#godzilla unintentionally helping Kong

[ruubesz-draws]

Godzilla fights Skar King before Kong

Bro turned from villain to hero

*DO NOT REPOST MY VIDEO*

[thecarnivorousmuffinmeta]

hi! i don't know if you're familiar with monsterverse titans (godzilla, kong, mothra etc.), do you think it's possible for them to exist in the same universe as twilight vampires? they would have been around for millions of years, probably longer than vampires have ever existed. pretty much all of them were hibernating so it's technically impossible to encounter one... at least until 1954 when the humans accidentally woke godzilla up

sure a lot of titans are dangerous but since godzilla is basically a one man volturi army but for titans, so aro wouldn't have to worry about human extinction from them

but do you think the volturi might have a branch dedicated to tracking titans' locations, kind of like monarch?

would godzilla deem vampires as threats to the balance of nature or, since the volturi basically keeps them in control, will he just ignore them and think of them as very very durable humans?

human titans. that's pretty much what vampires are. lmao.

and the cullens! can you imagine if they were unfortunate enough to be in a town where two titans picked to be their battleground? or forks. we have carlisle and some doctors and charlie and the quileute tribe hanging around post battle helping injured survivors, meanwhile edward is insisting to everyone in his family that this is absolutely an evil convoluted plan aro cooked up to... to... well he doesn't know what but it's something evil. and then it cuts to aro sobbing in the corin tower because godzilla is using the colosseum as a cat bed (and unintentionally destroying parts of it in the process)

wait wait wait, the cullens might even be able to find better prey if they move to hollow earth! Maybe the prey there would taste better over their usual 'vegeterian' choices

i will probably write the fic like you've suggested to askers many times, i'm just curious about your thoughts if you've watched the films. they've got probably one of my favourite worldbuilding lore.

also i hope you and vinelle are doing okay! i wait in anticipation for any of your stories to be updated. take your time on them though. we've been fed so much the first half of this year which has been amazing

@therealvinelle are doing fine, summering away.

And yeah, my friend, this is a "write the fic" ask, but mainly because it's very clear what you have in mind and you don't need me to say yea or nea. Have fun! Be the captain of your own adventure!

(gif credit @franzias-cave)

That said, I think it's plausible for a number of reasons. Anon's referring to the fact that most of the time someone asks "can X crossover happen" I say no because usually either a) either world would look extremely different and the crossover would not be what we would know b) one would give way to the other. Either we have our vampire overlords wiping out that other threat to humanity/the secret as they did the werewolves in the world of Twilight or the vampires never become the apex predator.

In this case, as you noted, if these creatures hibernate most of the time how the fuck would anyone know they're around? The Volturi are 3500 years old but that's nothing in the scheme of human existence let alone how old the giant lizards are supposed to be.

And that they live in the bottom of the ocean--could be just none of them have surfaced.

They can absolutely exist while the Twilight world exists.

Now upon becoming aware of each other there's a "what are we going to do about this?" but I imagine that the Volturi would let humans handle the tracking. Unless the humans are very bad at it the Volturi are busy enough if Demetri can't find where these things are.

In terms of Godzilla killing vampires... we don't know what vampires are or where they came from in the twilight world, but it seems to have been for a fairly long time. Point is, I don't think they disrupt the balance of nature by existing any more than humans do.

But yes, write the fic! You have my encouragement!

[zerm2v0hg]

If you could make ten or less changes to each of the Monsterverse films and TV series, what would YOU pick?

My picks:

(Godzilla 2014)

(I know I'm in the minority and probably a bit of a heretic with this one, but...) Make Joe Brody less overacted and melodramatic in the present time frame than Bryan Cranston ended up making him in the actual film. Save Joe's displays of raw emotion for Sandra's death scene and for when Joe's confronting Monarch in the interrogation room scene at the end of his fifteen-year search. Because it's been fifteen years since Sandra's death, yet Cranston's heat in Joe's apartment scene makes it seem as if it's only been fifteen days. :P

Show more of the monster fights than the finished film did, including the Hawaii battle.

Give the Janjira Monarch staff an extra scene to characterise them a bit more, so that it's even more impactful when they bite the dust a moment later and we're experiencing Serizawa and Vivienne's POV of losing them all a bit?

(Godzilla vs. Kong)

Definitely have this film's story occur inbetween 2014 and KotM instead of after KotM. Reasons why, and how the film's story would look with this new chronology, are here.

No extra ‘Pacific Rim: Uprising’-ification of the Titans’ size, weight and movements. Stick to the balance that KotM had between the "slow, weighty and heavy" portrayal of 2014 and "fast, acrobatic and brutal," don't swing further onto the latter end of the scale like the actual GvK did after KotM. :P

Give Mechagodzilla just a bit more screentime. Maybe an extra test run scene, and/or draw the final battle or its "kill all humans" rampage in Hong Kong out for a little bit longer?

Give Madison - or rather her substitute on Team Godzilla since this version of GvK takes place before KotM - some more long-term planning for how they intend to expose Apex?

Make the Hollow Earth radioactive to the point where the humans need astronaut-suits with clear visors to survive in it outside of the HEAVs, to fit with it being the home of the radioactive Titans.

(Godzilla: King of the Monsters)

Less chronic cutting away from the Titan fights – do like GvK, where it only cuts away to the humans sparingly when it’s important, but keep the "human POV" angles on the Titan fights.

Show more of the Washington D.C. battle like the novelisation did.

Tone down Mark's dickish demeanour. Seriously, his anguish and character arc makes sense, but his attitude was WAY too obnoxious.

Somehow, fix Emma being too Unintentionally Unsympathetic. Maybe make her out to be viler and less forgivable, and have her be treated as such throughout the Boston scenes including her sacrifice? Or, maybe swap Emma and Jonah's roles around after Ghidorah's crowning: Emma's the one who completely succumbs to despair and refuses to help stop Ghidorah, while Jonah's the one who, despite his nasty and cold-blooded nature when it came to achieving their plan, proves that he was the more genuine of the two about wanting to save the Earth at the end of it all, and who sticks his neck out helping the heroes to stop Ghidorah in Boston.

Show more scenes of the other awakened Titans' carnage around the world, like the novelisation's Mokele-Mbembe subplot and awakening scenes. Maybe release a three-hour director's cut/extended edition which features these scenes and subplots?

Play Godzilla's stratosphere drop, which is basically a meteor impact, a bit more realistically - instead of it just levelling the block below his back and leaving everyone standing a mile away unscathed, have the blast from the impact obliterate a LOT more of the city for miles around the impact site.

Portray the government less as arrogant, prejudiced jerks and portray them more as authorities whom are genuinely, understandably terrified of the Titans' capacity to inflict mass destruction with little warning, are fearful of the events of 2014 happening again, and are concerned and anxious at how ineffectual Monarch are and at how the top brass come across as just a little too pro-Godzilla for them to feel reassured.

Relegate the "Do Not Touch the Funnel Cloud"-esque effect of Ghidorah's hurricane to the eye of the storm - clearly show more of the outer-hurricane razing down every non-Titan thing it passes over both manmade and natural, particularly when the Argo is fighting through the storm over Isla de Mara to get to Ghidorah and then get away from it, and when the storm is sweeping into Boston while Madison takes cover inside Fenway Park, before Ghidorah physically showing up causes the eye to settle over the city.

(Skull Island (2023))

Tone down the snark and corny dialogue just a little bit.

Show Mike's grief for Hiro's death coming through when he's crippled by the neurotoxin and thinks he's at the end of his line. It would stand to reason that him processing his grief has been naturally stalled because of the life-or-death situation him and his friends are currently in on Skull Island as keeping themselves alive takes priority, but when Mike thinks he's reached the end of his rope when he's lying sick in the mercenaries' camp, his grief can finally come out.

Show a mix of new Skull Island creatures and the previous Monsterverse materials' Skull Island creatures, instead of near-exclusively using suspiciously-similar new creatures for the show.

Give Kong a few POV scenes of his own in Episodes 4-6.

(Monarch: Legacy of Monsters)

Make Godzilla just a bit more active in the 2015 plot than he was in the show's version. Like, have more references to Monarch tracking his changing movements as things ramp up, particularly in the leadup to Godzilla's appearance in the Axis Mundi in the final episode, so that the latter feels less like a "mandatory Godzilla final battle" shoehorned into the show and more like it's a narrative payoff that was foreshadowed and that the show was leading towards.

Don't ignore/retcon the events of Godzilla: Aftershock like the TV series ended up doing when it was referring to the post G-Day monster activity.

Feature Eiji Serizawa in at least one episode, and make references to Shinomura in the leadup to the Bikini Atoll bombing scene, even if the show's version of the backstory isn't quite Godzilla: Awakening-compliant.

The TV series explained to us why Bill Randa became so bitter, why he became obsessed with saving Monarch in the 1970s, and why he was interested in Skull Island's potential to vindicate the Hollow Earth theory... but I don't think it really explained why Old!Bill lost Young!Bill's admiration for Godzilla and the Titans in the series and came to believe they all needed to be exterminated to protect humanity, up until he started seeing Kong as something more in the handprint scene. So another change I'd make is probably having the series explain that bit of Old!Bill's character a bit more, even if it's only with a couple throwaway lines in Bill's Episode 9 scenes, after he's lost Keiko to the Endoswarmers or after he's lost Lee in Operation Hourglass.

(I've excluded Kong: Skull Island and Godzilla x Kong: The New Empire from this listing because I haven't seen those films.)

@hrodvitnon @lordofthefans @tardisspacemug @tosho89 @shadowblade217 @darthpan What about you guys?

[frankendykes-monster]

"In April 1962, a match pitting Japanese pro wrestling superstar Rikidozan and tag-team partners Toyonobori and Great Togo against American challengers Freddie Blassie, Lou Thesz, and Mike Sharpe aired nationally on Japanese television. During the bout, Blassie bit Great Togo on the forehead, opening a horrible bloody gash. Two elderly viewers, shocked by the gory sight, collapsed and died, casualties of a media war that saw networks and sponsors producing outrageous programs and stunts to grab the audience. Released later that year, Honda's King Kong vs. Godzilla is pop art imitating life, with two gargantuan wrestlers of Japanese and American pedigree tussling on live TV, raising ratings while razing cities. It's monster-movie-as-satire, a biting critique of the banal programming that dominated television, prompting widespread debate over the ascendant medium's effect on Japanese culture. The social critic Soichi Oya warned that TV was creating "a nation of 100 million idiots."

"People were making a big deal out of ratings," said Honda. "But my own view of TV shows was that they did not take the viewer seriously, that they took the audience for granted...so I decided to show that through my movie."

King Kong vs. Godzilla was one of five banner releases for 1962 to commemorate Toho's thirtieth anniversary, along with [Akira] Kurosawa's Sanjuro (Tsubaki Sanjuro), Hiroshi Inagaki's 47 Samurai (Chu-shingura), Mikio Naruse's Lonely Lane (Hourou-ki), and Yasuki Chiba's Born in Sin (Kawa no hotori de). By far Honda's most commercially successful film, King Kong vs. Godzilla was a runaway hit and the bedrock of the long-running Godzilla franchise that followed. Though Godzilla was a household word, this was the monster's first appearance in seven years. Only after Godzilla battled "the eighth wonder of the world" - Kong, the more popular monster, received top billing - did Toho truly begin producing its long and legendary series of monster-versus-monster sequels.

This is also perhaps Honda's most infamous effort, thanks to a poor imitation of the great King Kong and an inept, reworked American version that, as with Godzilla [1954], was distributed to many more territories than Honda's cut. Most troubling for Honda, though, was how Godzilla, in only its third film - and the first in color and scope - transformed from nuclear protest monster into outsized Rikidozan, engaging in comic wrestling antics. "[The studio] thought it would be interesting to make these two monsters fight," Honda later reflected. "That was all there was to it. Still, when you are the director, it is your film, so you still have to do your best. So I sucked it up and worked as hard as possible."

The project originated in Hollywood several years earlier, when stop-motion animator Willis O'Brien developed a proposed project titled King Kong vs. Frankenstein (later King Kong vs. Prometheus). O'Brien envisioned a battle in the streets of San Francisco between Kong and a monster created by Victor Frankenstein's grandson; the creatures would be animated via O'Brien's signature effects work. O'Brien partnered with independent producer John Beck, who failed to attract a Hollywood studio but eventually hit paydirt in Japan. Beck brokered a deal wherein Toho purchased the right to use King Kong in a film; however, O'Brien's ideas were jettisoned and he would have no involvement in the production. Toho made King Kong vs. Godzilla instead, with Beck retaining the lucrative overseas distribution rights.

RKO's fee for King Kong was reportedly 80 million Yen (about $220,000), inflating the budget and forcing Honda to cut costs. At the last minute, he canceled plans to film scenes set on Faro Island, Kong's home, on location in Sri Lanka. Instead, the crew shot at Oshima Island near Tokyo and on studio sets. "King Kong took all the money!" said actor Yu Fujiki.

Shinichi Sekizawa's script is light and quickly paced. Tako (Ichiro Arishima), the excitable advertising chief for Pacific Pharmaceutical Co., is desperate to shake up the low-rated TV science program that his company sponsors. He sends a cameraman, Sakurai (Tadao Takashima), and a sound man, Furue (Fujiki), to the Solomon Islands archipelago to investigate reports of a majin (demon god) worshipped by natives of tiny Faro Island. They return with King Kong literally in tow, but Kong breaks free in route and runs wild in Japan. Meanwhile, Godzilla bursts out of an iceberg in the Arctic and instinctively heads south toward its Tokyo stomping grounds. The Japanese military can't stop either creature, so a plan is hatched to pit them against one another, a monster matchup tailormade for the TV cameras.

King Kong vs. Godzilla takes a page from the keizai shosetsu (business novels) and films of the late 1950s and early 1960s that spoofed ruthless Japanese business practices. There are also similarities to Yasuzo Masumura's excellent Giants and Toys (Kedamono no yado, 1958), a satire about two candy companies engaged in an over-the-top media war, though where Masumura is cynical and heavy-handed, Honda is lighthearted. "The reason I showed the monster battle through the prism of a ratings war was to depict the reality of the times," said Honda. "When you think of King Kong just plain fighting Godzilla, it is stupid. But how you stage it, the times in which it takes place, that's the thought process of the filmmaker. Back then, Sekizawa was working on pop song lyrics and TV series, so he had a clear insight into television."

[Section omitted]

"This is neither the Kong of 1933 nor the Godzilla of 1954, and the monsters inspire little of their original pathos. Instead of moody monochrome, they are photographed in bright, revealing Eastmancolor and often framed at waist level, betraying any illusion of size. Godzilla has an improved design and blue-hot radiation breath; but Kong, played by stuntman Shoichi Hirose, is too obviously a man in a furry costume with lumpy facial features. Curiously, RKO reportedly required Toho not only to distinguish its Kong with a different face, but also to depict the ape snatching a female and scaling a building, recalling the original. Mie Hama does an excellent job shrieking in Kong's clutches, though one wishes Honda had borrowed even just a bit of the tragic romance of Merian C. Cooper's film. Godzilla mocks its opponent, Kong beats his chest and scratches his noggin, and both monsters employ slapstick fighting moves - Godzilla kicking boulders, Kong swinging its foe by the tail, and so on. Kong appears outmatched, but the odds are evened in the final battle via a deus ex machina, a thunderstorm that gives Kong a jolt of strength-inducing electricity."

[Section omitted]

"Because it was made not long after the AMPO protests, King Kong vs. Godzilla is sometimes interpreted as a critique of the Japan-US alliance, the monsters representing their respective countries. Studies such as Cynthia Erb's excellent Tracking King Kong make this analogy, but Honda had no such intent and, in fact, he portrays Kong as something of a proxy Japanese monster, with no apparent American origins. Unlike The Mysterians, Battle in Outer Space, Mothra, or Gorath, there is no involvement by the West in averting the crisis, and unlike Honda's 1950s dramas, the trappings of imported American culture (steaks and fries eaten with a fork and knife, jazz albums decorating Fumiko's apartment) are benign. Kong unintentionally helps expel Godzilla from Japan, playing the hero-by-default role that Godzilla would adopt a few years later. The fight ends in an apparent draw, then the monsters swim away - an ending to be repeated often, with variation."

- Ishiro Honda: A Life in Film, From Godzilla to Kurosawa, by Steve Ryfle and Ed Godziszewski