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Episode 30: ‘Latitude Zero’ (Mini-Analysis)

Published December 9, 2020

Hello, kaiju lovers!

This week’s episode is a “traditional” mini-analysis of Latitude Zero, an almost obscure 1969 Toho science fiction film directed by Ishiro Honda, who probably had to take a dip in the “Bath of Immunity” to endure the stress of making it. To say it was harrowing would be an understatement. This strange American/Japanese co-production has a troubled history full of clashing sensibilities and creative differences (which you can hear more about in MIFV episode six). However, the main topic of the episode is the concept of utopia because Latitude Zero seems to be a rare example in fiction of a successful one. Spoiler warning: Nathan doesn’t buy it. 

Afterward, Nathan and Jimmy are visited by the Monster Island Board of Directors’ executive assistant, Ms. Perkins, who is the Island’s head of PR. She wanted to discuss recent “fake news” being spread by Jimmy From NASA and also announce the Board’s decision on Nathan’s proposals for season two of MIFV. All this plus listener feedback! 

This episode features Celeste Mora as Ms. Perkins (Twitter: @VOCelesteMora).

The song heard in the episode is “Opening the Way” by Pablo Coma, which is a remix from the video game Shadow of the Colossus. It is from the OCRemix album, BadAss Boss Themes: Volume III.

The episode thumbnail was created by Michael Hamilton.

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio), and Bex from Redeemed Otaku! Thanks for your support!

You, too, can support us on Patreon and get this and other perks starting at only $3 a month!

This episode is approved by the Monster Island Board of Directors.

Read Jimmy’s Notes on this episode.

Podcast Social Media:
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Follow Jimmy on Twitter: @NasaJimmy
Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD

#JimmyFromNASALives       #MonsterIslandFilmVault

© 2020 Moonlighting Ninjas Media

Bibliography/Further Reading:

  • “The Ambiguous Necessity of Utopia: Post-Colonial Literatures and the Persistence of Hope” by Bill Ashcroft (Social Alternatives, Vol. 28 No.3, 2009)
  • The Big Book of Japanese Giant Monster Movies Volume 1: 1954-1982 by John LeMay
  • The Big Book of Japanese Giant Monster Movies: The Lost Films (Mutated Edition) by John LeMay
  • “Dystopia: Who Needs It?” by Adrian Mourby (History Today; Dec 2003; 53, 12; ProQuest Research Library, pg. 16)
  • Ishiro Honda: A Life in Film, from Godzilla to Kurosawa by Steve Ryfle and Ed Godzisewski
  • Japanese Science Fiction, Fantasy and Horror Films: A Critical Analysis and Filmography of 103 Features Released in the United States 1950-1992 by Stuart Galbraith IV
  • Kaijuvision Radio – Episode 52: Latitude Zero (1969) (The South China Sea Disputes)
  • Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda by Peter H. Brothers
  • “News from Somewhere: Enhanced Sociability and the Composite Definition of Utopia and Dystopia” by Gregory Claeys (The Journal of the Historical Association)
  • “Pragmatism, Utopia and Anti-Utopia” by Ruth Levitas (Critical Horizons: A Journal of Philosophy and Social Theory 9.1, May 2008, 42–59)
  • “The problem with utopia” by Michael Shermer (This Week and Aeon)
  • Utopia by Thomas More
  • “Utopia isn’t just idealistic fantasy – it inspires people to change the world” by Heather Alberro (The Conversation)
  • “Utopian Fiction as Moral Philosophy; Imagination and Critique” by Roger J. H. King (Utopian Studies, No. 3 (1991), pp. 72-78)
  • Writing Giant Monsters by John LeMay

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Jimmy’s Notes on ‘Episode 29: War of the Gargantuas (feat. Ben Chaffins)’

Published December 2, 2020

As I mentioned on Twitter today in my latest “tweet duel” with Marchand, I’m blaming this blog’s tardiness on tryptophan. Thanksgiving was a week ago, but whoever cooked that turkey must’ve added more of that stuff to it. (I can neither confirm nor deny that it may have been a kaiju turkey). Suffice it to say, the American personnel on Monster Island had a good time.

Strangely, I only wrote a few notes while listening to the live broadcast of the episode on War of the Gargantuas:

  • I think Marchand is on crack. I can’t find a different version of “The Words Get Stuck in My Throat” from the dubbed version of the movie. I did find out that DEVO covered it in 1979. They make it bearable.
  • Speaking of the song…why, Marchand, why?! Why did you say the Board would play that song in the elevators?! You know they’ll do it!
  • Kipp Hamilton died in 1981, so she won’t be able to sing for us on the Island. But like I said, DEVO cover.

Here are Nathan’s leftover notes with my annotations:

  • Starts with the Oodako (giant octopus). Tsuburaya had a thing for them. They show up in his movies and TV series often. It gets a beating from Kong and Gaira.
  • Gaira appears in four minutes.
  • These subtitles are a bit confused. First they say, “Frankenstein” (which the actor does say), but then they say, “Gargantua,” like the dub. And it comes out of nowhere.
  • Again, G98 parallels with the wrecked boats on shore with skin on it.
  • “Call 110!” (I’m guessing this is the Japanese version of 911. –Jimmy)
  • “Operation L,” huh? (Operation Luigi? Lorax? Lumpy? Oh, no! Not the Holiday Special! –Jimmy)
  • Gaira sorta goes after pigs in a barn like Baragon does a horse.
  • The protagonists hardly do anything. There’s a lot of military procedurals with nondescript soldiers.
  • Suddenly Gaira can handle sunlight better after Sanda saves him. And Sanda isn’t bothered by light.
  • Thankfully, the Gargantua suits look much better when wet than Kong.
  • Tamblyn and Mizuno talk about how the young people go out during times of trouble, which the same in evert country. They go hiking when kaiju are around. Youth filled cafes and theatres when Nazis occupied Paris. It’s a bit of thematic weight, anyway.
  • You’d think the whole plotline with any bits of flesh growing into other Gargnatuas would be a bigger deal in this. (The scientists here monitor them and Frankie closely because of this. –Jimmy)
  • Several clips from this film are used as part of the closing ceremonies at G-Fest. (One of these days I should attend. –Jimmy)
  • There is brief conflict between the scientists and soldiers over if the Gargantauas—or at least Sanda—should be kept alive for study. (This debate happens daily here on the Island. Just kidding. S.C.A.L.E. would sue us into oblivion if we hurt any of the kaiju. –Jimmy)
  • The fights have choreography more like wrestling matches because the monsters are humanoid. Brutal. (I may have been in a few Japanese wrestling matches…. –Jimmy)
  • Using a sweet-smelling flower to revive a woman? Clever. (I’ve tried it a few times. It works very well, if you know what I mean. –Jimmy)
  • It isn’t explained, but the helicopter’s bombing is what causes the volcanic eruption that swallows the Gargantuas.
  • It ends abruptly and on a bit of a dour note.

Honda Biography:

  • Since the monsters were smaller, the miniatures were larger and more detailed. This pleased Honda because the Toho art department had been cut from 32 to 14.
  • The Americanized script required nine scenes to be filmed two different ways.

Peter H. Brothers

  • Kimura’s script based on treatment by Reuben Bercovitch.
  • Nick Adams was unavailable because he was filming The Killing Bottle. Also, due to him trying to propose to Kumi Mizuno, there may have been tension between the two of them. (No excuse. –Jimmy)
  • He argues Tamblyn’s poor performance is can be blamed partially on Honda because he was easygoing and didn’t usually micro-manage actors.
  • This could be the saddest ending of any Honda film not because of character or monster death but the death of Akemi’s optimism in the final scenes.

Again, it’s short and sweet today.

You’ll be happy to know I made a glorious return to the producer booth for next week’s episode, which had Nathan going solo for a mini-analysis of Latitude Zero, which stars the Joker himself, Caesar Romero. We were also joined by Ms. Perkins, who had…important things to tell us. I am not at liberty to say more. After that is our season finale with Matt and Gratton from the Giant Monster BS podcast to discuss Space Amoeba. It’s hard to believe one chapter about to end and another one begin. “Poor Marchand,” is all I can say. For those who didn’t hear the live broadcast, you’ll understand next week.

Follow me on Twitter: @NasaJimmy

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Jimmy’s Notes on ‘Episode 28: Nick Hayden vs. The Beast from 20,000 Fathoms’

Published November 18, 2020

As Aerosmith once sang, “I’m back in the saddle again!”

It was nice getting some time off work and spending it in my garage with Jet Jaguar working on Mechani-Kong Mk. 2 (who’s almost done). I’ve only used about half of the parts I salvaged from both Mogueras. I should do something with the rest of them. Hmm….

I heard the initial broadcast for episode 29 while on my Board-mandated vacation, and I admit that Nathan did a good job without me and Jet did fine as my sub. But all of you will have wait until next week to hear it.

Anyway, on to my notes from episode 28:

  • It’s “transpacific flight” not “transatlantic flight,” Nathan. Wrong ocean.
  • Nick, from what the Island’s scientists have told me, there were more dinosaur and kaiju fossils up there in the Arctic than what you found. Possibly. Maybe. … I can neither confirm nor deny.
  • Oops. I wrote “Harryhausen” when I meant “Bradbury” in the info dump. And yet Nathan still read it that way. Thankfully, he fixed it in post, as obvious as it is.
  • A Life Day card and present? Seriously, Marchand? I reserve the right not to accept it. Even if that damn holiday is canon now. Also, I’m saving the “chill pills” for you, you hyperactive goof!
  • “Red” will eat anything, regardless of “deliciousness” or lack thereof.
  • Yes, I do have a Disco Space Nun flying saucer in my garage. I still haven’t gotten it opened, though. Personally, I’d rather find and examine a Xilien saucer. I’ve heard rumors there might be one of two that survived the invasion of 196X. I’ll keep you posted.
  • Hmm. A music festival on the Island? Maybe I should get my band back together….
  • So, funny story about how I found that orbital manhole cover: It was during the final test flight for the Gohten just before the War in Space. We were testing the Space Fighter launcher—you know, the brilliantly designed giant magnum revolver—to make sure it didn’t accidentally switch to laser cannon mode. I volunteered for the test. The launch system worked, but as I flew out, something splattered on my Space Fighter’s windshield. I thought it was a Space Bug (nasty things), but when I returned to the Gohten, I discovered that it was a fragment of that infamous manhole cover. It’d gotten stuck to my windshield thanks to some gum. I’ve no idea how it got there (what was that sewer worker chewing?!) or how it survived atmospheric entry (seriously, what was he chewing?!), and it did need to be removed with my laserknife (tough stuff). I wear it proudly as a pin, as you heard.
  • It’s “Manhattan Project,” Nathan, not “Project Manhattan.” Was that what the Dutch colonists who founded the city called their endeavor?
  • I do love pun times. Keep it up, Nick!
  • Here’s a link to the Godzilla zip line in mainland Japan. I think there’s a proposal to build one here on the Island, although I don’t know which Godzilla design will be used.
  • Nathan was wrong—Ray Bradbury did not write for The Outer Limits. In fact, he didn’t write for any TV series. However, his works were adapted by several TV series, including Tales of Tomorrow and Alfred Hitchcock Presents. He did contribute several scripts to The Twilight Zone, as Nick alluded to, but only one was produced: “I Sing the Body Electric,” which was the 100th episode and later adapted into a short story. (Who’s the lit nerd now, Marchand?)
  • Yeah, a World Children’s Land on Monster Island would be interesting, but where would the Board even put it? We barely have room for all the kaiju.
  • I’m not sure when I’ll finish my memoir, but I could always use your connections in the publishing world, Nathan. As for why I didn’t have you be a beta reader…well, as you’ve said yourself, Nick is the better writer. Sorry not sorry.

Now on to Nathan’s leftover notes. He’s gotten better about not overdoing his research and presenting most of his findings. In fact, he got through all of his notes on the Toku Topics.

The Film

  • I thought this WB logo wasn’t until the ‘80s? (Perhaps it was added later? –Jimmy)
  • Swirling drain! (insert obvious joke here). Or is it the proto-Ultra Q?
  • Gamera the Giant Monster copied some of this beginning. (Much to Nathan’s chagrin. –Jimmy)
  • Rhedosaurus appears 9 minutes in.
  • These are impressive arctic sets. The snow is better than Daimajin Strikes Again. You really feel the cold.
  • Awkward jump cut at 32:00.
  • Tom knows French? Okay. Convenient.
  • 43 minutes in, we get the ‘adaptation” part of the film. The attack on the lighthouse. Unlike in the story, there’s no fog horn. I think the monster gets angry at the light.
  • Army/Navy game. College football, man.
  • Section 8 discharge. I can’t hear that without thinking of Klinger from M*A*S*H*.
  • Tom and Lee see a ballet together. Which is it? (Shout-out to Bex and Princess Tutu!) (Don’t you owe Bex video proof that you can do ballet positions? Tsk tsk. –Jimmy)
  • Interestingly, they use a radioactive isotope to kill the beast. This once again illustrates the different attitudes toward nuclear things between the U.S. and Japan. Although, it could be argued that nuclear solutions are used later (Godzilla is atomic, and his ray powers the device that kills Hedorah). Then there’s KOTM19….
  • The soldier is a dead shot. How about that, Jimmy? (At least he’s not a Stormtrooper. –Jimmy)

It’s short and sweet today.

As I already alluded to, next week Nathan is joined by Sci-Fi Japan writer Ben Chaffins, not for a bonus interview but to discuss the Toho classic War of the Gargantuas. Then Nathan does a mini-analysis of the semi-obscure—and quirky—Toho film, Latitude Zero. Expect lots of Batman jokes.

See you next week!

Follow me on Twitter: @NasaJimmy
Follow the Board on Twitter: @MonsterIslaBOD

#JimmyFromNASALives
#WeShallOvercome

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Episode 28: Nick Hayden vs. ‘The Beast from 20,000 Fathoms’

Published November 11, 2020

Hello, kaiju lovers!

The Beast! The Beast! THE BEAST! From 20,000 Fathoms!

Nathan is joined by his friend and regular Monster Island Tourist Nick Hayden for the first Ray Harryhausen film covered on MIFV: The Beast from 20,000 Fathoms. This 1953 classic—the Jaws of its time, as Nick says—is one of the seminal films in the kaiju genre. It was the first “atomic monster” movie. Without it, we may have not gotten Godzilla in 1954. It was “suggested by” a Ray Bradbury story, which delights Nathan and Nick as both writers and classic lit nerds. Also, if you’re looking for quirky band names, this is the episode for you! So, join them for the final full-length film discussion of the season—despite Jimmy From NASA’s claims of a special Godzilla vs. Kong premiere on the Island in a few weeks.

The Toku Topics are a brief history of nuclear tests and a brief history of amusement parks since both factor into this film.

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio), and Bex from Redeemed Otaku! Thanks for your support!

You, too, can support us on Patreon and get perks like this starting at only $3 a month!

This episode is approved by the Monster Island Board of Directors.

Episode image created by Michael Hamilton.

Read Jimmy’s Notes on this episode.

Timestamps:
Intro: 0:00-6:22
Entertaining Info Dump: 6:22-13:14
Toku Talk: 13:14-1:02:58
Toku Topic: 1:02:58-1:44:08
Outro: 1:44:08-1:52:38
Epilogue: 1:52:38-end

Podcast Social Media:
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© 2020 Nathan Marchand & Moonlighting Ninjas Media

Bibliography/Further Reading:

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Jimmy’s Notes on ‘Episode 27: Frankenstein Conquers the World (feat. Travis Alexander)’

Published November 4, 2020

First, let me apologize to the Patrons because I didn’t get this finished in time for early access. You see, I was tasked by the Board of Directors with caretaking for the Matango while Dr. Douriff was on sabbatical for Halloween weekend, and I had…a weird experience that left me in the Monster Island Infirmary. Then, as announced by the Board on Twitter, I was given a clean bill of health but told to take a paid week off work. Normally, I’d probably come into the studio anyway, but I got used to spending the extra time in my garage working on Mechani-Kong Mk. 2 with Jet Jaguar. That knocked me out of my normal routine, so this didn’t get written in time for Patrons. That shouldn’t be an issue going forward.

As usual, with this being a shorter episode and derived from Nathan’s grad school research paper, I don’t have a lot in my notes. Regardless, let’s get into them.

My Notes:

  • Is it “Bar-a-gon” or “bare-a-gon,” Nathan? Pronunciations!
  • Nathan forgot to mention Frankenberry cereal when he said he would bring it up in an episode I don’t feel like talking about.
  • Was there a gremlin in Travis’s mic? It bugged out a few times. Did Goji-kun and Bro Kong return from fighting COVID-19 yet?
  • Actually, Frankenstein has been translated into Japanese six times, and two of those were before this film was released (1953 and 1959).
  • Can you blame me for crushing on Kumi Mizuno? I mean, look at her!
  • I might have to buy one of Travis’s T-shirts. Nathan already has one.
  • Yeah, I still don’t allow bearskin rugs into my apartment. And only recently did I let Chewbacca toys in. Because this thing.

Nathan’s Leftover Notes:

  • Un-subtitled German later. Indiana Jones-style map sequence. Japanese officers suggests the Germans are giving them Hitler. Implies he wasn’t dead but was hiding. (He’s dead. No boys from Brazil here. –Jimmy)
  • 15 years later, Dr. Bowen is working to treat radiation victims in Hiroshima. Treats dying child whose parents died in A-bomb. “The story of Hiroshima is too tragic. But it’s also a fact that is has given us the opportunity to study the cellular tissues of the human body. We must work to turn tragedy into eternal peace and happiness in the future.” (Nick Adams is awesome. –Jimmy)
  • Dr. Bowen: “…I came here after the war, because I was one of the people concerned about the A-bomb that was dropped on Hiroshima. I wanted to spend my life rehabilitating mankind, not in destroying it. But the more research work I do, the more I am troubled by my doubts. So I’m thinking of returning to America to start all over again.” (Nick Adams is still awesome. –Jimmy)
  • Like in King Kong, the feminine presence calms the savage.
  • A reporter asks if the boy was born after the war, but Bowen dodges it. (Like a boss! –Jimmy)
  • Minor character says he wouldn’t be surprised if a boy like Frankenstein was born after thousands of people died in bombings.
  • Baragon teased 23 minutes or so in.
  • Frankenstein is violent but also curious. He smashes a TV but won’t hurt Sueko. Goes for her necklace when it seemed he would attack her.
  • Is Frankenstein human? Some say he isn’t because he was manmade or acts savage. Put him in a zoo. Cut off his limbs to test if he is because he’s not a human being. Like Hibakusha.
  • Why is he is growing gigantic now in a short time and not during the 15 years he was in the city? (Because reasons. –Jimmy)
  • Like King Kong, he’s set off by lights.
  • Interestingly, Frankenstein never eats people. (Unlike his “son.” –Jimmy)
  • Frankenstein isn’t filmed like kaiju. He lacks the illusion of size because his footage wasn’t slowed down.
  • It’s Thing! 😛 (Which “Thing”? There are several. –Jimmy)
  • How and why did the severed hand shrink?
  • Where does Frankenstein find clothes that fit him? (From Kaiju Weekly’s Tee Public store, of course! –Jimmy)
  • The miniature work is still pretty effective.
  • This is a road/travel movie with all of these locations! Another map sequence.
  • Dr. Bowen is somewhat like Dr. Yamane in saying Frankie shouldn’t be killed.
  • This story is like the Universal film in that Frankie is a misunderstood monster who is tragically killed.
  • Baragon finally appears 56 minutes in. He seems to initially be filmed like proper kaiju.
  • Kimura’s reporters don’t believe the story of an innocent Frankie and the evil dinosaur. Even seem callous. Laugh it off. Unlike Sekizawa’s reporters.
  • At least two pieces of music in this film were recycled in Godzilla vs. Gigan.
  • If you want to kill him, capture him and starve him of protein. The hand died. (For the record, he isn’t treated like this on Monster Island. –Jimmy)
  • The noise Frankenstein makes at the end—the sorta scream—is a bit annoying.
  • Now Baragon is moving too quickly. It’s like Godzilla Raids Again.
  • Frankie has some nasty fangs.
  • Sequel baits at the end. (Only in the alternate ending—which does kinda payoff.. –Jimmy)

That’s all for today.

Join us next week when Nathan is joined once again by his friend Nick Hayden. This time they discuss the first Ray Harryhausen film covered on MIFV, The Beast from 20,000 Fathoms. Then later this month Nathan will be visited by Sci-Fi Japan writer Ben Chaffins to talk about this film’s pseudo-sequel, War of the Gargantuas.

Now, if you’ll excuse me, that robot monkey is calling.

Follow me on Twitter: @NasaJimmy

Follow the Board on Twitter: @MonsterIslaBOD

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#WeShallOvercome

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Jimmy’s Notes on ‘Episode 26: The Metters vs. Daimajin Strikes Again’

Published October 19, 2020

So…let me explain.

This all started as good-natured ribbing between me and Joy. I was just cracking jokes. However, the more she talked about how good she was with a sword, the more I wanted to test that theory. I’m an engineer, after all. Not to mention this sort of thing happened all the time when a new recruit walked onto base when I was in the Air Force. That’s why I unleashed the Dorats on her. If they scared her, I knew she lacked the courage of a swordfighter. I could’ve tried something a bit more…aggressive (I considered a Meganuron), but I knew that would be too dangerous. In retrospect, something that cute was probably bound to fail as a test of mettle. Obviously, we need to feed those flying gremlins radiation after midnight to unlock their killer instincts.

As for quarantining their dogs…okay, I admit I took advantage of an Island rule to annoy Joy. Her slapping me with a glove and challenging me to a duel was unexpected. Although, not nearly as unexpected as getting my butt kicked by Daimajin. If I believed in karma, I’d say I had it coming. I spent a good three days recovering in the infirmary. The soreness only subsided yesterday. I get a little nervous walking through Serizawa Memorial Park. I swear that statue is watching me. Now I know how Whovians feel around angel statutes.

Anyway, I do have some notes from the episode. I had to listen to the second half after it was published last week since I wasn’t there. It’s the usual stuff, as you’ll see.

My Notes:

  • It’s “Tsuruchiki,” Nathan. Admittedly, it’s a bit of a tongue twister name.
  • Irony would be a great source of renewable energy. Almost as good as plugging Marchand into one of my mechas. He’s practically a human dynamo.
  • Yes, I am proud of my haircut, Marchand, but no, I won’t exchange shampoo recommendations with Joy.
  • It was the Sengoku period, Nathan. After only a few episodes, that info slipped out of your big head. 😛
  • (I confess I got so frustrated with Joy, I broke several pencils points and stopped writing about her).
  • Tamashii is a Japanese toy company.
  • Midi-chlorians don’t exist. 😛
  • Nathan discussed bon festivals briefly for episode 9, which was on The Mysterians. (I liked that one).
  • No, Nathan, it was Emperor Hirohito. Akihito was his son (Emperor Heisei). If only I was there to correct you on that. I lived under Emperor Showa for a while, so I know.

Now for Nathan’s leftover notes. He’s gotten better about remembering that every episode isn’t a doctoral thesis. 😛

The Film

  • Daimjain is similar to the Hebrew legend of the golem.
  • This film is unique in the trilogy in that it stars children. It’s kaiju Stranger Things (or Stand by Me). It’s also like a traditional fantasy story because it’s a journey. They meet strange people (old lady), cross rivers, climb mountains. The mochi are like the elvish bread. (Reminds me of my childhood. –Jimmy)
  • I don’t get the sandal flip for checking on his brother. (Like a coin flip, maybe? I had friends at the Japanese school I attended for a while who did it. What’s weird is a few of my Japanese friends did it while building Gohten. Weird. –Jimmy)
  • Sugi is the least impressive in terms of acting.
  • The Daimajin statue appears 27 minutes in (87 minute movie).
  • The boys ask Daimajin’s forgiveness for entering his mountain. They say they just want to save their dads. He sends his hawk and a small dust storm as a reply, which seems to be affirmatory.
  • No explanation for why this statue is in the middle of nowhere on this mountain.
  • The bad guys use guns again.
  • “Heightened sense of smell.” Okay, Wolverine.
  • Sugi has a dream where he’s running on the mountain and a hawk sort of attacks him. He falls and cries out for his father.
  • Broken posts look like crosses.
  • The villains show no respect to Daimjain when they step on his mountain.
  • Tsuruchiki buries it in snow and prays over it.
  • Daimajin’s shoulder pads still shake.
  • He smashes through a cliff like he did the wall in previous film. (Must be made of paper. –Jimmy)
  • During the finale it becomes quite apparent that the actors are wearing skull caps.
  • Wait…he stomps on the cave but his hand reaches in on impact?
  • How appropriate that Daimjain punishes evildoers in Hell’s Valley.
  • When Sugi calls to Daimajin at the end, is he hoping he will resurrect Kinta?
  • This film actually has credits! Probably because it didn’t have any at the start. Very modern. Ahead of its time.

The Toku Topic: Kami

  • Sources: Encyclopedia of Shinto, “Kami: The Evolution of Japan’s Native Gods” by Hashizume Daisaburō, “Meet the Gods: 13 Japanese Kami” by John Spacey, https://www.ancient.eu/Kami/, “Kami” (Wikipedia), https://en.wikipedia.org/wiki/Vai%C5%9Brava%E1%B9%87a
  • It’s best to think of “God” and kami as three different concepts.
    • “The written Japanese form, 神, is influenced by the Chinese meaning of the character. Common words in both languages using this character, such as 精神 (pronounced seishin in Japanese), meaning “spirit” or “mind,” and 神経 (shinkei), meaning “nerves,” are related to human mental qualities. Pronounced shen in Chinese, the character 神 carries some divine attributes, but they are of a decidedly low rank and far below those of the highest power in Chinese theology, termed 天 (tian) or 上帝 (shangdi) in Chinese.”
  •  “Kami were believed to possess human-like predilections in other ways as well, enjoying music, dance, and poetry, and disdaining behavior disruptive of natural or social order, together with pollutions (kegare) such as filth, blood, and death.”
  • “Heavenly bodies further include the sun, moon, and planets, while deified meteorological phenomena would include things like the kami of wind (kaze no kami), and kami of thunder (raijin). Kami related to geological formations include kami of earth (jigami or jinushigami); kami of mountains; kami of mountain passes; kami of thickets, forests, and groves; kami of rocks and boulders; kami of the sea (umi no kami); kami of rivers, lakes, ponds, and marshes; kami of islands; and so forth.
  • “So called “culture kami” can be broadly divided into the three categories (1) ‘community kami,’ namely those worshiped by particularistic social groups; (2) ‘functional kami,’ which are related to specific aspects or occupations in human life; and (3) ‘human kami,’ namely historical human beings treated as kami.
    Community kami may include yashikigami (kami of dwellings) buraku kami (kami of geographical communities); familial kami (tutelaries of consanguineous families); dōzokushin (kinship group tutelaries); and dōsojin and sai no kami (kami which stand at the entryways or borders of villages and protect residents from the intrusion of baneful outside forces).”
  • Speaking of which: “While studying to achieve enlightenment, Amida had vowed that he would strive to have all living things be reborn in this realm, which he reached upon becoming a Buddha. Rebirth in the superior realm of the Western Paradise meant being just one step from Buddhahood and was considered extremely important. The idea that people could become Buddhas after death spread through the doctrine that death could lead to the pure land, which in turn was a stage on the way to Buddhahood.”
  • “The new Shintō movement of Hirata Atsutane (1776–1843) triggered a great change in the way Japanese people thought about kami from the waning years of the Tokugawa shogunate through the early Meiji era (1868–1912). Hirata professed to be a disciple of Motoori, and his study of Shintō led him to proclaim that when people died, they did not become Buddhas or go to Yomi, the land of the dead, but instead became spirits (rei). In particular, those who died for Japan suffered no defilement and became eirei, “glorious spirits,” who would protect future generations. The revolutionary idea that people became spirits after death, maintaining their individuality throughout eternity, leads some to think Hirata had studied the Christian concept of the soul by secretly reading a Chinese translation of the Bible (then banned in Japan).” This paved the way for state Shinto. It also meant that the dead could be enshrined, which led to the construction of the controversial Yasukuni Shrine in 1869.

That does it for today.

Join us next week to hear our Halloween special when Nathan was joined by Kaiju Weekly co-host (and raging Kamen Rider fan) Travis Alexander for an extended mini-analysis to discuss Frankenstein Conquers the World (or as we like to call it here on the Island, “Frankie v. Barry”). (#Justice4Baragon)

Then we cover our first Ray Harryhausen film on the show with Nathan’s friend and returning Tourist Nick Hayden with The Beast from 20,000 Fathoms.

Now, if you’ll excuse me, I need two aspirin and a nap. Marchand is busy reminding me of my comeuppance.

Follow me on Twitter: @NasaJimmy

Follow the Board on Twitter: @MonsterIslaBOD

#JimmyFromNASALives
#WeShallOvercome

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Episode 26: The Metters vs. ‘Daimajin Strikes Again’

Published October 14, 2020

Hello, kaiju lovers!

The “Daimajin Days” come to a close with Joe and Joy Metter returning to discuss Daimajin Strikes Again. The final film of the Daimajin trilogy, while it has the same basic set-up with an evil lord oppressing the people, focuses on four boys who set out to rescue their commoner fathers and brothers from slavery. The Metters’ dogs Teddy Kong and Bitzilla make more cameos as they and Nathan make frequent comparisons between this film and Lord of the Rings, Naruto, and even X-Men! All the while MIFV’s intrepid producer, Jimmy From NASA, continues to antagonize Joy—which comes to a head in an epic post-credit scene!

Today’s Toku Topic builds on the previous one by discussing kami (Japanese spirits and gods).

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio), and Bex from Redeemed Otaku! Thanks for your support!

You, too, can support us on Patreon and get perks like this starting at only $3 a month!

This episode is approved by the Monster Island Board of Directors.

Episode epilogue written by Nathan Marchand with Joe and Joy Metter.

Episode image created by Michael Hamilton.

This episode features the following music tracks:
-“Daimajin’s Ferocity” by Akira Ifukube
-“Kozasa’s Prayer” by Akira Ifukube
-“Jet Jaguar” by Heavy Melody Music

Read Jimmy’s Notes on this episode.

Timestamps:
Intro: 0:00-4:42
Entertaining Info Dump: 4:42-10:16
Toku Talk: 10:16-54:42
Toku Topic: 54:42-1:19:36
Outro: 1:19:36-1:29:19
Epilogue: 1:29:19-end

Podcast Social Media:
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Follow Jimmy on Twitter: @NasaJimmy
Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD

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© 2020 Nathan Marchand & Moonlighting Ninjas Media

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Jimmy’s Notes on ‘Episode 25: Dogora, the Space Monster (feat. Michael “The Kaiju Groupie” Hamilton)’

Published October 6, 2020

Normally, my notes on mini-sodes—even extended ones—tend to be short.

Not today!

This week I earn my paycheck (and the ire of Marchand and “Mr. Groupie”) with a list of notes that would make Glen and the rest of my NASA trainers quite proud.

Five, four, three, two, one…

Liftoff!

My Notes

  • It’s “mark 3” not “mach 3,” Mr. Groupie. Do you have Kilara on the brain?
  • Regardless, I tried to ask the Board which “friend” I was building the Serpentera Mk. 3 for, and they wouldn’t tell me. I admit I’m a little concerned given that the previous models were used by alien invaders, and I have a history with extraterrestrial invasions.
  • Mr. Groupie got me swearin’ on the air! I went back to my New York roots!
  • Yes, the beginning of this film reminds me of being at NASA. And let me tell you, their space monster procedures were abysmal! I blame the bureaucracy.
  • Mr. Groupie, I’m as nostalgic as the next NASA engineer. We’re by definition geeks, and nostalgia runs deep in geek culture. You know this.
  • “Space junk”? You realize how often that joke came up while I was in NASA? Pshaw!
  • Yeah. That so-called “podcast.” 🙄
  • Oh, come on! You can’t put the word “space” in anything and make me like it. (Okay, maybe “space dog.”)
  • The scientific name given the giant bees (besides “Dogora deterrent”) by the Japanese scientists here is Kyodai Mitsubachi. Security Chief Douglas Gordon, on the other hand, nicknamed one the “Queen B—ch’ (although, I think he stole that from Tab Murphy).
  • Yes, I met Cthulhu. I’ve read the right pages of the Necronomicon to know how to deal with him.
  • Nathan, I’m surprised you didn’t compare Dogora’s weakness to the Martians dying from the common cold in War of the Worlds.
Star Wars Yoda GIF - StarWars Yoda Sad GIFs
  • Yes. I’m an unabashed fanboy for Kumi Mizuno and Nick Adams.
Tom Cruise Deal With It GIF
  • I think Nathan and Mr. Groupie were a bit confused. I’d sent feedback for 20 Million Miles to Earth not Monster Zero at the time of this broadcast. I tried to correct them, but they didn’t catch it. (Speaking of which, I did write that Monster Zero e-mail for Kaiju Weekly).
  • Yes, Carl Craig and I can both speak Japanese. I’m proud of that. Perhaps I should use it more often.
  • Yeah, Marchand, I’m going to have to give you some laser pistol safety training before I take you to my range again. And yes, you shoot like a Stormtrooper. But sure, Mr. Groupie, I’ll take you to my range next time you’re here.
  • Oh, I’m serious about that duel, Mr. Groupie. I’ll get it approved with the Board. Perhaps they’ll allow it if our weapons are set to stun. Too bad you backed down
  • I think you mean “west coast” not “west side,” Nathan. Or do you have Russ Tamblyn on the brain?
  • Yeah…Yakuza friend. I used to know him back in my scouting days. It’s not Masao. Gamera kids would never become Yakuza. Mostly because I think he might eat them if they did.
  • You called it “Daimajin Strikes Back” again, Marchand!
  • Yes, the Board likes 100 Grand bars. I tried Reese’s Pieces at first because of a movie I saw in the early ‘80s, but it didn’t work.
  • It wasn’t easy getting that clause added to your contract, Nathan. That’s how I discovered the Board liked 100 Grand bars.
  • Nathan eats super-spicy Jelly Belly jellybeans to put up with me.
  • “Like somebody I know”? Oh yeah. I know all about him. That was the last time I let him near my armed drones.

Now for Nathan’s leftover notes.

The Film:

  • Jimmy has a soft spot for this one because he’s a sucker for space monsters. (And I feel no shame. –Jimmy)
  • The opening and credits do remind me a bit of Battle in Outer Space.
  • Komai: Who’s almost the same character in Ghidorah.
  • (Typo in subtitles: “big jib.”) (They should’ve had me edit it. –Jimmy)
  • They were very trusting that the truck drivers would see her and not run her over.
  • Mark Jackson is Herbie’s new driver. (Only because he stole that Love Bug. –Jimmy)
  • The references to monsters as if they’re normal lends credence toward this being in the Showa-verse like Danny and I said. (See video and bonus episode. –Jimmy)
  • “Wine delivery”? When was that a thing before InstaCart?
  • This is the only time I can think of in a Showa Toho film that references ninjas—and it’s by an American! (Of course! Because they’re awesome! –Jimmy)
  • The big metal box—is that how you get some of your figures shipped, Michael?
  • The goon eating the rock candy that isn’t a diamond is trademark Sekizawa.
  • Oh crap! Dogora sounds like a Matango! Dr. Douriff might try to summon him! (Uh…someone keep every Lovecraft book away from him! –Jimmy)
  • I love how Komai casually climbs down the building to the next room.
  • The old “crystallographer” is a typical scientist who somehow knows all sciences.
  • This could almost be an Ultra Q episode.
  • The Ifukube music during the venom manufacturing montage sounds like what he’d compose for destroying the control device in Destroy All Monsters.
  • Labs around the world work to study and manufacture the wasp venom. Honda’s “brotherhood of man” theme.
  • Now we have the Mission: Impossible! scene with fuse and trying to get the gun. (A Walther PPK, to boot). Thank God Komai is a decent shot! (Where’s Tom Cruise when you need him? Oh yeah, in the gif above. 😛 –Jimmy)
  • There is some real military stock footage in this.
  • This guy’s obsession with dynamite and throwing sticks of it is hilarious!
  • And of course, the woman dies clutching a fistful of diamonds. (You sexist! Just kidding, of course. –Jimmy)
  • Ever seen ThunderCats? There was an episode where it rained rocks like in this.
  • Spin on Sekizawa’s formula: kaiju doesn’t solve human problem, but solving kaiju problem does solve human problem.
  • And all the diamonds are fake!
  • “Peaceful applications” of the tech developed to kill Dogora? Very idealistic. Very Honda.

Honda Biography

  • Japanese criminologists call the early 1950s-early 1960s the “period of gang wars.” Economic growth led to red light districts where crime thrived. This accounts for the popularity of gangster (yakuza) films during this time and why such elements were added to this film and Ghidorah the Three-Headed Monster.
  • The authors argue that one could interpret Dogora’s destruction of a TV satellite at the beginning of the film as a commentary on the banality of television or the monster’s appetite for coal a concern over industrial pollution. Even the specter of radioactive isotopes left over from the nuclear bombings. But they say the film doesn’t think much of these.
  • Jojiro Okami wrote the treatment, which was changed by Honda and Sekizawa, who added cops and robbers. He wasn’t consulted, which was usual.
  • Robert Dunham’s phrase, “Oh, Kami-sama” (“Oh, God!”) is a very western use of Japanese.
  • The original script was much more ambitious, with several ‘luminous monsters attacking New York and space stations while consuming diamonds and carbon. The Japanese authorities capture one and learn it can be killed with beta rays. Sadly, the film suffered from budget cuts.
  • It left so little of an impression, actor Natsuki didn’t recall being in it in 1996.

LeMay

  • TV Guide description read on Sanford and Son: “A giant coal-sucking jellyfish from space runs afoul of gangsters and is defeated wasp venom.”
  • “Uchu kaiju” = “space monster” (We knew all about those at NASA. –Jimmy)

Brothers

  • Influenced by the James Bond series (particularly Goldfinger)
  • Fewer deaths, more laughs in these films now.
  • Argues that the characters are overshadowed by the monsters. Honda’s characters are a “side-element” to the monsters.
  • The film’s poor box office made Tanaka take this formula further.

Notes on the Yakuza:

  • “Boryokudan, another word for Yakuza, is considered an insult. It refers to degenerate, violent gangsters with no sense of tradition or honor. This i­s how the Japanese police refer to the Yakuza.” (https://people.howstuffworks.com/yakuza.htm)
  • “Members are meant to observe strict codes of loyalty, silence, obedience, and the like.” (https://allthatsinteresting.com/yakuza-history/2)
  • Unlike in the film, women are marginalized in the Yakuza. Even wives and daughters are mostly servants. Sometimes they’re even used as prostitutes. However, Fumiko Taoka filled the power vacuum left by her husband for several months after he died, making one of the few women to be a boss (and it was for one of the largest gangs in Japan).
  • The Japanese government has employed them, but details are hazy. When President Eisenhower visited Japan in 1960, he was flanked by Yakuza bodyguards.
  • The drug trade is quite profitable for them. They run most of the drug traffic in the country, particularly meth. One member said, “One sure way of making money is drugs: that’s the one thing you can’t get hold of without an underworld connection.”
  • They also got involved in white-collar crime. “Early on, the Yakuza’s role in white-collar crime was mostly through something call Sōkaiya – their system for extorting businesses. They would buy enough stock in a company to be able to send their men into stockholder meetings, and there they would terrify and blackmail the companies into doing whatever they wanted.” … “At their peak, there were 50 registered companies listed on the Osaka Security Exchange that had deep ties to organized crime.” (https://allthatsinteresting.com/yakuza-history/4)
  • They now prefer using these legitimate businesses to make money rather than commit crimes.

That wraps things up.

Mr. Groupie insisted on driving Serpentera Mk. 3 back to West Virginia. Despite my hesitation, I let him. Thankfully, he didn’t wreck it (although we did have a close call with the Gateway Arch. Stop flying that low, Groupie!)

Tune in next week when Nathan is joined by Joe and Joy Metter to wrap up the “Daimajin Days” with Daimajin Strikes Again. I’m still recovering from injuries I suffered in that episode—but not from Joy!

Then Mr. Groupie’s partner in crime at Kaiju Weekly, Travis Alexander, joins us for an MIFV Halloween with Frankenstein Conquers the World (#Justice4Baragon).

Follow me on Twitter: @NasaJimmy

Follow the Board on Twitter: @MonsterIslaBOD

#JimmyFromNASALives
#WeShallOvercome

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Episode 25: ‘Dogora, the Space Monster’ (feat. Michael ‘The Kaiju Groupie’ Hamilton)

Published September 23, 2020

Hello, kaiju lovers!

Making his third trip to Monster Island—but his first appearance on MIFV—is none other than the Kaiju Groupie himself, Michael Hamilton. He paid Nathan and Jimmy a visit to discuss Dogora, the Space Monster, which was one of three kaiju films released in 1964 by Toho. The titular space squid is a nightmare straight out of an H.P. Lovecraft story—minus the sorta lame weakness. (To quote Batman, “Bees. My god.”) Nathan and Michael also discuss Japan’s infamous mafia, the Yakuza, since there are elements of it in this film. Enjoy!

Check out Michael’s titular podcast and social media here.

Episode image created by, well, Michael Hamilton.

Read Jimmy’s Notes on this episode.

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio), and Bex from Redeemed Otaku! Thanks for your support!

You, too, can support us on Patreon!

This episode is approved by the Monster Island Board of Directors.

Podcast Social Media:
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Follow Jimmy on Twitter: @NasaJimmy
Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD

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© 2020 Moonlighting Ninjas Media

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