The Cooper estate retains publishing rights for the content they claim. In 1990 they licensed a six-issue comic book adaptation of the story to Monster Comics, and commissioned an illustrated novel in 1994 called Anthony Browne's King Kong. In 2004 and 2005, they commissioned a new novelization to be written by Joe Devito called Merian C Cooper's King Kong to replace the original Lovelace novelization (the original novelization's publishing rights are still in the public domain) and Kong: King of Skull Island, a prequel/sequel novel that ties into the original story. They are working on an upcoming musical stage play due out in 2013 called King Kong Live on Stage with Global Creatures, the company behind the Walking with Dinosaurs arena show. RKO (whose rights consisted of only the original film and its sequel) had its film library acquired by Ted Turner in 1986 via his company Turner Entertainment. Turner merged his company into Time Warner in 1995, which is how they own the rights to those two films today. DDL (whose rights were limited to only their 1976 remake) did a sequel in 1986 called King Kong Lives (but they still needed Universal's permission to do so). Today most of DDL's film library is owned by Studio Canal, which includes the rights to those two films. The domestic (North American) rights to King Kong though, still remain with the film's original distributor Paramount Pictures, with Trifecta Entertainment & Media handling television rights to the film via their licence with Paramount. King Kong (Toho) The Toho rendition of the original Hollywood version appeared in Toho Studios' successful film King Kong vs. Godzilla, and later in King Kong Escapes. This Kong differed greatly from the original in size and abilities. Among kaiju, King Kong was suggested to be among the most powerful in terms of raw physical force, possessing strength and durability that rivaled that of Godzilla. As one of the few mammal-based kaiju, Kong's most distinctive feature was his intelligence. He demonstrated the ability to learn and adapt to an opponent's fighting style, identify and exploit weaknesses in an enemy, and utilize his environment to stage ambushes and traps. In King Kong vs. Godzilla (1962), Kong was scaled to be 45 meters (147 feet) tall. Like most kaiju, Kong was given a power weapon: he possessed the ability to become stronger by drawing power from electric energy. When fully charged, Kaiju Kong could direct this power against an opponent by means of an electric touch attack. In King Kong Escapes (1967), a stand-alone movie loosely based on the animated television series The King Kong Show, Kong was scaled to be 20 meters (65 feet) tall. He was more similar to the original Kong in that he had no special powers beyond his great strength and intelligence. Unlike the Hollywood version, this Kong did not reside on Skull Island. In the first film he lived on Faro Island, while in the second film he lived on Mondo Island. The King Kong (from King Kong vs Godzilla) was originally set to return in a 1966 Toho project called Operation Robinson Crusoe: King Kong vs Ebirah to be co-produced with the Arthur Rankin Jr.-Jules Bass Production Company. However, Arthur Rankin, Jr. rejected the script as not being close enough to his cartoon series The King Kong Show, on which the project was to have been based. Toho and Rankin/Bass would then co-produce King Kong Escapes in 1967 instead, which was more in line with Rankin's cartoon. Instead of throwing out the King Kong vs Ebirah script, Toho simply replaced Kong with Godzilla and filmed it as Godzilla vs The Sea Monster instead, with almost no change to the script. This explains why Godzilla displays uncharacteristic behavior in the film, such as drawing strength from electricity and showing interest in the film's female protagonist, elements that had been originally written for King Kong. Toho Studios wanted to remake King Kong vs. Godzilla, which was the most successful of the entire Godzilla series of films, in 1991 to celebrate the thirtieth anniversary of the film as well as to celebrate Godzilla's upcoming fortieth anniversary. However they were unable to obtain the rights to use Kong, and inititially intended to use Mechani-Kong as Godzilla's next adversary. However it was soon learned that even using a mechanical creature who resembled Kong would be just as problematic legally and financially for them. As a result, the film became Godzilla vs. King Ghidorah, with no further attempts to use Kong in any way. Television
The King Kong Show (1966). In this cartoon series, the giant gorilla befriends the Bond family, with whom he goes on various adventures, fighting monsters, robots, mad scientists and other threats. Produced by Rankin/Bass, the animation was provided in Japan by Toei Animation, making this the very first anime series to be commissioned right out of Japan by an American company. This was also the cartoon that resulted in the production of Toho's Godzilla vs. the Sea Monster (originally planned as a Kong film) and King Kong Escapes. Kong: The Animated Series (2001). An animated production set many decades after the events of the original film. "Kong" is cloned by a female scientist. This show, coming a few years after the release of Centropolis' Godzilla: the Series repeated at least two of the monsters (although with vastly different backgrounds) seen in the Godzilla series. A direct-to-DVD movie called Kong: King of Atlantis, based on the 2001 series, was released to try and cash in on the 2005 movie. Both the series and the movie were then included in Toon Disney's "Jetix" group for a time, also to take advantage of the 2005 movie's release. A year later, a follow up direct-to-DVD film was released called Kong: Return to the Jungle. The King Kong suit from King Kong Escapes appeared on Ike! Greenman episode 38 called Greenman vs Gorilla. Due to copyright reasons King Kong's name was changed to Gorilla. Daikyojū Gappa (大巨獣ガッパ "Gappa, The Colossal Beast") is a 1967 Kaiju film. This Japanese film was produced by Nikkatsu Corporation, and was their only foray into the giant monster genre. The foreign sales title for the film was Gappa: The Triphibian Monster, and was dubbed into English (considered the "International Version"). The film was picked up by American International Pictures and released directly to television in the US under their American International Television banner, and retitled Monster from a Prehistoric Planet. This version was one of many films syndicated to broadcasters nationwide by AIP-TV, and became a staple for Horror Hosts on television stations from San Francisco to New York City from the late 1960s through early 1980s. Plot An expedition from Tokyo heads to Obelisk Island, which the greedy Mr. Funazu, president of "Playmate Magazine", wants to turn into a resort. The natives of Obelisk welcome the expedition, but two members, Hiroshi and Itoko, venture into a forbidden area despite the pleas of a native boy named Saki. They enter a cavern blocked by a fallen statue and find a giant egg, out of which hatches a baby monster, a "bird-lizard", referred to as a "Gappa". The natives plead with the skeptical scientists not to take the baby away, lest it anger the baby's parents. Sure enough, they take the baby away, and soon, inside the caverns, its two parents rise from the underground waters beneath the volcano, destroying everything in their path. Saki, the only survivor, is rescued by an American navy fleet and brought back to Japan. Meanwhile, back in Japan, the baby "bird-lizard" is making world headlines, not to mention being experimented on by scientists. To the shock of the expedition members there is news of two giant flying creatures appearing over Sagami Bay. The Gappa parents ravage cities looking for their offspring, and are impervious to military weapons. Hiroshi, Itoko and Professor Tonooka (a scientist from the expedition) realize that the "Gappas" aren't a legend after all. They, and Saki, try to convince the headstrong Mr. Funazu to let go of the baby and return it to its parents. Will they convince him before the Gappas destroy Japan and perhaps the world? Overview This film was intended as a lighthearted satire of the daikaiju films of the period. This is one of the reasons the film has come under criticism by many people and kaiju fans.[citation needed] But some of the satire is lost in translated overseas prints. The film's special effects were provided by Akira Watanabe, who had worked as an art director on many tokusatsu films such as the 1957 Toho sci-fi classic, The Mysterians. Although his work is not up to the standards of his colleague Eiji Tsuburaya, he provides some very interesting visuals, such as: In the scene where the Gappas rise from the ocean into a city, one of the Gappas was carrying an octopus in its mouth, hoping to bring food to its missing offspring, assuming it was found (this scene was meant to be humorous). One of the Gappas stomps its feet right into the middle of a kabuki theater, with people inside panicking and running. Different versions In the Japanese version, the opening credits and ending were accompanied by a Rock & Roll theme song, "Gappa, The Colossal Beast" (the first and second verses, respectively), and the touching reunion scene near the end had a ballad called "Keep Trying, Baby Gappa!". In all overseas prints, the opening and ending songs were replaced with standard orchestral music, and "Keep Trying, Baby Gappa!" was instrumental. There was also an urban legend that Nikkatsu's international English prints originally had a racist line, "The monsters are attacking Tokyo. Fortunately they are attacking the Negro section of town." And that the line was changed to "...attacking the poor section of town". In actuality, the line in the AIP-TV version is "attacking the Nikkō region..." — Nikkō is a city known for its beautiful and ancient shrines in the mountains of Tochigi Prefecture, Japan (approximately 140 km north of Tokyo). Home Video Release
Officially, the AIP-TV version of the film was first issued in the US by Orion Home Video (the Home Video arm of Orion Pictures, which had taken over the AIP catalogue) in the late 1980s on VHS, and a subsequent Laserdisc release (the latter was a double feature release with Godzilla vs. The Smog Monster issued by Orion and Image Entertainment). AIP's rights for Monster from a Prehistoric Planet (held by Orion Pictures) eventually lapsed into the Public Domain in the US. In the late 1990s, the Home Video rights to the film was licensed directly from Nikkatsu for VHS and (a bare-bones) DVD release by Media Blasters, under the Tokyo Shock label, including both the International English and Japanese language versions (the latter with English subtitles). The original version of the film has been issued twice on DVD in Japan, in 2000 (in a deluxe set with a figure) and 2004 (as a single disc with special features), respectively. Space Amoeba, released in Japan as Gezora, Ganime, Kamoeba: Decisive Battle! Giant Monsters of the South Seas (ゲゾラ・ガニメ・カメーバ 決戦! 南海の大怪獣 "Gezora Ganime Kameba Kessen! Nankai no Kaiju"), is a 1970 Kaiju film produced and released by Toho Studios. In the USA, American International Pictures released the film as Yog Monster from Space. This was one of director Ishirō Honda's last giant monster films, and the first such film made after the passing of special effects director Eiji Tsuburaya. This was also the final Toho film for which Sadamasa Arikawa acted as director of special effects. While some fans deride the film as a last gasp of the Golden Age of Kaiju films, others appreciate the fact that the monsters have been scaled down compared to creatures like Godzilla or Rodan, making their interactions with human characters more compelling. Story The Helios 7 space probe is sent on a mission to study the planet Jupiter. While on its outward journey to the gas giant, the probe is overtaken by the Space Amoeba/Yog, a parasitic extraterrestrial. The probe returns to earth and crashes into the South Pacific, where the Amoeba leaves the device and inhabits the body of a cuttlefish, causing it to mutate into what is called "Gezora." The tentacled kaiju begins attacking ships and islands in the area. A photographer named Kudo and his entourage land on Selga Island for a photoshoot, but their camp is attacked by Gezora. Because of its mutation the creature can create extremely cold temperatures with its body. When the survivors discover that Gezora is vulnerable to high temperatures, Kudo and his friends use a leftover Japanese World War II munitions bunker to set fire to the monster. Severely burned, the creature retreats to the water where it dies. Later, the Space Amoeba possesses a stone crab, mutating it into "Ganimes" and attacks the surrounding islands. Luckily the humans manage to lour Ganimes into a pit and destroy it with explosives. The Amoeba survies a second time and fleas into the surrounding jungles plotting its revenge. Space Amoeba decides to control two earth creatures this time. Another Ganimes, and a rock turtle named "Kamoebas." The two monsters raid the human camp. Luckily Kudo realizes the two monsters' weakness: supersonic waves. By releasing a storm of bats, the Amoeba loses control of its creations. Ganimes and Komoebas, no long under control, go beserk and begin to battle as Japanese giant monsters do. The humans, using more explosives, cause the volcano to erupt, engulfing the Space Amoeba and the two monsters. Gezora (ゲゾラ) Mutated from an alien rogue virus, Gezora quickly established a reign of terror to a small island. The grotesque squid rose from the sea but few times, and murdered several people. Leaving only one to live, but forever scarred with horrible frost burns. It wasn't until its final show of power, was the end of the monster carried out. The natives, along with some members of a Japanese expedition, lured the creature into an open field, doused with gasoline. Then, they cast a torch, turning the ground and animal into a blazing inferno. Gezora's screams were more child than adult, as it fled back into the sea. Unfortunately for it, it was far too late, and the animal was mortally wounded. The ocean took back its flesh and blood, swallowing the dead monster with its watery embrace, but the Amoeba retreated. Casting off its deceased host, in order to find another. Ganimes (ガニメ) Controlled and powered by the malevolent intelligence of the Amoeba being, a gigantic stone crab, Ganimes, attacked the island. Trying to finish the job that the now dead Gezora left undone, the monstrous animal wadded further inland, before it was met with machine gun fire. However, this does little to detour the creature. Yet the humans once again managed to outsmart the bulbous monster by luring it into a pit, laced with hundreds of sticks of dynamite. The resulting explosion tore his body apart, leaving smoldering bits of flesh. However, the spiritual Amoeba was still alive, and crawled from the open carcass only to assimilate another stone crab. This duplicate Ganimes was sent to aid another infected animal, this time a jungle turtle named Kamoebas, to eliminate the human threat. Though the partnership was soon dissolved, when a horde of bats besieged the twin giants. The supersonic waves created from their cackling cries broke the hold that the Amoeba possessed, and drove the monsters to fight. Ganimes attacks relentlessly with its pinching claws, and spiting foams of blinding, coalesced seawater, but Kamoebas was able to hold its ground. So caught up were the monsters in their war, that they didn't notice the volcano that they fought on. So, they both proceeded to the lip of the mountain, and toppled inside. Killing themselves and the Amoeba beings that laid within. Kamoebas (カメーバ) is a rock turtle monster that first appeared in Toho's 1970 film "Space Amoeba", and reappeared as a dead body in "Godzilla: Tokyo S.O.S." in 2003. Showa After Ganimes was destroyed, Yog turned to a rock turtle and made Kamoebas. It also made another Ganimes. But bats fled from a nearby cave and made Yog lose control of the monsters. They battled each other up the mountain in the center of the island and both fell into the volcano, destroying themselves and Yog forever. Millennium The gigantic chelonian Kamoebas, long after his first appearance in the 1970 film Space Amoeba, made a brief appearance in the film Godzilla: Tokyo S.O.S., to the surprise of many fans. In the film, news agencies and the JSDF swarmed to a small part of the coast of Japan. A dead Megalo matamata, or Kamoebas, had washed ashore in the night. As it was investigated they noticed large rips in its neck. It had been killed by none other than Godzilla. Film appearances
Gezora Space Amoeba (A.K.A. Yog: Monster From Space) (1970) Godzilla X Mechagodzilla (2002) - a short cameo via stock footage from Space Amoeba. Godzilla Final Wars (2004)- brief appearance during the opening credits. Ganimes Space Amoeba (A.K.A. Yog: Monster From Space) (1970) Kamoebas Space Amoeba (A.K.A. Yog: Monster From Space) (1970) Godzilla: Tokyo S.O.S (2003) Gorosaurus (ゴロザウルス Gorozaurusu) is a fictional theropod dinosaur created by Toho Studios. He stands 35 meters (105 feet) tall and weighs 8,000 tons in his first appearance. He was an opponent of King Kong in 1967's King Kong Escapes. He later enjoyed a prominent role in 1968's Destroy All Monsters, in which his size was increased to match Godzilla's 50 meter stature. Gorosaurus is a typical giant dinosaur, having no special powers like beams or energy weapons, relying on his strength and athleticism to fight. Gorosaurus' most identifiable fighting move is a flying kick similar to that of a kangaroo. Character biography In King Kong Escapes, Gorosaurus is an inhabitant of Mondo Island, the film's primary setting. He attacks and attempts to devour the leading female character, Susan Watson. King Kong arrives to save her and fights Gorosaurus. Kong eventually breaks the dinosaur's jaws, defeating Gorosaurus. In All Monsters Attack, Gorosaurus appears in the dreams of a young boy. In Godzilla vs. Gigan, Gorosaurus is seen living on Monster Island. In Destroy All Monsters, Gorosaurus appears on a new island, Monster Island. It is an artificially created environment for the monsters of Earth. He lives with other monsters including Godzilla, Mothra, Rodan, Anguirus, Kumonga, Manda, Minilla, Baragon and Varan. A race of aliens called the Kilaaks invades Earth, capturing and establishing mind-control over the monsters. They then release them in cities throughout the world, with Gorosaurus being released in Paris, France. (In both the original and the English dubbed version, Gorosaurus is misidentified as Baragon in the Paris attack. Gorosaurus had to substitute for the digging monster Baragon because the Baragon suit was reworked several times for monsters in the Ultraman series and not usable beyond the glimpse at the end of the film. The scene was scripted with Baragon, and the dialogue was never rerecorded.) However, the humans retaliate and find a way to break the mind control. The Kilaaks then unleash the space dragon King Ghidorah to kill the Earth monsters. Gorosaurus plays a pivotal role in the battle, as he twice brings down Ghidorah (the only monster who is able to), the first by pulling on his necks until it falls, heralding the turn of the tide of battle to the Earth monsters's side, and second when he used his kangaroo kick to slam Ghidorah to the ground as Godzilla and Anguirus attack two of the heads, leaving Ghidorah helpless and vulnerable. After killing Ghidorah, Gorosaurus and the other Earth monsters return to Monster Island to live in peace. Powers/Abilities Aside from the usual tooth and claw, Gorosaurus has been noted for using a "kangaroo kick" against foes like King Kong and King Ghidorah. This is Gorosaurus' most popular trait. Also, in the 1968 film Destroy All Monsters, Gorosaurus is shown with the ability to burrow underground. This is the only incident where this ability is shown. Trivia Gorosaurus was strangely shown to be burrowing in Paris in Destroy All Monsters. This role was originally intended for Baragon, however the Baragon suit was on loan to Tsuburaya Productions for use on a television series. Toho instead replaced him with Gorosaurus, having Gorosaurus "borrow" Baragon's burrowing ability. Gorosaurus was even refered to as Baragon. Gorosaurus' name and appearance is similar to the name of a real dinosaur, Gorgosaurus. Gorosaurus is one of the three monsters that have "saurus" in their names. The other two are Titanosaurus and Godzillasaurus. Out of all Toho Monsters, Gorosaurus' roar was originally used by Rodan in one scene of Rodan (1956 film). Gorosaurus' name is derived from the Japanese word Goro (fifth or approximate) and Greek word Sauros (lizard or reptile), so the name Gorosaurus means "approximate lizard". Film appearances
King Kong Escapes (1967) Destroy All Monsters (1968) All Monsters Attack (1969, Stock footage) Godzilla vs. Gigan (1972, Stock Footage) Baragon (バラゴン) is a fictional Kaiju (Japanese giant monster) that was first featured in the 1965 Toho-produced film, Frankenstein Conquers the World. Baragon is a four-legged dinosaur with a horn on his head and large ears. His main weapon is a heat ray that he can fire from his mouth. In addition, he can jump very high and burrow through the ground. Origin Showa series (1965) Frankenstein Conquers the World: Baragon was a dinosaur who burrowed underground to escape the extinction of the other dinosaurs and other prehistoric creatures died out. He adapted to and lived successfully. But when the sounds of a nearby factory disturbed and awakened Baragon, he emerged from the underground and attacked it. He appeared later at Shirane and destroyed the village. Then he emerged at a farm, where he ate the livestock - with feathers flying out of his mouth. During these attacks, Baragon was not seen, so the mutant human Frankenstein was blamed. But there was a person who survived the destruction of the factory who claimed there was a second monster that had attacked the factory. When a small group of scientists searched for Frankenstein, an explosive awoke Baragon from his sleep. He emerged to attack the scientists, but Frankenstein appeared to protect them from Baragon. The two fought a climactic battle, but Frankenstein ultimately defeated Baragon by choking him and breaking his neck. But in the end, a fissure appeared beneath the two and swallowed them up into the Earth (1968) Destroy All Monsters: Baragon is seen as one of several monsters kept in captivity on Monster Island. Along with the rest of Earth's monsters, he is brought under the control of an alien race called the Kilaaks during their invasion of Earth and forced to destroy cities in their cause. It is unknown if this was the same Baragon that battled Frankenstein or another. The latter theory is supported by the fact this Baragon was smaller than the original. The 1965 version of Baragon stands 25 meters (82 feet) in height, the 1968 version stands up to 57 meters (or 190 ft) in height. He later breaks free from this mind control, and watches (but does not actually take part in) the fight against the Kilaaks and their remaining monster, King Ghidorah before returning to Monster Island with the other Earth monsters. Use of suit Of all the monsters in the Toho fame, the Baragon suit was borrowed and used the most by Tsuburaya Productions, the company made famous for its work on the TV show Ultraman. The Baragon suit was reused several times to create the monsters in the series: Neronga, Gabora, and Magular, as well as Pagos from Ultra Q. Notably, Haruo Nakajima (the Godzilla suit actor as well as suit actor for Baragon in his initial debut) also played the suit actor for these monsters (with the exception of Magular.) In Destroy All Monsters, Baragon was supposed to attack Paris for the film, using his burrowing ability to smash the Arc de Triomphe from below. Unfortunately, the Baragon suit was unavailable due to the fact it was on loan for work on Ultraman. Baragon was replaced with Gorosaurus for this scene, but was still blamed for the attack. Gorosaurus was also given Baragon's special burrowing ability and even his signature roar to further confuse viewers. Baragon was also supposed to be used as a guard for the Kilaak base, but he was not shown on screen while doing this, possibly for the same reason above. Baragon's other appearance was supposed to be Godzilla vs Mechagodzilla. He was supposed to fight Mechagodzilla in the scene after he smashed that building, but instead they replaced him with Anguirus. Millennium series In the Millennium series, Baragon reappeared in the 2001 film, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack as one of three ancient guardian monsters. The other two are Mothra and King Ghidorah (originally Varan and Anguirus). When Godzilla is revived by the souls of the people who died in World War II, Baragon, Mothra, and King Ghidorah were summoned to protect the nation from the threat. Baragon was the first of the three guardians to confront Godzilla and was eventually killed by the monster's atomic breath. Baragon does not have a heat ray or a glowing horn, but he still has his burrowing and extraordinary jumping abilities. In Godzilla Final Wars, Stock footage of Baragon from Frankenstein Conquers the World was seen during the opening claiming that Baragon was one of many monsters that arose due to the devastation that the World Wars brought, along with Varan, Gezora, Gaira, Titanosaurus, and Megaguirus. Film Appearances
Frankenstein Conquers the World Destroy All Monsters Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack Godzilla: Final Wars Yongary or Yonggary (대괴수 용가리 - Taekoesu Yongary lit. Great Monster Yongary), also known as Yongary, Monster from the Deep, is a 1967 South Korean Kaiju film directed by prominent genre-film director Kim Ki-duk (no relation to the art film director Kim Ki-duk). In 1999, a reimagining of the film was produced, released in Korea simply as Yonggary and released in the United States as Reptilian. Synopsis In the Middle East, a bomb is set off that creates massive earthquakes. Meanwhile in South Korea, a young couple is about to get married and the tension builds when South Korea sends a manned space capsule to investigate the bomb site. The earthquake makes its way to South Korea, caused by a giant monster named Yongary (inspired by a mythical creature in Korean lore). Yongary attacks Seoul and makes his way to the oil refineries where he consumes the oil. A child related to the aforementioned couple turns off the refineries' oil basins; Yonggary, enraged, starts attacking until a chemical explosion at the refinery proves to have an effect on it. The Korean Government then uses oil to draw Yonggary to a local river, and kills it with a refined version of the ammonia compound. Remake The film was remade in 1999 by Shim Hyung-rae. To date, the Yonggary remake is the most expensive Korean film ever produced. The film was a moderate success and due to its success, a 2001 Upgrade Edition was produced a few months after its initial release. This version was slightly different from the original 1999 cut. The 2001 Upgrade featured new additional scenes, a new soundtrack by Chris Desmond, and new effects. 60% of the original 1999 cut made it to the 2001 upgrade version. It first premiered at a Japanese film festival in 2000 and then had its worldwide release in January 2001, which flopped due to poor promotion. The original 1999 cut was never released on VHS or DVD and the only version of the film available is the 2001 upgrade edition, which is now known as Reptilian. It's been debated whether prints of the original 1999 cut had been destroyed by the studio when at the time they believed that the 2001 upgrade edition would be a box office success.The 1999 cut was a proper remake of the first film, where Yonggary dies at the end, and the aliens were not in it. Trivia
In South Korea, Reptilian was very unpopular, and no DVDs were sold. In the USA and Japan, they can be purchased online and at some stores. However, it aired a couple of times on SciFi Channel. The new design of Yonggary is completely different from the original. He is taller, has three horns on his head, and has a jewel on his forehead called the Damon. The Damon was placed there by the aliens, so that they can control Yonggary and use him to destroy planet Earth. When the Damon was destroyed, they lost all control over Yonggary, and Yonggary turned good and helped mankind defeat the aliens. The original Yonggary had flamethrower breath and could shoot a laser beam from the horn on his snout, but the new Yonggary shoots fireballs from his mouth and has powers he has yet to discover(according to the aliens at the end of the film). The original Yonggary bears a striking resemblance to Barugon from the Gamera series, as well as Godzilla, whom of which inspired Hyung Rae to create Yonggary. In the original film, Yonggary is shown to have a diet of oil. However, in the remake, he is not shown eating (or drinking) anything. Although the original version of the beast was closer in appearence to Godzilla, the remade version fought another monster, which is featured in most Godzilla films. Another similarity, the original kaiju was meant to terrorize the people of Korea, much like the original Godzilla destroyed Japan. Also, in the US version of the remake he is a savior to mankind, like Godzilla is in countless movies. The origin of the new Yonggary is unknown; the original was burrowing underground, but the new monster is just a skeleton at the beginning and is resurrected by the aliens. Yonggary means Huge Dragon in Korean. One of the possible reasons for Yonggary's redesign in the remake might be people criticized the monster for looking like Godzilla. Another reason might be the remake was inspired by the American Godzilla remake, and Godzilla's design for the movie changed the monster completely. This could be the case, as it has many similarities to the American Godzilla remake, such as a Western cast. Also, the American Godzilla ends with the camera going into the surviving baby's mouth, and Reptilian ends with the camera going into Yonggary's mouth. There was an alternate ending for Reptilian that was exclusive to the original Korean release; Yonggary never turns good and is eventually killed by mankind, and never fights Cykor. |
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