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ニコンプラザ新宿のカメラメンテの予約時刻まで少し時間があったので、新宿歌舞伎町を撮影してみました。はたしてゴジラが見守っている歌舞伎町は健全な街になっているのでしょうか？
I had a little time before my camera maintenance appointment at Nikon Plaza Shinjuku, so I took some photos of Shinjuku Kabukicho. Is Kabukicho, under Godzilla's watch, a healthy neighborhood?
So there I was...sitting at home this evening, enjoying a nice cup of tea reading some old Spiderman comic books...and then...BAAMMM!!!
What feels like seconds later was really hours...my body feels like it just got shot out of Godzilla's rectum...I finally open my eyes to see what the heck is going on and then...WAM!...I just got licked (more like smacked) on the face by this enormous tounge that even the dude from KISS would be envyous of...
Immediately I realize that Venom has kidnapped me for reasons I do not know...All I know is that he is even more uglier in person and smells like doo-doo...Is there some super power I posses that he wishes to steal from me?...does he want all my money (doubt it)?...or does he just want to lick me to death?
Stay Tuned...
Publication History
Frankenstein's monster, now commonly referred to as Frankenstein, is a fictional character that first appeared in Mary Shelley's 1818 novel Frankenstein, or, The Modern Prometheus as its main antagonist. Shelley's title compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire.
In Shelley's Gothic story, Victor Frankenstein builds the creature in his laboratory through an ambiguous method based on a scientific principle he discovered. Shelley describes the monster as 8 feet (240 cm) tall and emotional.
The monster attempts to fit into human society but is shunned, which leads him to seek revenge against Frankenstein. According to the scholar Joseph Carroll, the monster occupies "a border territory between the characteristics that typically define protagonists and antagonists".
Frankenstein's monster became iconic in popular culture, and has been featured in various forms of media, including films, television series, merchandise and video games.
The most popularly recognized version is Boris Karloff's portrayal in the 1930s films Frankenstein, Bride of Frankenstein, and Son of Frankenstein.
Character Fictional History
Victor Frankenstein builds the creature over a two-year period in the attic of his boarding house in Ingolstadt after discovering a scientific principle which allows him to create life from non-living matter.
Frankenstein is disgusted by his creation, however, and flees from it in horror. Frightened, and unaware of his own identity, the monster wanders through the wilderness.
He finds solace beside a remote cottage inhabited by an older, blind man and his two children. Eavesdropping, the creature familiarizes himself with their lives and learns to speak, whereby he becomes an eloquent, educated, and well-mannered individual.
During this time, he also finds Frankenstein's journal in the pocket of the jacket he found in the laboratory and learns how he was created. The creature eventually introduces himself to the family's blind father, De Lacey, who treats him with kindness. When the rest of the family returns, however, they are frightened of him and drive him away.
Enraged, the creature feels that humankind is his enemy and begins to hate his creator for abandoning him. Although he despises Frankenstein, he sets out to find him, believing that he is the only person who will help him. On his journey, the creature rescues a young girl from a river but is shot in the shoulder by the child's father, believing the creature intended to harm his child.
Enraged by another act of cruelty, the creature swears revenge on humankind for the suffering they have caused him. He seeks revenge against his creator in particular for leaving him alone in a world where he is hated. Using the information in Frankenstein's notes, the creature resolves to find him.
The monster kills Victor's younger brother William upon learning of the boy's relation to his creator and frames Justine Moritz, a young woman who lives with the Frankensteins, as the culprit (causing her execution afterwards). When Frankenstein retreats to the Alps, the monster approaches him at the summit, recounts his experiences, and asks his creator to build him a female mate.
He promises, in return, to disappear with his mate and never trouble humankind again, but threatens to destroy everything Frankenstein holds dear should he fail or refuse. Frankenstein agrees, and eventually constructs a female creature on a remote island in Orkney, but aghast at the possibility of creating a race of monsters, destroys the female creature before it is complete.
Horrified and enraged, the creature immediately appears, and gives Frankenstein a final threat: "I will be with you on your wedding night."
After leaving his creator, the creature goes on to kill Victor's best friend, Henry Clerval, and later kills Frankenstein's bride, Elizabeth Lavenza, on their wedding night, whereupon Frankenstein's father dies of grief. With nothing left to live for but revenge, Frankenstein dedicates himself to destroying his creation, and the creature goads him into pursuing him north, through Scandinavia and into Russia, staying ahead of him the entire way.
As they reach the Arctic Circle and travel over the pack ice of the Arctic Ocean, Frankenstein, suffering from severe exhaustion and hypothermia, comes within a mile of the creature, but is separated from him when the ice he is traveling over splits.
A ship exploring the region encounters the dying Frankenstein, who relates his story to the ship's captain, Robert Walton. Later, the monster boards the ship, but upon finding Frankenstein dead, is overcome by grief and pledges to incinerate himself at "the Northernmost extremity of the globe". He then departs, never to be seen again.
Appearance
Shelley described Frankenstein's monster as an 8-foot-tall (2.4 m) creature of hideous contrasts:
"His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips."
A picture of the creature appeared in the 1831 edition. Early stage portrayals dressed him in a toga, shaded, along with the monster's skin, a pale blue. Throughout the 19th century, the monster's image remained variable according to the artist.
Universal Pictures films
Boris Karloff in Bride of Frankenstein (1935) in a variation of the classic 1931 film version with an assist from make-up artist Jack Pierce.
Karloff had gained weight since the original iteration and much of the monster's hair has been burned off to indicate having been caught in a fire. Some of the hair was gradually replaced during the course of the film to simulate it beginning to grow back.
The best-known image of Frankenstein's monster in popular culture derives from Boris Karloff's portrayal in the 1931 movie Frankenstein, in which he wore makeup applied and designed by Jack P. Pierce, who based the monster's face and iconic flat head shape on a drawing Pierce's daughter (whom Pierce feared to be psychic) had drawn from a dream.
Universal Studios, which released the film, was quick to secure ownership of the copyright for the makeup format. Karloff played the monster in two more Universal films, Bride of Frankenstein and Son of Frankenstein; Lon Chaney Jr. took over the part from Karloff in The Ghost of Frankenstein; Bela Lugosi portrayed the role in Frankenstein Meets the Wolf Man; and Glenn Strange played the monster in the last three Universal Studios films to feature the character – House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein.
However, the makeup worn by subsequent actors replicated the iconic look first worn by Karloff. The image of Karloff's face is currently owned by his daughter's company, Karloff Enterprises, secured for her in a lawsuit for which she was represented by attorney Bela G. Lugosi (Bela Lugosi's son), after which Universal replaced Karloff's features with those of Glenn Strange in most of their marketing. In 1969, the New York Times mistakenly ran a photograph of Strange for Karloff's obituary.
Since Karloff's portrayal, the creature almost always appears as a towering, undead-like figure, often with a flat-topped angular head and bolts on his neck to serve as electrical connectors or grotesque electrodes.
Hammer Films Productions version
In the 1957 film The Curse of Frankenstein, Christopher Lee was cast as the creature. The producers Hammer Film Productions refrained from duplicating aspects of Universal's 1931 film, and so Phil Leakey designed a new look for the creature bearing no resemblance to the Boris Karloff design created by Jack Pierce.
For his performance as the creature Lee played him as a loose-limbed and childlike, fearful and lonely, with a suggestion of being in pain. Author Paul Leggett describes the creature as being like an abused child; afraid but also violently angry. Christopher Lee was annoyed on getting the script and discovering that the monster had no dialogue, for this creature was totally mute.
According to Marcus K. Harmes in contrasting Lee's creature with the one played by Karloff, "Lee's actions as the monster seem more directly evil, to judge from the expression on his face when he bears down on the helpless old blind man but these are explained in the film as psychopathic impulses caused by brain damage, not the cunning of the literary monster. Lee also evokes considerable pathos in his performance."
In this film the aggressive and childish demeanour of the monster are in contrast with that of the murdered Professor Bernstein, once the "finest brain in Europe", from whom the creature's now damaged brain was taken.
The sequels to The Curse of Frankenstein would feature Victor Frankenstein creating various different Frankenstein monsters, none of which would be played by Christopher Lee:
The film The Revenge of Frankenstein has Victor Frankenstein placing the brain of a hunchback named Karl (portrayed by Oscar Quitak) into a makeshift body (portrayed by Michael Gwynn). Though the procedure works, Karl starts to redevelop his deformities and later dies in front of Victor.
The film The Evil of Frankenstein reveals that Victor Frankenstein had made a prototype version of his monster which was kept in a frozen cave. After being thawed out and reanimated, the Monster (portrayed by Kiwi Kingston) has his brain awakened by a hypnotist named Zoltan (portrayed by Peter Woodthorpe). When Frankenstein's lab went off the cliff, it apparently killed Victor and the Monster.
The film Frankenstein Created Woman has Victor Frankenstein surviving the lab's destruction and making a female monster from the remains of a cowardly innkeeper's half-disfigured daughter Christina Kleve (portrayed by Susan Denberg) after she threw herself in the river following the death of Victor's ally Hans. He and Dr. Hertz transferred Hans' soul into Christina's body causing her to become possessed by him. After coming to her senses, Christina commits suicide by drowning herself in the river.
The film Frankenstein Must Be Destroyed has Victor Frankenstein making a monster out of the remains of the asylum's administrator Professor Richter (portrayed by Freddie Jones) that involves placing the brain of Victor's former assistant Dr. Frederick Brant (portrayed by George Pravda) into Professor Richter's body. The Monster later drags Victor into the burning house.
The film Frankenstein and the Monster from Hell has Victor surviving the fire and making a monster from the hulking ape-like asylum inmate Herr Schneider (portrayed by David Prowse) while also giving him a new brain and new eyes. During its plans for revenge, the Monster is killed by a mob of asylum inmates.
Toho versions
In the 1965 Toho film Frankenstein vs. Baragon, the heart of Frankenstein's monster was transported from Germany to Hiroshima as World War II neared its end, only to be irradiated during the atomic bombing of the city, granting it miraculous regenerative capabilities.
Over the ensuing 20 years, it grows into a complete human child, who then rapidly matures into a giant, 20-metre-tall man after he is rediscovered. Frankenstein escapes a laboratory in the city after being agitated by news reporters using flash photography on him, and goes to fend for himself in the countryside, only to be accused of attacking villages and killing people, actually the victims of the underground monster Baragon. The two monsters face off in a showdown that ends with Frankenstein's monster victorious, though he falls into the depths of the Earth after the ground collapses beneath his feet.
The film's sequel The War of the Gargantuas would see cell samples of the monster regenerate into the titular Gargantuas, two hairy giants consisting of the malicious green sea monster Gaira and the friendly brown mountain monster Sanda. Gaira and Sanda later appeared in the series Ike! Godman and the IDW Publishing comic Godzilla: Rulers of Earth.
Other film versions
In the 1973 TV miniseries Frankenstein: The True Story, in which the creature is played by Michael Sarrazin, he appears as a strikingly handsome man who later degenerates into a grotesque monster due to a flaw in the creation process.
In the 1977 film Terror of Frankenstein (also released under the title Victor Frankenstein), "the Monster" is played by Per Oscarsson. This adaptation closely resembles the creature as described in the novel, both intelligent and articulate, but with dark blond hair and black lips.
In the 1994 film Mary Shelley's Frankenstein, the creature is played by Robert De Niro and has an appearance closer to that described in the original novel, though this version of the creature possesses balding grey hair and a body covered in bloody stitches. He is, as in the novel, motivated by pain and loneliness. In this version, Frankenstein gives the monster the brain of his mentor, Doctor Waldman, while his body is made from a man who killed Waldman while resisting a vaccination. The monster retains Waldman's "trace memories" that apparently help him quickly learn to speak and read.
In the 2004 film Van Helsing, the monster is shown in a modernized version of the Karloff design. He is 8 to 9 feet (240–270 cm) tall, has a square bald head, gruesome scars, and pale green skin. The electrical origin of the creature is emphasized with one electrified dome in the back of his head and another over his heart, and he also has hydraulic pistons in his legs, with the design being similar to that of a steam-punk cyborg. Although not as eloquent as in the novel, this version of the creature is intelligent and relatively nonviolent.
In 2004, a TV miniseries adaptation of Frankenstein was made by Hallmark. Luke Goss plays the creature. This adaptation more closely resembles the monster as described in the novel: intelligent and articulate, with flowing, dark hair and watery eyes.
The 2005 film Frankenstein Reborn portrays the creature as a paraplegic man who tries to regain the ability to walk by having a nanobots surging through his body but has side effects. Instead, the surgeon kills him and resurrects his corpse as a reanimated zombie-like creature. This version of the creature has stitches on his face where he was shot, strains of brown hair, black pants, a dark hoodie, and a black jacket with a brown fur collar.
The 2014 TV series Penny Dreadful also rejects the Karloff design in favour of Shelley's description. This version of the creature has the flowing dark hair described by Shelley, although he departs from her description by having pale grey skin and obvious scars along the right side of his face. Additionally, he is of average height, being even shorter than other characters in the series. In this series, the monster names himself "Caliban", after the character in William Shakespeare's The Tempest. In the series, Victor Frankenstein makes a second and third creature, each more indistinguishable from normal human beings.
Frankenstein's monster appears in the Reiwa era film The Great Yokai War: Guardians.
The 2024 film Monster Mash by The Asylum features a Frankenstein's monster variant called Boris (portrayed by Erik Celso Mann).
Personality
As depicted by Shelley, the creature is a sensitive, emotional person whose only aim is to share his life with another sentient being like himself. The novel portrayed him as versed in Paradise Lost, Plutarch's Lives, and The Sorrows of Young Werther, books he finds after having learnt language.
From the beginning, the creature is rejected by everyone he meets. He realizes from the moment of his "birth" that even his own creator cannot stand the sight of him; this is obvious when Frankenstein says "…one hand was stretched out, seemingly to detain me, but I escaped…". Upon seeing his own reflection, he realizes that he too is repulsed by his appearance. His greatest desire is to find love and acceptance; but when that desire is denied, he swears revenge on his creator.
Contrary to many film versions, the creature in the novel is very articulate and eloquent in his speech. Almost immediately after his creation, he dresses himself; and within 11 months, he can speak and read German and French. By the end of the novel, the creature is able to speak English fluently as well.
The Van Helsing and Penny Dreadful interpretations of the character have similar personalities to the literary original, although the latter version is the only one to retain the character's violent reactions to rejection. In the 1931 film adaptation, the creature is depicted as mute and bestial; it is implied that this is because he is accidentally implanted with a criminal's "abnormal" brain.
In the subsequent sequel, Bride of Frankenstein, the creature learns to speak, albeit in short, stunted sentences. However, his intelligence is implied to be fairly developed, since what little dialogue he speaks suggests he has a world-weary attitude to life, and a deep understanding of his unnatural state. When rejected by his bride, he briefly goes through a suicidal state and attempts suicide, blowing up the laboratory he is in. In the second sequel, Son of Frankenstein, the creature is again rendered inarticulate.
Following a brain transplant in the third sequel, The Ghost of Frankenstein, the creature speaks with the voice and personality of the brain donor. This was continued after a fashion in the scripting for the fourth sequel, Frankenstein Meets the Wolf Man, but the dialogue was excised before release.
The creature was effectively mute in later sequels, although he refers to Count Dracula as his "master" in Abbott and Costello Meet Frankenstein. The creature is often portrayed as being afraid of fire, although he is not afraid of it in the novel, even using fire to destroy himself.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
_____________________________
A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: N/A
Publisher: Lackington, Hughes, Harding, Mavor & Jones. Finsbury Square, London
First appearance: 1818, Frankenstein or, The Modern Prometheus
Created by: Mary Shelley (Author)
Portrait of a Bootleg Godzilla - Homemade Magnifying Glass Camera Obscura, iScan Portable Scanner.
Here's a video showing how I made this camera: youtu.be/Cc8fB1TReY4
As I moved closer to a pond of water in order to get a nice shot at a Golf course I heard, "UGG". I looked around and saw nothing out of the ordinary and took one more step forward. Again I heard, "UGG". When I looked down, not 8' away was the largest Iguana I have ever even heard of, never mind seen.
I noticed he started bobbing his head up and down and figured that must be Iguana talk for, "Piss off". I slowly back away never taking my eyes off of his rather large teeth and went straight to my car. I had my 24-70 lens on so quickly replaced it with my 70-200 and returned to the scene of the crime.
Godzilla was still there so I took a few more shots, this time from a safer distance. His body alone was 4' long and the tail added to his length. All other Iguana's we saw were a greenish-grey color. Their entire body might be 3' if it were a big one. But this one was a monster.
Image shot at the The Royal Tyrrell Museum is nestled in the heart of the Canadian Badlands in Alberta, Canada. Selection made of the bones and placed on a texture.
So there's a Flying Saucer to your left and Godzilla on your right. Is the UFO here to help or just using Godzilla as a diversion for more fiendish endeavors? Or did Godzilla summon the flying saucer for his own amusement? Tune in next time for the exciting and unexpected conclusion to this story.
Taking this made me think of Hollywood film posters. Although, in that respect there should be an alien or perhaps Godzilla crashing through it.
'Atmosphere' is something my photographs sometimes lack; but the slight haze of the light pollution really makes the scene atmospheric. There's a sense of silence here, of this huge structure alone in the vast space.
This may have been my favourite of all the many places that I visited up North. It wasn't too cold, there weren't many people about... it was pure adventure.
In the fourth quarter of 1993, MechaGodzilla would be revived for the big screen as a hero and not a villain. As a result, Bandai produced figures for all the monsters in the movie - Godzilla, MechaGodzilla, Fire Rodan, and Baby Godzilla. The mold used for Godzilla in 1992 would be reused. New molds were created for the other three monsters. All are nicely detailed and very close to the monster they represent. Godzilla, MechaGodzilla, and Fire Rodan appear to be in scale with each other but Baby Godzilla is not. The tags feature the advance art work for "Godzilla vs. MechaGodzilla" and the usual information as well as the character's name on the back. An interesting observation is that the characters have a '94 after the name instead of '93. This is because the movie was released in late 1993 and labeled the characters as 1994 because of how close the release date was to the end of the year.
MechaGodzilla stands nearly 9 inches tall and is chock full of neat little details. The figure was molded in grey vinyl with various black highlights on the neck, toros, tail, and spines. The figure has striking golden eyes. Bandai included many of the details that one would miss at first glance, such as the intricate mechanical circuitry around the head and in other places. There is articulation at the arms, neck, ankles, and tail. Like Fire Rodan, the mold would be used two other times. First, in 1995's Godzilla Memorial Box and then in the "Toho Kaiju" series. The figure in the memorial box is about an inch taller than the 1993 release and is more silver in color. For the "Toho Kaiju" version, Bandai scaled the figure down to 6 inches (like all other figures in the series). Other than the size, the figure practically mirrors the original release.
In Grand Cayman I ran into this huge fellow in some hedges on my way to Seven Mile Beach. After taking some photo's and carefully keeping my distance he got bored and went up a tree.
Along with Battra and Godzilla, Bandai released the 1992 version of Mothra larva. It is my humble opinion that at the time, this figure was Bandai's most realistic kaiju production. Every part of the figure is just as accurate as the monster used in the film. The figure (and design) is very similar to the Great Monster Series 1961 released in 1984 and then reissued in 1991. However, the feelers are much smaller and so is the figure. The tail is also molded vertically while the Great Monster Series' is not. Though the figure is anything but small, it is around 10 inches long. Mothra comes in two paint variations, biege and russet. It is difficult to tell which one is more rare because the figure itself is hard to find. In fact, it's possibly the hardest Heisei Bandai figure to find, leading some dealers to charge over $200 for it. The figure originally sold for 1,200 yen in Japan.
Here it is, my favorite toy of the year. NECA came out with 3 Godzilla's this year and I love them all, but this one takes the cake.
A child's toy, abandoned beside the fountains in Old Market Square, Nottingham.
Taken with a Nikon D40, fitted with a Nikkor AFS DX 18-55mm F/3.5-5.6G II lens, and processed in GIMP and Photoscape.
First batch of June garden journal shots. We had a delightfully mixed June with more than usual rain yet plenty of sun too. The garden went mad for it.
Its been a mountain of work but hey I'm home almost all the time now.
He likes to hide, find Godzilla and buddy.
Howick Scar, Northumberland
The morning we'd planned for was in Wales, somewhere halfway up Tryfan, but in the usual twist of fate the weather decided to opt into our plans and take all the clouds away.
We spent the morning clambering across Howick Scar, which in our opinion, looks a bit like Godzilla fell over and is just having a nap. Happy for him to remain resting if that's the case.
We got some colour, saw a sun pillar and got a little bit of motion in the sea. A nice morning to be out but not nature's finest.
Next time...
Every year, my father carries on the Christmas tradition of putting his Godzilla figurine into my mother's "Christmas Village" scenes. Here's one from 2007.
Just an experiment to see if I could merge a figure into one of my fake tilt shift scenes. Best viewed at full size.
Here's hoping for health and peace to all, rare treasures in today's world.
And Godzilla say, remember Friday is Buy Nothing day.
Highest position: #2 on Wednesday, July 4, 2007
Ibiza airport, Spain
Scuse the title, it's just that when I saw the thumbnail for this it looked like a bird eating an insect
My new LEGO version of Godzilla.
I'm very happy to finally share it after all the time spend working on it.
He's 36cm (14inches) tall and made of 3533 bricks.
Build instructions on rebrickable : rebrickable.com/mocs/MOC-126958/frenchybricks/godzilla-ki...
thankfully i think godzillas are big fans of modernist treasures so he's just going to give it a little hug
[strobist info: one elevated monolight 1000W @ full power directly behind camera, softbox 1m x 1m, triggered with pocket wizard]
My actual last entry for both the Iron Forge and Space Jam. It's my 9th of the third round for IF, using the 2x2 trapezoidal flag as the seed part; 12 were used here. And it's my 4th entry to Space Jam, this time in the 12x12 vignette category.
... or the gigantic bumblebee. Just a way to see how large some of the show kites were. This mega cutie was just sinking a bit down and gave chance to this funny impression.. ;-D
I try to keep my post to just one a day, but in order to give everyone a good idea as to just how massive this monster was, I decided to post three different captures. These shots show him just as I found him and as I left him. He never moved a muscle in his body, except maybe his eyelids. He was more interested in sunning himself than my presence. No need to comment on each photo, but hopefully everyone will get the full picture. Photos taken on Armand Bayou.
A7R08219uls
SUNSET ~ Truman Annex ~ Florida Keys
Key West Harbor ~ Key West, Florida USA
en.wikipedia.org/wiki/Naval_Air_Station_Key_West
en.wikipedia.org/wiki/Truman_Annex
© 2009 All rights reserved by JulioC.
(available for licensing at Getty Images).
Please don't use this image on websites, blogs or other media without my explicit permission.
Do not delude yourselves. This Iguana is really huge. From head to tail it measures about 1.5 meters.
• Different ways to see my photos •
created for:
Photoshop Contest Week 913 - Chinche
Thanks to:
Virginia Segui starter image
Hector Garcia for Godzilla's head and Mothra's teeth
v1ctory_1s_m1ne for Mothra
Hisssss...
Lore:
Ancient Mesoamericans believed in a plumed serpent god, one that was the creator of the world and humanity, bringer of the sun, winds, and rain, and he even helped create the cosmos and gave man the knowledge to understand it. He was able to fly, but also descend even below the surface of the Earth. A temple dedicated to the serpent god was one in Teotihuacan in which its layers were covered in sculpted heads poking out depicting the deity, and in its prime would have been beautifully painted. That temple, and temples liked it also helped connect the pathways Quetacoatl used to travel between Earth and the heavens.
A bunch of behind the scenes crap the judges don't care about:
Despite not really wanting to compete, I entered the 2022 Bio-Cup out of good faith and support of the constraction community and their activities with a Preliminary Round entry I was sure would fail inspection. Not only did I advance, even with the expanded bracket of 108 instead of the standard 81, I placed 76th! I guess I just don't know my own strength. And so now here we are with a Round 1 Kaiju build in the subtheme of Mythological. #KAIJUNE !
In a more recent use of the character, a bird kaiju from the animated sequel series to 1998's Godzilla served as initial inspiration for my build. (If you're not a fan of that movie, I urge you to at least watch the show, it's far more in line with classic Godzilla pictures with new and creative kaiju for nearly each of the 40 episodes.) Unfortunately, the kaiju in the episode Bird of Paradise is really only related to Quetzacoatl in name, but I liked the idea of taking more of that body structure and reskinning it to be more like the serpent of Mesoamerican lore. So now we have a snake with legs and wings, but that feels faithful enough to both the lore of the myth and the kaiju genre. I mean, how else is he going to move, and where do the performer's arms and legs go? I've seen Manda move in Destroy All Monsters, and even for its age and budget, not that impressive for a kaiju, although I haven't seen Atragon, so maybe a serpentine dragon works better upon its film debut and in water.
Thanks for checking out my Round 1 entry of the 2022 Bio-Cup.
Oh and by popular demand, some shots over on Imgur include Kongu Inika in addition to some shots of Quetzi and the temple separate from each other.