#Godzilla-ham

[hamtaro-merch-tracker]

Hamtaro X Godzilla

Release Date: December 2024

A few bags just released with new art! The art depicts a few of the Godzilla-hams spending being comfy and having drinks together. It appears that these bags are rather small, the red blue and green ones are W90 x D35 x H90mm, a good size for storing small trinkets or cash

The white pouch in the top right is a bit bigger at W180 x D50 x H120mm, a good size for holding stationary or makeup

Theres also a mini tote at H180mm to W280 x D100 x H195mm.

The small red blue and green bags have the designs embroidered on the front and back, it's so cute that they included a little coffee design! The white bags unfortunately are a print with embroidery around the edge, but the star and moon embroidery make up for it. The bags also have inner lining using the same art!

These bags are already up on the Godzilla website! You can use a proxy like Buyee if you live outside of Japan. Here is the link to the Godzilla website

[soupmanspeaks]

Soooo guess who decided to make a crack Godzilla vs Biollante FNAF AU

Listen they're called siblings like ONCE in the movie and I JUMPED on that--can ya blame me!

[figmentjedi]

Mechagodzilla hopes Godzilla is ready for an unforgettable luncheon

[alexplantewpg]

Okay I'm trying something new here--I've tossed a few things up on Threadless and I'm going to see what happens.

yes they're stupid, no you can't stop me.

anyway there's some silly stuff you might like it you might not idk but if you do you have the option to purchase it! if you wish!

Have a browse!!

[maretriarch]

Ive said it before but I'll stop saying it when I stop being mad about it but the fact that there's no homestuck anime figures is a crime against The Grind and i want to go to hussies house and bang on his windows yelling WHY DO YOU HATE MONEY until he shoves a vriska figure out the mail slot to get me to go away

[gorogues]

Spoilers for comics in July 2025!

You can see the solicitations in full at Adventures In Poor Taste.

It's an intensely busy month with lots of Rogues.

THE FLASH #23 Written by SIMON SPURRIER Art by VASCO GEORGIEV Cover by DAVIDE PARATORE Variant covers by SERG ACUÑA and TRAVIS MERCER $3.99 US | 32 pages | Variant $4.99 US (card stock) ON SALE 7/30/25 BAD MOON RISING, PART 4! As the war rages on the Moon, Jai West and one of the temp Flashes enter Eclipso’s new form in an attempt to stop the total blackout of the Sun! Also, Wally’s glitching issues have returned, but this time, they may hold the key to turning the tide of the battle…

Based on the cover, it seems that the Rogues involved in this arc are the typical lineup we've been seeing since Flashpoint.

THE FLASH: BAD MOON RISING SPECIAL #1 Written by ALEX PAKNADEL Art and cover by DANIEL BAYLISS $5.99 US | 48 pages ON SALE 7/23/30 “Bad Moon Rising” rages on as the focus turns to the Rogues’ role as Eclipso’s generals and to a surprising new ally!

Yay, Shade! Guessing he's probably the ally.

ABSOLUTE FLASH #5 Written by JEFF LEMIRE Art by A.L. KAPLAN Cover by NICK ROBLES Variant covers by HAINING and CLAYTON CRAIN 1:25 variant cover by NIMIT MALAVIA 1:50 variant cover by HAINING $4.99 US | 32 pages | Variant $5.99 US (card stock) ON SALE 7/16/25 Wally’s going to need to learn to handle the heat as he faces down the monstrous Heat Wave! Can he evade his fiery grasp, or will the young speedster be burned to a crisp?!

So it seems that's not Tar Pit, it's Mick -- unless Mick is actually Tar Pit in the Absolute universe. And obviously a terrible fate really has befallen him :(

JUSTICE LEAGUE VS. GODZILLA VS. KONG 2 #2 Written by BRIAN BUCCELLATO Art and cover by CHRISTIAN DUCE Variant covers by YASMINE PUTRI, ALAN QUAH, STEPHEN SEGOVIA, and LUCAS MEYER 1:25 variant cover by KEVIN MAGUIRE $3.99 US | 32 pages | Variant $4.99 US (card stock) ON SALE 7/2/25 In the aftermath of the shocking ending of the last issue, Task Force X must re-evaluate their mission in Hollow Earth as they explore an unknown world. Meanwhile the Justice League comes face-to-face again with Kong—but it’s not the reunion they are expecting!

Digger and Len are in this, as per the covers.

Next is the kids' book we heard about last year.

KID FLASH: GOING ROGUE Written by STEVE FOXE Art and cover by JERRY GAYLORD $12.99 US | 144 pages | 5 1/2″ x 8″ | Softcover | ISBN: 978-1-79950-229-6 ON SALE 10/7/25 Kid Flash and his uncle, Barry Allen, a.k.a. the Flash, team up to teach a teenage group of rogues—Golden Glider, Pied Piper, Trickster, and the Top—an important lesson. But is Kid Flash the one who has the most to learn? From the writer behind the Scholastic Spider-Ham trilogy, Steve Foxe, with dynamic and action-packed art by Jerry Gaylord (X-Men ’97), comes a story about a ragtag group of kids who must work together or be doomed to life as the “bad kids.”

THE FLASH BY JOSHUA WILLIAMSON OMNIBUS VOL. 2 Written by JOSHUA WILLIAMSON Art by HOWARD PORTER, SCOTT KOLINS, CARMINE DI GIANDOMENICO, and more $125 US | 936 pages | 7 1/16″ x 10 7/8″ | Hardcover | ISBN: 978-1-79950-246-3 ON SALE 9/23/25 New York Times bestselling author Joshua Williamson’s long-running (no pun intended) tenure on The Flash continues in this second volume collecting storylines including “A Cold Day in Hell,” “Perfect Storm,” and “Flash War,” which pits two of DC’s greatest speedsters against each other! When Wally West discovers that Barry has hidden aspects of his former life from him, he is convinced that the only way to save his family is to break them free from the Speed Force. Volume two of this omnibus series collects The Flash #36-69, The Flash Annual #1-2, and Batman #64-65.

[mossizi]

I like how a small portion of the Godzilla fandom just collectively agrees that legendary Godzilla is Bi. Then the other half either doesn't give a darn or actually goes ham angry about it. 😭

[takerfoxx]

Okay.

I don't often gush about movies on this blog. Hell, I don't often go to the movies anymore. I just don't have the attention span for it. And I honestly was going to give this one a miss until someone who's opinion I trust was adamant that I needed to see this film right now on the biggest screen possible while I still had the chance. So, FOMO out won over, and I went to go see Godzilla Minus One in Imax.

...

Look, I've been a Godzilla fan practically all my life. My family used to rent those old english dubs of the films on VHS from Blockbuster in the early nineties. I grew up with these monsters. But I have to admit, I've never seen the original, nor have I seen Shin Godzilla. To me, Godzilla is about one thing and one thing only.

Fuck.

Yeah.

Gimme the big monsters just going HAM on each other. Rubber suits, CGI, I don't care! I want the big boys with beef to beef with a large side of cheese!

I guess that's why Godzilla 2014 ultimately left me feeling kind of cold while I absolutely loved KOTM despite how stupid a lot of it was. I just want my big monsters absolutely wrecking shit.

This was different. I knew it was going to be different. A remake of the original Godzilla, this time from the viewpoint of the common citizens still trying to get their lives together after WW2? I knew I was in for some heavy drama.

What I didn't expect was one of the most amazing theater experience I have ever had.

And I'm not just saying that because the movie is good, even though it is.

I'm not just saying that because the movie is great, even though it is.

I'm not just saying that because it's a goddamn masterpiece, even though it is.

I'm saying that because it's about as close to perfect of a film as you can get, and not just of a Godzilla movie, but just as a movie!

Like, it's a running joke that you can cut the human characters out of any Godzilla movie. Here, you could cut Godzilla out and still have a great movie. That's how good the human side of things was.

Like, you really grow attached to these people who have literally lost everything. You grow invested in their struggles, in their relationships, in their baggage, in their love for one another. You come to care about them and are genuinely happy as they eke out a new life after having their homes literally blown to bits. You just want to see them succeed and be happy together.

And that's when Godzilla shows up.

This movie is called Godzilla Minus One in reference to how post-war Japan was basically a Zero Society, left devastated by the conflict. And these people who literally were left with nothing suddenly find even that ripped away as an enormous monster just starts rampaging through the recovering cities.

And this time, Godzilla isn't an avenging hero. He's not a destructive anti-hero. He's not a fun mascot. He's not even a poor, suffering monster unaware of the destruction that he's wreaking. This Godzilla is goddamn menace, an outright monster that is absolutely terrifying. He wants to crush, kill, and destroy. This is Godzilla at his most actively malicious, and all you can do is gape up in horror with these people that you've come to care so much about, wondering how in the hell are they supposed to deal with this!

I won't give away how the day is eventually saved, only to say that it is a masterclass of character-driven suspense and emotion. You honestly come to root for the humans for once. You want to see them succeed, and are genuinely in fear for their lives. No exaggeration, I had my heart in my throat and tears in my eyes all throughout the climax. I don't cry during movies, and this movie made me sob like a baby. It was that good.

And it also had so much to say! Not only about Japan's collective trauma following the nuclear bombs or the other bombing raids like the original, but also about how the Japanese government dehumanized its own people during the war, treating them as expendable resources to fuel the war machine. The main character is a freaking kamikaze pilot who lost his nerve and abandoned his mission, and that plus another act of what he saw as cowardice haunts him throughout the movie, and while it realistically shows how such a person would be treated like a pariah by his former friends and neighbors, it is nothing but sympathetic toward him. He blames himself constantly, but the narrative never seems to.

And there's just this wonderful moment near the end, when it's clear that the government isn't coming to the rescue, so it's up to the common man to band together and find a solution, when a few men leave the mission for fear of their lives and that of their families, and are not condemned for it. And the scientist spearheading the whole thing gives this lovely little speech about how carelessly life has been treated during the war, from the kamikazes to the poorly maintained supply chains to how the common folk were left to fend for themselves, and he hopes to just once be able to secure a win that doesn't sacrifice any more lives. Wow.

I know it's probably too late for anyone else to see it, because I'm pretty sure it's theatrical run ends today. I just wanted to get this review off my chest, because wow, this was the best movie I've seen all year. What a goddamn masterpiece.

[snappingtwiggs]

You can put Godzilla in any movie what movie do you put him in and why

I would put Shin Godzilla in any Hallmark Christmas movie, and I want the Second form if I get to choose one.

This guy. I want him in a Romcom. Squirming and vomiting his blood, in constant agony, struggling to even breath as it's gills can only manage to bleed under the pressure of being so large and not having the structure to support it. Incapable of ending it's own suffering, incapable of understanding the horrors it's doomed to become by the laziness of humanity to fix or prevent their own disasters. I need him at the dinner table as a family cuts the Christmas ham and have a happy ending as all he can manage to do is try to survive another day, unknowing of the god that will be birthed from his tortured form, struggling and not even understanding how to breath. Referenced in every scene, but never acknowledged or dealt with.

I want him. He is a beautiful creature that I wish death upon for his own sake.

[hamtaro-merch-tracker]

Godzilla-ham Kun Merch

Release Date: July 2024

The Godzilla Store in japan has released some new Hamtaro goods! Everything is in very cute pastels, with a wide range of colors to choose from. My favorite are the plush bags, I want them all!

The Godzilla store seemed to carry a small selection of Hamtaro goods for a few years, so I don't think these will be limited edition. I have gone to the store a couple times in the past and they did not always have everything in stock, so if you want to be sure you get what you want, you'll need to use a proxy service. Unfortunately the Godzilla store does not ship outside of Japan, but you can use Buyee!

Godzilla Store

Yamashiroya in Ueno is also carrying this collection, but it looks like you can only buy in store.

[honeylemonbutte]

Getting To Know You Tag Game - tagged by @agentark :)

Last Song: My Love Is (Dayling Saving) by Orlando Weeks. So. This song has 1,124 views on Youtube. And it's quite possible that I'm at least 200 of these views. I've lost count.

Favorite Color: green

Last Book: I have started Borne by Jeff Vandermeer but I'm having a horrific time concentrating on reading again this year. So it's slow going.

Last Movie: I think that it was... Godzilla Minus One? I'm not a big movie watcher.

Last Game: Just in general, the last game I opened up was Reverse 1999 (mobile gacha game). But if not a game I play on my phone, it was Zelda Echoes of Wisdom.

Last Show: Elementary! I've never watched it before. Now I'm on the 1st season.

Sweet/Spicy/Savory: Spicy > Savory > Sweet. Spicy is life.

Relationship: Not Single

Last Internet Search: "cat loves corn" - do you have a cat, you're wondering? no. I watched a tiktok of a cat going full ham on a corn cob and started wondering if all cats love corn, if corn was good for cats, if there's a science behind it

Tagging: okay i've seen this tag going around a lot, so I don't know who to tag! i've already seen tons of people tagged on this!

[curiositykilledtheradiostar]

while im not shutting up about this movie. i love how godzilla looks in minus one actually. i love that it moves all stiff and awkward and looks a little cheesy. the movie isn't really about godzilla like. you have to remember that godzilla isn't real. it's a metaphor. the monster is a metaphor. you're not here for godzilla, look at this terrible shit ass lizard, this isn't some super-rendered hammed up creature design for you to go "WOOAH LOOK AT THAT THING THAT'S SICK". it's a big scary monster and most of it's big scary monster-ness comes from how other characters react to it with fear. it's godzilla because it's a godzilla movie, but the movie is not focused on godzilla. the main character's house has greater attention to detail than godzilla. the damage it causes is rendered better than godzilla. the movie is not about godzilla. understand.

[milimeters-morales]

still really love the idea of miles g making things out of the weirdest materials that have no relation to each other <3 like the missing “w” key from a keyboard + the twine on ham = a lockpick. a stray cat’s whisker + charger cord = emp mine. a bop-it + copy of the shin godzilla movie = tracking device. and each time these objects have served their use, they’re nowhere to be found. Aaron asks him about it and he’s doesn’t have an answer either he’s like “uhh something something power of love and determination”

[charlie-grusin]

Project Monster ("The Gryphon", "Living with Monsters" and "Shelter 54") : Movietalk # 07

What follows is a post originally published on Letterboxd as a "review" for The Lord of the Rings: War of the Rohirrim. It has been slightly edited to read as a standalone.

I believe there is inherent magic in the holidays the same way Werner Herzog believes in the inherent exotic beauty of nature. Before me now the sky is a gray blanket with no tear or end, and though these trees have not faced a wildfire in these parts they nonetheless look dead to the world – even after a sudden months’ worth of rains after an equally punishing drought cycle a lot of them still have that ashen-white smother to them. We have had days of fog (the kind multi-appendaged leviathans could migrate through undetected by the naked eye) but the snow hasn’t caught up to us – year after year it seems to arrive later when you least expect it – yet I also doubt when it does it’s going to look pleasant enough over a mug of Folgers. It always comes close to a wasteland out there, everything so blaring white it hurts to even look, yet all the same I hope it stays and goes on time. I hope we still remember this burning planet by the seasons.

But do not take me as that kind of antidepressant, for I too know my limits. Whenever I stand in that winter wonderland when it comes (if it comes), I can always hear some part of the mechanized world driving down the highway not too far from here (this, of course, could merely be false echoes carried by the winds – an imitative ambiance of the bitter cold – yet I choose to believe in the former). To be more precise I instead believe that the magic which exists this time of the year is only a result of our own creative endeavors – we summon the spirits. You know “Little Saint Nick” by the Beach Boys? That’s a pretty good song, those guys could never let you down, but you also know Johnny Mathis’s “We Need A Little Christmas”? (probably – you may’ve heard it blasting out the speakers as many times as Andy Williams and Mariah Carey this cycle but that’s beside the point.) That’s a jingle I can get behind. Why? Because unlike the many other Christmas tunes out there that seem to imply the Most Wonderful Time of the Year appears as naturally as a growth of poppy fields, this one affirms to us that Yes there is indeed some magic, but we must first nurture it from within ourselves – we must haul out the hollies and slice up the fruit cake before we can ever take the sweets of laughter. Even though it is first and foremost a Christmas Song, it’s perhaps the one I’ve come across that, after chewing on it for a loop or two, might not only be timeless but universal: if we can not find joy in the joys offered to us then it is imperative we make our own. All those who disagree, all others pay cash.

So naturally (and especially the case this year) I seek my own through giant monsters and nuclear annihilation. I may not be a perfect blue downer but I sure drive fucking nuts – ever tried reading Off Season on Thanksgiving and/or Christmas? Try reading Paul Ham’s Hiroshima Nagasaki.

The last time we were on the subject of Godzilla fan projects we talked about TAIYAKI’s “Gojira ゴジラ - blender animation”, a masterwork which still stands as such a high standard in the current fandom scene (if no one has yet to transfer it to tapes by now they really oughta should- like, now), and as part of that discussion I mentioned along with how the short replicated many elements from that budding era of tokusatsu infancy down to a T that it also successfully infused it with a healthy pinch of the analog horror genre, notably because I’d felt compared to the numerous other projects (original or otherwise) which have enveloped themselves from the analog cloth that “Gojira ゴジラ” was one of the few rare instances where its inclusion not only worked but made sense (the splice-n-tightening together of chronological events, the props of machinery making up for the near-absence of life... all things prevalent in Godzilla (1954) to begin with). To me a lot of analog horror in general doesn’t really cut it, and there is often the occasion where I find myself thinking how I missed when this shit used to be called “ARGs” or “online web horror series”. I guess they still are, in a way, but the connotations that ought to be abundant in something as seemingly potent (and popular) as the very name “analog horror” suggests are as spread and laid thin as anyone believing “liminal” and “eldritch” are still usable adjectives of praise. Some of it’s in the execution, some of it’s in what they’re even executing, but while it is still in ways a vibrant, youthful field it is also one which garners more than many mixed results... the kind that more often than not are blasted to unbelievably astronomical popularity in the Netosphere thanks to the likes of reaction-streaming and “analytical” FULLY EXPLAINED channels (the former unequivocally being one of the most despicable, repugnant species thriving in the rancid entertainment bubble and a bane of our existence undeserving the heat-death we need a little snappy happy ever after). But that is also not to say the genre is entirely a lost cause – like pretty much any other field of art which might seem at odds with our tastes, it is merely a case of seeking out the diamonds in the rough. And there are diamonds, my friends: Piggy Soda’s Dog Nightmares is top notch horror that brilliantly plucks at the nerves of the heartfelt all the while striking the same nodes of primal tension I haven’t truly felt since Marble Hornets, and UrbanSPOOK’s The Painter is a masterpiece of aggression which has successfully traced (and pushed) the very boundaries of horror that have once been laid in full through the cinematic lineages of Roger Watkins, Tobe Hooper, Fred Vogel and the rest of that extreme variety. We just gotta spot it... mine it... sieve it from the rocks and the crud and hold it out for all to see.

Like the creepypasta and ARGs before it, there has been a rise of a sub-sector in the analog horror field which has made for a fascinating crossover of online realms and mediums; once when it seemed that something like the nearly four-hour Seal of Nehahra or Altered Vistas’ adaptation of the TV Century 21 Daleks comic strips would only come and go like comets, now it seems that more creators (some of them younger, many of them wielding tools more accessible than ever before) are taking the reins to make their fervent mash-ups come true and set them out in due random course to wherever the internet and their corresponding fandoms shall take them. How many franchises have been played with in this new liberating free-for-all is not exactly certain (or rather I haven’t been keeping track at all, I’ll admit) but as I’m starting to understand it is becoming an increasingly intriguing one. Thus far there have been a plethora of Five Nights at Freddy’s analog horror series independently produced – this may not surprise you as much as there is an equal if not greater amount of its weight in pseudo-Backrooms ecto-matter clogging up the pipes – yet there has also become a growing number of analog series and/or found footage shorts based on the Jurassic Park and (you guess it) Godzilla series. It’s quite a ways from the likes of the NES Godzilla Creepypasta blog, yet at the same time not a surprising one: both franchises are strictly based in the science fiction genre and (in the case of Godzilla)have many fantastical elements often leaning towards pure fantasy, both hold strains of the horror genre reaching as far back as their original manifestations and (if this be too sacrilegious to admit) both of them also share a similar trait as part of their mass appeal as FNAF’s: they consist of vast rosters of strange beastly creatures possessing their own unique and oftimes colorful characteristics and traits. It’s possible the genre may see the same amount of intellectual parodies as its preceding modes of online horror have touched upon before (I write this in blind ignorance of the seemingly inevitable My Little Pony: Friendship Is Magic analog horror series which surely must be out there), but since many of these aspiring projects have ventured into genres that have been heavily practiced in the visual and the mainstream (the kaiju/giant monster flick, in this case) one can but wonder where we may go from here. Perhaps analog horror can grow to become godfather to an open array of analog genres, each as pronounced as the next…

It is not a swift possibility, but after watching the shorts that compose Tarrell Christie’s Project Monster series thus far, I cannot believe in any further suggestion that denotes this as an impossibility (if we’re lucky it just might become inevitable). It would be easy to label it as another analog horror series but if the parenthesized subtitle (Found Footage) means anything, it’s that the exact genre limitations which Tarrell Christie plays with thus far are potentially near-fluid (though this could also imply directly to the kaiju genre as a whole, which encompasses everything from science fiction to fantasy and all in-between). “Shelter 54”, the most recent of the lot, can definitely fall under analog horror and further into all of horror’s many subgenres, but when we look back to “Living with Monsters” and “The Gryphon” we realize it is only a sewed-in patch of a larger and ever-growing canvas consisting of shades and flavors that have been dreamt of by many a vivid giant monster fan but which had yet been this thoroughly materialized. If you’re familiar with Matt Frank’s collection of synthesized Toho redesigns then you’d already get a gist of where Project Monster’s going with this: it is a combination tribute, a hybrid remix of not just the entire Godzilla oeuvre but of all the monsters (all of em!) all in one big colossal clash of alternate and meta-history the likes of which even God has never seen.

Ever since Godzilla was called from the ice bucket to settle a score with that other king of the monsters, his journey since has been of many detours and little exits – he’s held beef with relatives, made a few enemies, adopted a kid to call his own and has made some sort of inner peace with being part-time humanitarian and all-around bastard terror – his every flux on film dictated in tune to the times more than anything resembling a chronology or (god forbid) a cinematic universe.* This hasn’t stopped anyone from attempting a plea towards an overall narrative cohesion, however: the Millennium series is amusing to examine on its own based on how nearly every installment was made as a direct sequel to the original, but before this was the Heisei series, which managed to draw an escalating chronicle of “VS films” from the once-seemingly conclusive end of Return of Godzilla, and more recently there was Monarch: Legacy of Monsters, Legendary-Toho’s televised method of crafting a throughline between the scattershot tones and ideas of the Monsterverse. These latter two have been the closest the series has ever flirted with the idea of upholding a material timeline, much of it opting instead to adhere to Godzilla’s past encounters from the Showa era as a kind of spiritual myth – if there is undeniable proof Godzilla exists, then that in turn proves a Mothra and/or King Ghidorah must also exist – and although Monarch has thus far shown the makings of a defined Godzilla mythosby weaving much of its drama from a post-WWII atomic-age world to the echoing ramifications of the present day, it still stands to see whether it will truly blast the Monsterverse’s stratospheres towards something wild and extraordinary beyond its growing interconnectivity to the films. Even if its future seasons should never go far it will not be a total lose – for one, it may still stand as a solid work of SF television as long as it manages to keep its own footing, and as long as blazed and daring minds such as Tarrell Christie’s dare to make the impossible, we won’t need to worry. We summon the spirits, after all.

* And this is one of the major reasons why Godzilla has stood as a One and True successful franchise for seventy years, really – the character is simple, flexible, malleable and all around invincible.

It all starts as simple enough as the conceit of “The Gryphon”: what if the two American live-action Godzillas (the Emmerich and the Edwards, the lizard and the elephant) teamed up to fight that unfought enemy from Jan De Bont’s earlier fell-through attempt at an All-American Goji? It’s not as far off a concept as, say, Vrahno’s “Zilla vs. Gorosaurus” which posits how two of the most saurian-looking kaijus on the planet may square off in a brawl (spoilers: in the gnarly Vrahno tradition), yet what wraps this short off in the nicest, most efficient of bows is quite literally in the delivery. Though it stands first and foremost as a respectful tribute to Godzilla’s American incarnations (instead of introducing G’98 early into the fight so he can be immediately dispensed with by the 2014 Goji for some overused joke/easing of the typical fan-hatred salivations the film opts to treat them as agreeable cousins open to go tag team on this Gryphon fucker), the added angle of the battle being documented through a variety of on-ground and in-the-sky video sources (some meeting unfortunate ends due to the collateral carnage) elevates it a notch higher as a tribute to the modern day American kaiju by using Cloverfield’s own found footage approach as its narrative frame, using every camera’s panicked operator to capture every turn of this Big Apple tide. True that this probably would’ve been a more complete tribute had it included the Jaegers from Pacific Rim or even the Cloverfield monster on top of everything else, but not only does their absence here not deter from the short’s overall effective charm, it is also an admittedly thankful thing they were (it doesn’t take much to reach an overabundance, especially when it comes to fan projects). No, all you really need is pure human panic and death while Godzilla, Godzilla and the Gryphon duke it out in New York by slamming, tackling, and tearing each other all the way up the Empire State to Mount Kilimanjaro in a quick-n-easy four minutes; the world comes later.

And come it does: if there is a star favorite among the current three it would certainly go to “Living with Monsters”, a seventeen-minute crash-course grind-fest through early modern monster history that not only unfurls more of the world of “The Gryphon” on that greater canvas but also indeed blows that stratosphere up to high heaven with what its world entails for any and every giddy and unsuspecting giant monster fan alive (if you were really concerned why there were Godzilla-like creatures existing on the same plane of existence in the first place don’t worry – now there’s freakin’ Gorgo). Whereas “The Gryphon” presented its found footage as matter-of-fact visual documentation brought to you by the series’ rendition of the Heisei films’ U.N.G.C.C. (United Nations Godzilla Countermeasures Center), we now have another piece in the presentation mix, a frame within a frame – subjectivity, a point of reference, an interpretive state of mind – for what we get here is an archived glimpse (the good old sequence meshing of monsters roaming across stock wartime-disaster footage) of an alternate ‘50s being besieged by giant monsters by way of a newsreel borderlining on the exploitative brought to you by- what’s this... Denham Pictures!? Indeed as the in-world copyrighted title card and historical key points make it clear right away, we are being granted all this through the veils of one Carl Denham – yes, that Carl Denham (a Denham who just so happened to find immeasurable success releasing a Raw, Uncut, Not One Scene Omitted jungle picture starring that most unusual eight wonder) – granting us an alternate history where all of cinema’s greatest monsters have appeared in this world (in a very meta twist of fate) through the very tidings which has inspired their mythical upbringings onto ours (as Kong was found by way of forced inhabitation and Ingagi, so too was Godzilla awakened through the testing of hydrogen bombs), a history in ways more in tune to our own than the likes of the one seemingly lips-sealed for the longest time by the Monsterverse’s own highly-secretive Monarch org: it is a cruel and sudden and most violent of existences to ever dare uphold any semblance of normalcy from which only a few may profit and of which many shall suffer (one moment you’re having a time of your life at a live dinosaur exhibit, the next being swept and torn in the debris of a tidal-wave as behemoths churn themselves away to crab-meat). And what a better way to illustrate this bitter truth than to have a few Max Steiner-types mickey mouse every moment of the action, the perfect cherry on the mondo top along with those lingering shots of the dead and dying left after a monster brawl’s wake! It’s shocking, revealing, befitting to the sensitivities of the era from which it sources its black-and-white griminess, and it is also one of the two greatest examples of that yet-to-be-discovered subgenre of analog alternate history alongside Alex Casanas (M4NTICOR3)’s “DEANDEMOCRACY”.

Yet this is not all to say that Christie’s latest, “Shelter 54”, is found lacking.** Rather it’s quite an advancement from the previous shorts, using the exact frame-within-frame as “Living with Monsters” with the simple premising of “The Gryphon” to finally bring us at last to some damn good analog kaiju horror. There’s definitely a whiff of Gemini Home Entertainment’s “MONTHLY PROGRESS REPORT” if you really lean in there, but do not let it be mistaken that on top of being a slight opportunity for the short to suddenly pull some deep cuts out of Godzilla: The Series (Skeetera? El Gusano Gigante?? apologies for my lack of knowledge I only have the Monster Wars DVD) that this is also a retelling of the doomed plant-human-hybrid Biollante myth which manages to tie along references to Hedorah the Smog Monster and (perhaps crazily, insanely enough) the Godzilla from Shin Godzilla (who appropriately shares much of the same attributes as Hedorah’s to begin with) to reel itself back on one of the most major underlying themes of the Godzilla franchise (something which compared to more familiar fan works of the fandom is an absolute rarity, an unsurprising few too far); much like how “Living with Monsters” was basically Mondo Kaiju, “Shelter 54” is told through the lens of what appears to be a U.N.G.C.C.-certified public safety film (one seemingly close to that icky true crime tone as that one major classic of the genre, “Will You Be Here Tomorrow?”) that, though showing all the major circumstances leading up to the creation of this universe’s Biollante and her tragic prolonging existence, ultimately wraps itself up with something as seemingly tidy as a public relations band-aid: we fixed up the shelters and passed a few regulations but we have yet to figure that as bad as it is to assault Mother Nature with our weapons and waste it is perhaps no different or even worse of an offense to take advantage of her with the intention of culling her to our very whims. We after all are an imperfect species – if the best of our highest minds can only lead to senselessness, then what says the world when they really try to save it? It’s a quieter, much somber short, and that’s because it had to be: it could’ve easily crept on you just to rattle you by the shoulders with some loud all-out assault, but this time it chose best to leave you hanging by the threads of unease, letting those spirits linger long towards the sunset and into the night.

** Though I can’t help but find it somewhat pale though this could be strictly preferential – I mean come on, analog alternate history’s right there!

[fanwork-exchange-promos]

Tokusatsu: New Tokusatsu Kink Meme is Now Open!

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linky

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tokukinkmeme This kink meme is open to all tokusatsu. Either it be Kamen Rider, Super Sentai, Ultraman, Godzilla, Garo, Power Rangers, etc. If it is a tokusatsu, it qualifies to be prompted and filled for in this meme. Go ham, and have some kinky fun! Anon is on, and IP logging is off. More information on how this meme works can be found in the Rules, Info, & Mod Contact sticky post, which is linked below. Rules, Info, & Mod Contact | Prompt Post | Ao3 Collection | SquidgeWorld Collection

comments from The Fandom Calendar https://fandomcalendar.dreamwidth.org/980190.html

[hrodvitnon]

I think it depends on how crazy Genocide ends up being and how badly it affects all parties involved. Like, I think it would seriously suck for Mothra to have to watch Goji go ham on humanity and wipe the planet clean, but I think the deciding variables is what happens to all the other Titans as a result.

If the impetus for the cleansing was Xenilla coming early or Ozzy not surviving (which I'm pretty sure it was one of these last I checked), then I don't think Goji would be the only one to go nuts in some way.

We haven't really considered what say, Shimo or Battra would look like in this timeline, so I think it's hard to say for sure where Mothra would be at the end of this bloody path.

If memory serves, another factor in whether or not Genocide Route happens is if humanity takes samples of the Space Crystal Cordyceps and wants to use them in some capacity, despite seeing what it did to Ozymandias, and Godzilla's trauma from that whole sordid affair with his poor brother. (Whether Ozzy lives or dies is also an important element, akin to the Adult Timeline/Fallen Hero Timeline split in Ocarina of Time based on whether Link defeats Ganon or dies.)

I think it's safe to say that Shimo would not react well to Godzilla nuking humanity, and might have a trauma reaction of her own; she's already been imprisoned by one ruthless Titan bent on a path of destruction, but of course there are big differences between Godzilla and Skar King, though she wouldn't realize it in the heat of the moment. (GxK's events possibly being concurrent with the Xenilla Arc wouldn't help matters.)