Final Fabulosities/Frustrations For Ultraman Omega; Episodes 18 to 25

 

By Joe Gibson

 

As you know, I have been reviewing the episodes of Ultraman Omega (which, as you know, is about a red-faced amnesiac Giant of Light battling monsters on Earth with the help of three Meteokaiju). You can read those thoughts here: 

https://planninecrunch.blogspot.com/2025/08/some-truncated-thoughts-on-ultraman.html

https://planninecrunch.blogspot.com/2026/01/more-mini-reviews-of-ultraman-omega.html

 

In due time, these three articles will be condensed into a supercut video review, so stay tuned for that.

Over the course of the show, we have seen Kosei grow in maturity, Omega grow in ability and a research team start to form consisting of our main characters. The show has consistently been enjoyable and often really impressed me.

 

But now comes the day we can truly weigh in on the important question surrounding this show: does this show have Ultraman’s most fabulous labors or is this show a frustrating fall from grace following the acclaim of the last two shows?

 

Episode 18, Fabulous or Frustrating?

 

 

I was hesitant going into this episode because Barossa, in the Ultraman discourse, is one of those characters that has gained public ire from being overused, and, based on the trailer, this had all the trappings of a filler episode making us wait even longer to learn anything more about the mysteries. Still, this was actually a very fun and interesting episode that does a lot to characterize the meteokaiju in their miniature toy forms. 

 

While episode 16 had much in common with the formula of Scooby Doo, this episode seems to be drawing from classic fairy tale scenarios. A traveling Barossa Seijin kidnaps the boys and the meteokaiju, but a young girl aboard the ship called Gilda wants Kosei to be her doll of an Earth prince. Ayumu gets involved trying to free Kosei, and the imagery as I have already described it, just has a Grimm’s Fairy Tale feel to it.

 

I will have more to say about this episode in a later video, because it is also very interesting to examine under a critical lens.

 

Episode 19, Fabulous or Frustrating?

 

 

Episode 19 is a triumph, demonstrating the growth and maturity these characters have attained over the course of the show. Rather than regress Kosei to acting like a child (again), this episode invents a new child, establishes a plot mechanism that makes adults act more immature and still has a wistful Kosei reflecting on his past to help that child learn the lesson of the story. At the same time, it also functions as a sentimental reflection on the art of tokusatsu itself. The young boy, Eiichi, finds his joy in creating dioramas of kaiju scenarios with his friends. When he finds an emotional resonance crystal that summons the monster Bagrigon (just go with it), he uses it as the centerpiece of his photography. Though it amplifies either emotion, this episode shows it feeding on negative emotions and, so, it alienates him from his friends. That is when Kosei and Ayumu start to mentor him, and, by the end of the episode, Sorato and Kosei are helping him set up his kaiju dioramas, and the crystal glows with their positive emotions. This symbolizes how all generations can come together to enjoy these Ultraman shows and Godzilla films. It is so inspiring that I am going to ignore the fact that Tsuburaya Productions has begun to partner with AI platforms until that becomes necessary for a critical analysis. Again, I will have more to say on this episode in a later video that will partially examine the state of suitmation and tokusatsu storytelling.

 

Episode 20, Fabulous or Frustrating?

 

 

Okay, this is the worst episode so far of this batch, but it is not bad. Simply put, it is just uneven. The opening suggests a conflict in the way that Sorato and Kosei deal with pests; Kosei puts out a mousetrap while Sorato feels sympathy for mice that fall victim to mousetraps. This tracks with the previous characterization, as Sorato viewed even vicious monster Graim as part of a race in neutral enough terms and only killed a Graim when he had to. The issue is that this does not really connect to the Monster of The Week as well as they might have wanted it to. A time traveling dinosaur called Chronoceros is the MOTW, and, this week, they are trying to save it, not fight it. It appears very frightening at first, even accidentally pulling Kosei through time with it, but the team pretty quickly deduces that it is separated from its flock and so tries to help it. This reads as preserving an endangered species more than it does having mercy on a pest. 

 

Aside from that, the goofy comedic hijinks as they fail to get to it before it time-travels are well done. However, right after that, it keels over and dies, and the show tries to get serious as Ayumu tries in vain to resuscitate it (one of her best moments in the show so far though), and then she gets Kosei and Sorato to help her. Even though that scene was doing its best to convince us there was nothing they could do, it suddenly works, and the tonal whiplash kicks into a triumphant gear, and there's still more episode left. The ultimate lesson Kosei learns is compromise; he puts red peppers out as a mouse deterrent instead of a violent punitive measure, but the episode’s climax featured Kosei and Sorato traveling to the future to revive the Chronoceros’ mother and then destroy the advanced (possibly human) fleet trying to kill both Chronoceros, so the reasonable payoff with mice would have been finding a lost mouse's mother, not teaching a concept that has no relevance to the rest of the episode. 

 

I can't even be mad though, because, once it got to the future, this was genuinely great; Sorato applied the CPR he learned from Ayumu, Rekiness got to protect the young Chronoceros, and the cinematography of Omega slashing the UFOs and motherships was very inventive. The last two episodes were great across the board; this one just has higher highs and lower lows. The comments on the YouTube upload were also predominantly positive.

 

Ultimately, the main reason I am notating this as frustrating, though, is because, in order to create the Chronoceros suit, Tsuburaya Productions modified the Doglf suit from Ultraman Arc's movie, and now we'll probably never see Doglf again. That's what frustrates me more than anything.

 

Episode 21, Fabulous or Frustrating?

 

 

This episode feels like it was missing from the first half of the show, so my issues are less with the events than their presence now.

It revolves around an annoying side character making life difficult for our trio, and it gives Ayumu another sorely needed episode in the limelight. At the same time, the gimmick of Gabora this week makes him a sufficient counter to any of the Meteokaiju Kosei has, and the motivation of Gabora seeking Kaen-102 remnants of a meteorite would work better to foreshadow Bagrigon and his emotional resonance crystal than following that up. I suspect Kaen-102 will be even more important later on, and I am beginning to think that it is what powered that fleet in the future. I suppose I should explain more before I get going.

 

Ayumu Ichido is a very understated member of this team. She is very studious and very driven, deferential to her other teammates in acknowledging what they bring while trying to be the best she can to live up to them. She is very mature in her outlook and offers advice and data analysis that saves the day. In the chain of command, Uta names her temporary leader while she is gone, and Ayumu steps up. When Makoto Raoniji prevents them from carrying out their duties, she takes responsibility for their actions and his mistakes.

 

I have my suspicions about what world figures Raoniji could be parodying but I like his character anyway and think he would have been a very interesting main cast member. Imagine if someone like that got his hands on one of the meteokaiju or, God forbid, the power of Ultraman himself. If done right, that would make for an all-time great arc of gaining maturity.

 

Gabora is a kaiju from the original 1966 Ultraman show that is celebrating its 60th anniversary this year. Gabora is one of the Baragon Brethren, that is to say, the exclusive list of kaiju made from modifying a Baragon suit on loan from Toho: Pagos, Neronga, Magular and Gabora. Pagos, Neronga and Gabora appeared in Shin Ultraman as both a reference and cost cutting measure, but this is actually the true return of Gabora to the Ultra series since the original Ultraman (he was in Ultraman Powered, but that was basically a loose remake of the original show anyway). As far as I can tell, this Gabora is modified from Neronga again, but I am unsure if this is the same suit that portrayed Pagos a few episodes ago. That many modifications in that short of a time frame would be standard fare for the first Ultraman shows but seems very strange for something right now. Gabora’s gimmick this go around is that his segmented frill can spin, allowing him to fly faster than Omega can react. And yeah, that works to address the power creep of a knowledgeable Omega and Kosei partnership; Gabora has a beefy enough body to where he will be hard to move, his beam has increased in width, and he can fly so powerfully and unexpectedly that Valgeness cannot down him with telepathy.

 

Episode 22, Fabulous or Frustrating?

 

 

This episode ushers in the last leg of the story, answering many of the questions we have about Omega, his backstory and what he represents in the story. One criticism I should also levy against the last four episodes is that they did very little to address this mystery. The introduction of another Sorato talking to himself seemed to mean answers would be immediate, but even as of this episode, that other Sorato is still slightly anomalous. Here is your last chance to share your predictions in the comments. In any case, Omega is a Space Gazer, non-interventionist beings of light that exist to document the happenings of each planet, especially in their Time of Awakening where monsters arise every few thousand years to terrorize the humans. Geness is the name of a planet and formerly humanoid people who created Zovaras and other such technologies in order to fight off their own monsters, inadvertently destroying their planet. They tried to invade Earth, but Omega stopped them. In the battle against their controlled Vagsects and subsequently against Zovaras, Omega lost his memory and startled the surviving Geness when he started to actively fight for humanity on Earth. The non-interventionist policy is presumably why no other Space Gazer tried to get Omega to stop until episode 17, if that other Sorato even is another Gazer and not just Sorato’s missing memories like what I speculated that child from the Mons-Ahgar episode was.

 

You might be thinking this is a lot to tell us in an episode where I have not even described a MOTW yet. That is because this episode takes the form of a prolonged exposition dump where Kosei and Sorato follow clues left behind by a mysterious figure telling them all of this: a kind old man who rescued Omega immediately after he fell to Earth. As this episode reveals, that old man is a Geness Seijin called Ahdel. Even though he is a token good teammate that opposed his compatriot’s Earth invasion plan, Ahdel is a far more complicated character. Though he, himself, was dying, he rescued Omega, and, once he saw Omega start saving humanity, he actually grew very bitter and died while preparing this path to return Omega’s Space Gazer memories to try to dissuade him from helping Earth.

 

Despite being a larger scope villain in this episode, Ahdel poses an interesting question. Why did Omega break code to help humanity and not the Geness Seijin? Sorato has an answer, even though this all shakes him: the people of Geness destroyed their own planet trying to defeat the kaiju and then ended up trying to colonize Earth, while humanity just innocently could not defend itself from Geness’ army or Earth’s own kaiju. The Geness Seijin are humanoid but converted their bodies into energy and invented other means to control kaiju so my working theory is that either the Vagsects were being controlled the same way Zovaras was or the little ball of energy Geness guys were literally inside of the Vagsects during that big fight scene. And this should strike a chord because the future scenario from a few episodes ago could be Genessian invasion…or it is the consequence of Earthlings doing the same thing. That is the tension that would likely exist on a temporal scale for Omega: did he really do the right thing or did he essentially empower Geness even sooner? This episode starts with a new international squad forming to deal with the kaiju. I, for one, trust them less than I do the KSCT.

 

I would be remiss not to at least mention the MOTW, since there actually was one. I did not catch his name during the actual upload, but it is the Ultraman Blazar monster Taganular, who seems to be a new regular since he was also in Ultraman Arc. Apparently one of Zahgon’s trophies from episode 18 included some Taganular claws. That could have been a hasty modification to put those back on here, or they just had multiple suits and props as there seem to be multiple Taganular individuals in his other canonical appearances.

 

Episode 23, Fabulous or Frustrating?

 

 

Episode 23 picks up right where the previous one left off in Sorato’s anguish and drops the additional nugget that the other Sorato that he has been seeing for the last 5 or so episodes claims to be the real Omega trying to get Sorato to remember. Now, this would be a good time to decide to differentiate these characters going forward by calling the one who has been in 23 episodes Sorato and the one who has been in 6 Omega, but, for reasons we will get to at the end of this episode, that will also be very difficult. Otherwise, I would throw a picture on screen to show which one I am talking about, but they’re identical. Let’s get back into the plot recap.

 

Sorato, in this episode, really struggles between his old and new self with a lot of inventive psychological drama for the Ultra series. The show thus far has given its share of foreshadowing, but it is still abrupt given the nature of the previous few episodes, so the specific scenes of Sorato’s fatigue and when he loses awareness conversing with his other self help to ground this plotline effectively.

 

For the other main plot of the episode, the Time of Awakening is here upon us or has recently accelerated toward its peak with monsters popping up all over at unforeseen rates. The MOTW this time is Gairyuga, a Spinosaurus whose body converts Kaen 102 into a devastating beam so powerful it can destroy a mountain with one blast. The last few episodes in this batch have had threats that were not necessarily stronger than those faced earlier, just weirder ones, but Gairyuga is doubtless the strongest one in a while and at least top 3 of the show so far in general. At the same time, and your mileage may vary on how contrived this is, another Pegunos has popped up to make life more difficult for the KSCT during their attack on Gairyuga. To really show off how much stronger Gairyuga is than the other monsters, he gets to fight Trigaron, Rekiness, Pegunos and Omega with Valgeness armor all in one episode.

 

The KSCT together with Mr. Taira have developed a weapon that converts Kaen 102 into an energy beam the same as Gairyuga, something that should concern us based on the trajectory of the Geness Seijin from before. When it fails, Kosei does the coolest thing imaginable through Rekiness, redirecting the missed beam back at Gairyuga, but this new Pegunos finally gets his revenge for what happened to the previous one, oneshotting Rekiness. While Pegunos celebrates, Gairyuga gets back up, and if you are as attached to Pegunos as I am, you will not want to see what happens to him.

 

Sorato can finally muster enough willpower to stand up and fight, but, midway through, his personality snaps back into being a Space Gazer, so he gives up the fight and goes to witness the arrival of a new potentially world ending monster far away, Zomera, who will be the main villain of these last two remaining numbered episodes. Omega also took the meteokaiju with him, so humanity has to depend on the often ill-advised technology of the NDF.

 

This is a very impressive episode that I cannot do justice just describing. It really proves my point about the maturity of this half of the show, especially compared to something like Ultraman Orb that still felt somewhat juvenile throughout even while dealing with depression, terrorism and self destructive rage. Notably, the end of the YouTube upload usually features a picture of Ultraman Omega with cards for what videos and playlists are relevant, but, once he leaves, Omega leaves the end of the video too.

 

Episode 23.5, Fabulous or Frustrating?

 

 

This episode, while having the sloppiest use of recap stock footage, is actually probably Nariaki’s best so far, because it slots nicely into the arc of the show’s storytelling in a way I will struggle to explain for the next section. If you will recall, the directly previous episode featured a MOTW but the focus was on Sorato’s slipping mental state as visions of his true self keep happening around the depressed Ultra hero. It was an innovative form for the episode’s storytelling to take. In this episode, Nariaki Akaji is depressed about how the kaiju are costing him business, sitting at his desk listening to the radio for comfort while stock footage events happen around him and take over the screen, even clips he would have no way of knowing about (the fight scene in the future). This proves less effort to tie Nariaki into the narrative, but it matches what Sorato was going through last episode perfectly. You may accuse me of the intentional fallacy, and you may be right, but I think it is pretty clear that the intent is to juxtapose Sorato and Nariaki.

 

Okay, to what end though? The episode is called The Hope of Nariaki Akaji, and usually just thinking of Sorato and Ayumu is enough to get a depressed Nariaki playful again. That is where another thing clicked into place for me. This is the Recap episode. The only reasons to watch this are if you made it this far in the show and want more or if you watch the show but got confused about the airing schedule and misclicked. Anyone watching this episode already knows that Omega reawakens and leaves the fight against Gairyuga, but the news anchors and Nariaki do not. The dramatic irony is palpable as the secondary trio reflect on Omega’s adventures out of order and without the context of the being’s sanity slippage to regain hope that Omega will defeat Gairyuga. (This episode is set in the middle of episode 23.)

 

When Nariaki finds his hope and writes a message into the radio show trying to inspire the common people, it twists the knife a little more because we know that Omega is going to leave no matter what epiphanies Nariaki has. Furthermore, it now reframes the hope and trust the public has built in Omega painstakingly over this half of the show into a vain pursuit because he will leave. That was the point of this arc. It was not that we were going to have an episode where Omega or the NDF turn against each other for a neatly resolved episodic conflict, but that Omega won everyone over…only to leave when they need him the most, when the two most powerful kaiju in the entire show awaken back to back. Make fun of me all you want for only realizing where they were going with this in the dumbed down recap episode, but this has the potential to be even better than a single episode of an Imitation Omega style scenario would have been.

 

And again, this proves my point about the maturity of the show. Nariaki is a manchild, but the show uses him to shift its tone darker and restate the increasing stakes through showing another side of the world. All that said, there are some issues: the clips themselves are a bit superfluous, the episode kind of has a false ending by including a song that summarizes Sorato’s arc and possibly hints at its resolution, and it is most evident here that this episode was just the camera crew and one guy in maybe two shoots instead of another chapter of this story (Nariaki is usually dynamic enough for this one-man show to work, and sometimes they have other characters call into the radio in these episodes). Also, the episode placement is intentionally frustrating because as the audience, we want to know if Omega will come back, and instead, the schedule had this episode the week after episode 23 and then a brief hiatus. That is why I have both Frustrating and Fabulous selected; it was not a mistake.

 

Episode 24, Fabulous or Frustrating?

 

 

Episode 24 begins the last two parter of Ultraman Omega with the highest stakes in the show so far. Zomera is a potentially world-ending villain created through mankind’s hubris in trying to study and harvest the cells of Eldeghimera and Zovaras for their own use. This directly ties back into the mistake Geness made. Sorato, now fully Omega once more, watches the rampage within interest and even Henshins to full size and pulls out his slugger (in other words an Ultraman’s detachable mohawk dagger). However, as it turns out, this is merely part of his observation and cataloguing process; as Zomera is a new kaiju, Omega needs to see Zomera’s abilities in action. If you will recall, every fight has begun with Omega looking at the kaiju through the gap between his finger and his thumb, and this is because his true purpose has been to examine them.

 

Now is probably a good time to explain Zomera’s abilities. As Eldeghimera’s cells are dominant in this fusion, it can absorb other kaiju to gain their powers (so arguably this is less Zomera than it is Eldeghimera post snacking on Zovaras), and the main ability it inherited from Zovaras was the control of other kaiju. Rather than build an army to take on the world however, Zomera wants to consume all of the monsters, drawing out a new Demaaga, from which it gains the fire projectiles, and a new Gomora, from which it earns the special energy power that specimen had. As the KSCT and NDF find out when they use the Kaen-102 beam on it, Zomera also found and assimilated Gairyuga and its beam offscreen. That is a little bit frustrating to resolve the Gairyuga situation offscreen, but it helps elevate the drama with an “Oh Crap” moment because evidently Zomera is so strong that a fight against Gairyuga was of such little consequence we do not get to see it. In its place, Gomora puts up a better fight, and I am happy Gomora got more to do this season than just his episode. We never see Zomera control Gomora; it just eats him when it gets him off balance, so I am going to assume that Gomora’s will was simply too strong for that.

 

At one point Kosei reaches out to Omega, trying to get him to fight for them one last time. This does not work, but Kosei’s invitation to remember their time together gets Omega thinking. This scene leverages their connection across the entire show so well and, in retrospect, makes even the filler episodes feel important. Omega also witnesses the little girl they saved in episode one and has a flashback. You could view this as a contrivance or consider that Sorato, somewhere deep down in Omega, made sure he gazed at those people. While this happens, several disembodied voices including the radio hosts bemoan Omega’s betrayal of humanity.

 

Some aspects of this episode seem evocative of Shin Godzilla. The KSCT and NDF, mostly shown through our main group of oddballs, meet in a nondescript building to discuss the slow approach of Zomera, a monster who constantly mutates to overcome its weaknesses. That said, it is different enough to where it is either coincidental or just a reference. This episode is not satirizing anything, just earnestly playing into the drama of what happens when an Ultraman stops protecting humanity, and it is far more action oriented than Shin Godzilla. The episode ends with both the promise of a chemical solution to Zomera from Ayumu (which is similar to Shin Godzilla) and a roused Omega/Sorato possibly preparing himself to fight Zomera, so we will see what happens in the last episode of Ultraman Omega.

 

Episode 25, Fabulous or Frustrating?

 

 

Cutting right to the chase, the episode opens with Ayumu’s idea about defeating Zomera. If they aim their Kaen-102 laser at the Kaen-102 conversion organ that Zomera gained from Gairyuga, that should weaken Zomera, at least removing that power and hopefully killing it. This does not work as planned; based on the changing color of the beam, it seems it merely taught Zomera to convert Kaen-102 into energy more efficiently. That said, it still felt the need to sabotage the attack by boosting its brainwaves to agitate humanity and cut off the wireless connection, so maybe this was about to work.

 

Kosei, seeing this has failed, runs off to the downed VTOL with a power source to aim the Kaen-102 cannon at Zomera manually. All this time, Omega has been pretty much stuck where we last saw him, watching the proceedings but with turmoil in his expression. Despite the captions saying Kaen-102 as I have been typing it, the apparatus labels it as Ka-N102. 

 

Kosei calls out to Sorato, telling him that Sorato helped him find his purpose, and this rouses Sorato from within Omega, who argues with himself again. Omega argues that the way for cosmic stability is strict observation until a solution presents itself, but Sorato points out that they never found an answer that way. Based on how humanity accepted him even knowing he was an alien, Sorato speculates that the answer to lasting peace might be found in harmony with humanity. Let us think about that for a moment. Yes, humanity is responsible for Zomera, but the original sin of Geness with Zovaras still remains within that abomination. Humanity was less developed when the Time of Awakening began, as Sorato points out to Omega. This incredibly confused being that contains both the personalities I am designating Sorato and Omega finally drags himself over to Kosei to finish this monologue/dialogue, saying that they must join with all life hand in hand to figure out the answer.

 

Omega embraces his identities of Sorato Okida and Ultraman and rises once more to fight Zomera. Kosei declares he is fighting with Ultraman and advises Sorato to get rid of Zomera’s chest armor so that Kosei can land a Kaen-102 strike on the beast. Zomera returns fire, and Omega flies into the beam in an effort to save Kosei. Instead, they both die. Bear with me here. If you are consuming this review, you likely have already watched the show in full. If not, what are you doing here? You can binge it on YouTube or Prime. 

 

As Kosei and Sorato walk through their shared memories, the pair talk about what their partnership has meant to each other. Kosei declares that it cannot end like this, and Sorato agrees, so Omega proposes an option that should be very familiar to fans of the Ultra series…though it usually does not happen this late in a show. You see, in the original Ultraman show, Ultraman inadvertently killed agent Shin Hayata and so tied himself to Hayata in order to save the man’s life. That was the beginning of that show, but here, it pays off the arcs these two men have had about saving humanity. 

 

This new Ultraman Omega fights with newfound fervor and strength, ducking and blocking Zomera’s strikes. Their brotherly bond gives this Ultra further strength to pierce Zomera’s forcefield and summon all three meteokaiju at once, which also allows Omega to switch between the associated armors. As the crowning jewel of this innovative spin of the classic Ultra hero merging, this fight takes three minutes, the original limit for how long Hayata could be Ultraman in one sitting.

 

The radio hosts conclude with some exposition about the (immediate) future of this world. With more funding, the actual international kaiju response organization that springs out from the KSCT tries to focus on coexistence with the kaiju and even possibly communicating with the Space Gazers. Sayuki Uta, who I have not mentioned that much for brevity’s sake was against the Zomera project in the first place, drained by the meetings with her more militaristic compatriots and initially drawn to Ayumu for her curiosity and tenacity, naturally has a high up status in this new organization. She has been a very strong mentor character in this show, but these are mini reviews. Anyway, the new organization is called KSSIT, short for Kaiju Special Investigation Team, and Ayumu and Kosei work for the Tokyo Branch. This feels like the beginning of a classic Ultraman show, but, as Sorato tells Kosei, it is more than that. It is Earthlings, aliens and kaiju all working together to make a new Earth.

 

Verdict

 

All in all, this show blew me away and is going down in my book as an all time great season of tokusatsu. That may be a little bit dramatic on my part as I have not seen nearly enough tokusatsu shows yet, but you can see for yourself the fabulosities outweigh the frustrations.

 

You can expect further coverage of this show from me; I still need to rank the show’s monsters in full, and I will adapt these episode reviews to our YouTube page, so stay tuned for those.

 

Here are some more screengrabs I found entertaining:

 

Andy Milligan's Compass Rose, 1968, a look at Caffe Cino of the '60s

 

If you're a fan of filmmaker Andy Milligan, you are familiar with many of his trademark film characteristics - impalement with a pitchfork, beheadings, actors dressed in cheap period costumes, and his unique camera technique of the swirl camera. Compass Rose (1968) deviates a bit from these characteristics but is still an important film in the Milligan canon. The film explores the lives of struggling actors and bohemian types in New York City at the off Broadway Cafe Cino in the 1960s. (Above and below are two stills from Compass Rose)

The opening sequence shows a couple (Anthony Moscine, Anne Linden) having sex on a bed, kissing and rubbing each other. In true Andy Milligan form - the sex on screen is not very erotic or sexy. These are not bodies that are in perfect shape or very sexy in any way. We can almost smell their body odors as we see their scars, pimples, moles and other imperfections on full display on the screen. Any sex shown in a Milligan film is not intended to arouse or sexually stimulate the viewer. These are real, everyday people engaged in sexual activity, and not body perfect porn stars.

Milligan's wife-to-be, Candy Hammond, wastes no time disrobing for the camera when she first appears on screen. The viewer is treated to a quick glimpse of her pubic area when she runs into a bedroom after disrobing. She is nude in all of her scenes until she commits suicide in her final scene. Hammond always appears to be confident, if not aloof, about her nudity on screen as she frequently touches her breasts. Hammond would eventually marry Milligan in 1968 during the production of Compass Rose.

The viewer is also treated to the inside world of Caffe Cino. The walls of the cafe are plastered with posters, fliers and other visual ephemeral that keep the viewer looking everywhere. Decor and drapery hang loosely from the cafe ceilings. The entire environment is visual overload, which is likely the point. Actors perform strange drag impromptu dialogue on a small stage as patrons of the cafe watch casually while smoking cigarettes.  

If you purchased the Severin films Blu-Ray set of Gutter Auteur: The Lost Legacy of Andy Milligan, the print of Compass Rose has sound which cuts in and out throughout the film. Small segments of the film have no sound at all, and sound sequences are often hard to decipher during conversations between actors. This is not a complaint from this reviewer. We are very fortunate to have this film to view, so we can overlook the sound imperfections.  

The final scene of Compass Rose is a chaotic orgy of naked sadism. Twisted bodies squirm around in an S&M playground, smeared with food in the same basement that Milligan shot The Ghastly Ones (1968). The film ends abruptly with a statement on screen which mentions that Milligan never completed the film. The film was likely unreleasable due to sound problems. 

Milligan's next project was - The Filthy Five (1968), another lost film in the Milligan canon. The Severin Blu-Ray of Compass Rose has an 18-minute interview with film historian Stephen Thrower about the film. Thrower gives us great insight into the career of Milligan and the making of the film. The Degenerate Blu-Ray set also includes Milligan's post-nuke film - The Degenerates (1967), Kiss Me, Kiss Me, Kiss Me (1968), House of Seven Belles (1979), and the documentary - The Degenerate - The Life & Films of Andy Milligan. The three discs are packed with lots of extras. Don't miss it.

Steve D. Stones   

Godzilla’s Anime Trilogy: Attack On Titan On PCP, Part One

 

By Joe Gibson

 

The following is the first part of the transcript of a recent video on Plan9Crunch’s YouTube page that you can watch here: Godzilla's Anime Trilogy: Attack On Titan On PCP

 

Hi. Welcome back to Plan9Crunch. I am Joe Gibson.

In all my time talking about Godzilla here, I have been quite open about my disdain for Polygon’s Godzilla anime trilogy. In the deepest part of my being, I know these movies to be terrible and among the worst the franchise has to offer, and I have never really given myself the opportunity to lay out my best arguments for that case. However, even now I don’t really want to do that. Let’s set aside how that is poisoning the well to the audience about experiencing what is perhaps the most niche sector of this franchise that still involves feature films; it is just not that interesting to me to try to tear down a trilogy without some nuanced gimmick. I have also grown to appreciate these films in their own way. The design for Godzilla Earth, while slow, immobile and barely qualifying as something that only animation could create, is actually probably one of my top ten designs for Godzilla. I just think it’s neat with some sleek muscle patterns and a very meme-able face.

 

I also have a warped kind of nostalgia for these films because I was there following along with the updates before the films came out, catching every new report about what the first Godzilla anime would be like. I witnessed when the officially reported title for the first film changed from Godzilla: Monster Planet to Godzilla: Planet Of The Monsters, and I was there when we got early translations for what would eventually become City On The Edge Of Battle as Mobile Battle Breeder City. In both cases, the earlier title was technically more accurate to the film than the later, but that’s not the point. I have experienced both hype and letdown with this trilogy, and I’m really not that devoted to trashing on it outside of throwaway jabs and tangents in other videos. That said, I still think the trilogy deserves a slightly negative video essay exploring some of my issues with it. One common critique of the trilogy is how derivative it seems of Attack on Titan, and, don’t worry, I’ll unpack what all that means in a second, but the discussion I want to create here is that the Godzilla Anime Trilogy is very much like AOT but far less mature in its storytelling and implementation of themes.

 

And this is important to note. Even though I am using Attack On Titan as the positive example by comparison, my criticisms will not simply be “this is not what Attack on Titan did so it is bad.” That wouldn’t really make much sense. This trilogy never had a chance of doing exactly what Attack On Titan did because the manga was still ongoing when this trilogy was in production. Heck, this trilogy managed to preemptively include a plot point from AOT before AOT’s manga even got around to that (I’ll explain that when it comes up later), so if that were my metric, rest assured it wouldn’t be an unfair hindrance to these films.

 

So how else do I frame this comparison if not “living up to a source material.” Well, have you ever heard the expression that X thing is like Y thing on crack, as in crack cocaine, the drug? Maybe you have, maybe you haven’t. Essentially, it is a comparative tool wherein I acknowledge base level similarity but through the lens of hyperactive, frenetic or melodramatic exaggeration of certain elements. The problem is that it does not really work in this instance. Though undeniably similar, as we will get to, the anime trilogy is a lot more subdued and restrained than the comparative high energy battle anime of AOT. Okay so then it was all about finding a different drug with the desired exaggerations from AOT’s tone, and that was difficult to find with an innocuous google search term. But eventually I settled on PCP, so please indulge me as I run through the side effects of PCP we’ll want to keep in mind. This part of the video is technically a drug abuse PSA, so if the YouTube algorithm suppresses this video, well I shouldn’t finish that thought. On that note though, this essay will discuss topics pertaining to drug abuse obviously but also depression and suicide, so viewer discretion is advised.

 

   

 

Phencyclidine, known for the purposes of this essay as PCP or Angel Dust, is a hallucinogenic and dissociative drug that can lead to many side effects but especially lethargy, disorientation, hallucinations, sense of detachment, lack of concentration, loss of coordination, agitation, bizarre behavior, a dangerously inflated sense of strength and invulnerability, memory loss and unconsciousness. I am getting this information from Americanaddictioncenters.org. The image you see on your screen is from The Carolina Center recovery .com and adds suicidality and coma to this list. So, basically, the methodology of this exercise is to pinpoint how the anime trilogy expresses its themes about humanity and see if the tone registers with a certain disorientation and sense of detachment or lack of concentration or if the choreography entails a sense of lethargy and relies on unconscious hallucinations or if the ways characters act are informed by the side effects of dissociative drugs instead of rational acting. If the lead for example demonstrates violent suicidal behavior, delusions of grandeur, a sense of detachment from his life, stupor and notable memory loss, then there you go. I think it is a fair criticism to say “the emotional maturity of this series is akin to that of someone addicted to PCP.” Ah yes and the ways people abuse PCP are plenty: it can be a white powder, a yellow liquid, a tablet, eye drops, an injection or in a cigar. So very adaptable and I think ultimately very fair to use for such a sweeping analysis.  In any case, let us proceed to some background information on the trilogy itself so we can actually begin the analysis proper.

 

 

Between 2017 and 2019, Netflix released three Godzilla anime films. Animated by Polygon Pictures, these were to be Godzilla’s first official feature film foray into animation, though as I understand it the 2021 Netflix series Godzilla Singular Point went into production first. Recently, I have heard commentators posit that the trilogy is not really that good of a demonstration to anime fans what Godzilla represents nor to Godzilla fans what anime entails, and that is largely because the style of animation was a costly 3DCG that simulates live action but resulted in a very sluggish Godzilla with very little screentime. So a limitation of the technology, same as the goofy suits between 1955 and 1975. Also a very experimental format that settled the uncanny valley in regards to how tokusatsu and anime are usually shot. (Consider the way this distorts our sensory perceptions of the ways characters can move and their body awareness.)

 

The premise is equally uncanny between old and new, traditional and experimental. Giant monsters have pushed the remains of humanity into one cramped area (that’s the Attack On Titan part), but it is to the spaceship Aratrum, and, while humanity is in space for 20 years before they decide to come back, 20,000 years have passed on Earth. The Xilien and Simeon aliens from the Showa series are back but as members of this defeated coalition, as their plans to defeat the monsters have failed. Also, it is best to get to this out of the way now, the Xiliens became the Aryan Exif aliens, and the space monkey Simeons became the dark skinned humanoid Bilusaludo aliens. This is not a Critical Race Theory Essay, so I’m not going to read too deep into that except to say they act more like deconstructions of fantasy elves and dwarves than they do real world stereotypes. The lead character is Captain Haruo Sakaki, and you can recognize his first name from the original Godzilla suit actor Haruo Nakajima and his fierce and petulant anger from Attack on Titan’s protagonist Eren Jaeger, but, as you will soon find out, there is a lot more to talk about this trilogy as a whole than what just came before. Still, maybe I should expand on that history first.

 

 

Running between 2009 and 2021, Attack On Titan, originally called Shingeki no Kyojin, is a very popular manga and eventually anime series by Hajime Isayama. The basic premise there is that man-eating ogres called Titans have forced the remnants of humanity that they have not already killed into German towns housed within three massive walls, and everything appears to be somewhere between medieval times and the 1800s, though the title of episode one clarifies that 2000 years of history are relevant to this world. Within the desperate struggle to survive, one teenager is angry enough to try and fight all of the Titans to reclaim his world. That is Eren Jaeger, and his best friends Mikasa and Armin seem skilled and smart enough respectively to help him achieve his goal if they and their allies can survive long enough to see it through. I am trying not to spoil too much…Yet, but that is roughly what you will need to understand going into the first few arcs of AOT. After that point, twists and turns abound with realistic government corruption, dangerous political intrigue, betrayals, doomed love, and a final stretch that decodes the subtext of the Titans and lays bare as text what the whole story was really about the whole time. I think it is really a masterclass and an amazing political thought experiment while delivering on amazing fight scenes. Not everyone sees it that way, and, fair enough, Attack on Titan is not on trial today. Maybe you will prefer the approach of the trilogy. With all this context out of the way, let us begin.

 

So the title is Godzilla: Planet of the Monsters, what if I call it–

 

GODZILLA: Planet of PCP

 

In this film, Haruo is the driver on the mission to return to Earth. Put as simply as possible, he comes up with a battle strategy that could have defeated Godzilla in the past that motivates his human, Exif and Bilusaludo allies to help him test it out.

 

Haruo is very clearly an Eren expy because of his tragic backstory and how that shapes him into an angry yet cunning and charismatic leader among his equals. Eren always wanted to fight for his freedom even when he was a child, but, in episode one, we are there with him when Titans breach Wall Maria and eat his mother in front of him, and, from that point on, we empathize with him and understand why he takes military training so seriously and how he inspires the other cadets in the battle of Trost. Even though Haruo also witnessed Godzilla killing his parents, traumatizing him as a child, the introduction we as the audience get to him is not that, but we see him attempting suicide terrorism, threatening him to blow himself up in an effort to prevent their scout ship from leaving to a nearby prospective planet.

 

Okay there is actually more to it than just that. Haruo justifies his dissidence by giving a fair argument that the central council is knowingly sacrificing the elderly people aboard the ship just to make sure there are less mouths to feed. This is driven by necessity with willing participants as we find out but still represents an inability of the existing governmental structure to take care of its people. This plot point of sending the elderly on a mission outside of the walls also appears in AOT, and it was the first of many scenes showing a logical but terrible human cost to survival, raising the question of if it is worth it. The trilogy does not have the same time or space as a four season show, but this, as the introduction to this question, is sufficient and snappy. Haruo is vindicated as the scout ship explodes, and he is remanded into military custody. And then we learn his backstory. But why, oh why did they choose to write it this way?

 

PCP is not the reason this trilogy is the way it is (that’s post hoc wishful thinking); Gen Urobuchi was the writer, and Kobun Shizuno and Hiroyuki Seshita codirected. As I understand from post-mortem interviews after the fact, Gen Urobuchi is to blame for the nihilism on display, Seshita brought an enthusiasm for using the Godzilla IP and its staples to bring in a new audience, and Shizuno had no prior knowledge of Godzilla and adjusted the other two men’s suggestions into new trajectories. So stuff like the technology obsession and worship migrating from the Xiliens to the Bilusaludo is more likely an inconsistent reference changed by Shizuno than the work of Seshita or Urobuchi, and, well from Gamera Rebirth, we know that the details of Void Ghidorah were precious enough to Seshita to retrofit onto Viras though with a more weighty flesh and blood fight. So all this to say that yes, a trio where one man is writing a depressing treatise on nihilism with franchise references, another guy loves the franchise and wants to expand the audience, and the third guy has no clue of the first thing in the franchise and shoots down or warps the other two guys’ suggestions is absolutely a scenario that fits the PCP abuse side effects of lack of concentration, sense of detachment, and memory loss in a very unique way that I hope you can appreciate.

 

In Attack On Titan, despite being the protagonist through the entire run and the main character by runtime for the first three seasons, Eren is not the narrator; his friend Armin is. And immediately that works into the themes and tone the show is portraying. Armin, as a character, has an unparalleled hope for the future, and framing Eren through his narration allows for us to see a great range of Eren’s emotional capacity. In Planet of The Monsters, Haruo gives the narration of the backstory of the monsters and fall of humanity, and, again, the way that we explore these events are through his perception and worldview, so very angry and bitter. He has characters to balance out his extremism, but the script does not elevate them to major characters until the sequel.

 

It kills me that right after Haruo’s failed suicide terrorism, almost every shot has warm hues cast over it and lights going in and out of focus that make it hard to focus on what we are seeing, but when he literally narrates that he still remembers the flames from Godzilla’s destruction, the shot is the clearest blue it could possibly be. And yes uh I bet you didn’t expect so early to find a match for the blurred vision and dizziness PCP symptoms, but yeah. I didn’t even draw too much attention to those, but already the film is playing along with me here. 

 

Okay, this whole visual element is actually very odd because the characters make a point of space and the Aratrum being functionally a frozen hell. The planet they are seeking, Tau-e, is warm, so it is more interesting to look at complicated shots that incorporate both, but the juxtaposition would be better served if Earth wasn't also blue and Mechagodzilla City also a dead and sterile environment.

 

Okay back to the guiding narration. I actually am a proponent of telling and not showing a good deal of the time. There simply is not enough time in a movie to show everything you need to get across to the audience, especially in diegetic ramblings. I mean that more in the regards to “kaiju started appearing in the late 1990s, Godzilla came last and was unstoppable by human or monster, then the aliens came and also failed to stop him, then the survivors evacuated.” Haruo has a very personal connection to Godzilla that takes a more show don't tell approach, but the majority of information in this flashback has to be told. Still, I do criticize Haruo's moment with Godzilla because I think it could have communicated its point better overall, and actually Attack on Titan does that plot point better so we can look at that again.

 

When it comes to Godzilla's emotions and intent, he is often ambiguous especially now that we don't have the benefit of a human acting in his suit. It is very difficult to understand Shin Godzilla's motivations just looking at him moving forward and spewing beams. Actually ironically enough, that movie has to tell us through the nondiegetic lyrics of Who Will Know what is going through his head. That's not a critique of Shin Godzilla, just evidence of my point. The Godzilla in Minus One is much more easily understandable because you can see his rage when he steps on people, tears through buildings and tries to bite the Shinden. The tooth and nail destruction Godzilla does in the original film is the most visceral, and the crocodile melee crawl and slashing of Kong he does in GvK sticks with you as much as his best atomic breath finishers do.

 

 

Eren Jaeger has to witness a very disturbing Smiling Titan eat his mother, and Haruo has to witness Godzilla shoot down a transport that also contains his parents. This is not a measuring contest, but let us compare for a moment how hard of a punch that packs. Eren is ripped away from the rubble of his home, dragged as he tries to go back and save his mother, while Haruo is at a much safer distance, dragged and unable to go back for a necklace while we don’t even see his parents die. Yes, there is such a thing as subtlety (we’ll actually soon get to why I don’t think this trilogy understands it as well as AOT), but this is supposed to motivate us to follow Haruo on his journey because of our attachment to revenge for what Godzilla did to him. It would be a small change but admittedly might balloon the budget because of this art style to have Godzilla actually crush Haruo’s parents and then we see how Yuko’s grandfather saved him so that his death on the emigration shuttle a scene ago now retroactively carries more weight. This is a minor point; let’s carry on.

 

Haruo finishes his recap monologue by asking variations of the same question why. Why are they still alive? Why did this happen to them? And those are what we will have to examine throughout the film, but he also states that kindness and pride are gone in this Aratrum culture. For one thing, the film will later prove him wrong on the kindness part, and he very clearly is prideful by thinking he is the only one who can or wants to draft a plan to defeat Godzilla, but genuinely having thought about this, I think the only reason he said that is so we can have the immediate juxtaposition to Metphies being nice to Haruo and think ‘maybe this guy is manipulating him,’ Metphies of course being derived from Mephistopheles and being the main Exif character and I guess priest in their religion who offers forgiveness rites to prisoners. 

 

The way that this trilogy builds up to plot twists in comparison to Attack on Titan is a lot more simple. “What if the character that is high up in a cult and literally gives Haruo information about the past while lying to the council is lying to and manipulating Haruo’s psyche and memories?” is one such example. Also, let’s have Haruo ask if the reason this happened to them is that it was an inevitable punishment for humanity but he then says no and that it is because they did not give it their all against Godzilla so that when the trilogy ends and they all failed to kill Godzilla again, the only other option on the table is that it was punishment for humanity and their technology when Godzilla, especially one that is made of plant life, could come from anywhere for any reason.

 

Again I do not want to just say “well this isn’t Attack on Titan so it’s bad.” It is just inviting comparison by ripping off Attack on Titan and then self aggrandizing over its themes and foreshadowing even while it strips down the amount of characterization and action that went hand in hand with AOT’s reveals. 

 

Haruo releases his manifesto/Godzilla battle plan, and it is important enough for the council to discuss it amongst their bleak survival possibilities because everyone on the ship is reading it. Earlier, Haruo broadcast his terroristic opposition to the Tau-e emigration to the entire ship. And this matches how especially pre Trost in Attack on Titan season one, Eren was very charismatic, setting a standard for grit and determination that inspired the other cadets…notably before he had to watch some of them die too. Eren ends up questioning himself a lot after that, but the point that I am making here is that we are entirely replacing the other cadets seeing Eren barely manage to balance in a training ODM gear rig and then realizing that it was busted, and he actually did something more impressive than any of them, we’re replacing that with broadcasts and an anonymous battle plan.

 

Still, this is when the film actually begins to introduce us to more characters. Uh, Colonel Leland, Dr. Martin Lazzari and Adam Bindewald are all white blonde humans with the major design differences being their hair style. Leland we’ll put a pin in since he’s actually my favorite character in this whole trilogy, Adam winds up in Metphies’ religion though in this introductory scene he is very cynical about how quote “the ship leaders turn to the gods, as usual,” and Martin will give exposition about nature but also becomes anti religion once Gen Urobuchi decides Adam isn’t I guess. We have had several shots of Yuko Tani reacting to things, and Metphies has a conversation with one of the Bilusaludo Mulu-elu Galu-gu, which reveals they are on the same page about using Haruo’s research paper to undermine the committee and return to Earth. As the flashback briefly showed, Galu-gu was behind the failed Mechagodzilla project, and Metphies speculates that, had it worked, Mechagodzilla would have then subjugated humanity after Galu-gu insinuates that that was the purpose and aim of the Exif’s cult.

 

Adam’s friend Marco sits with some other characters, who voice an earnest wish to see the real Earth and see the ocean, and if you have experienced Attack on Titan, particularly season 3, you will have in your head how this story would be able to leverage so efficiently two characters talking about wanting to experience the sea. It is the dream that Eren and Armin share but gradually begins to take on a different meaning for each of them. Here, a bunch of nameless extras gather around and instantly see the blue ocean, gazing at how beautiful and blue it is when the ship that was their hell is the same dull blue. Haruo even has his moment of angrily staring at the sea and only seeing their enemy when Attack on Titan used these same pieces to paint a much more poignant picture. 

 

But again this is not about Attack on Titan; it is about how this trilogy’s immaturity seems to manifest as a diluted Attack on Titan. The focus of the scene is on scout drones scanning the new Earth and finding Godzilla. Earlier, Eren’s charisma was replaced by Haruo utilizing technology, and his strategy for defeating Godzilla hinges on details he can only find out through Metphies’ technology and the Gematron calculator, so it is official, that as a motif, this trilogy is diverting from more personal human connection and ingenuity into using technology, so let us put a pin in that.

 

The Captain of the vessel, Unberto Mori realizes with horror that although thousands of years have passed and the terrain has changed, Godzilla still remains on the planet in some form. Haruo also realizes this somehow, but he does not have the benefit of Martin Lazzari’s dissertation to the council on how Godzilla cannot be considered a normal living creature and thus any number of explanations could explain why at least one remains. Metphies pushes for the extermination of Godzilla and negotiates dropping the charges on Haruo, and now Haruo is in front of the committee explaining his plan as good diegetic exposition…until it dips into literal “As You Know” dialogue and I am reminded of my feelings for the trilogy. Mori opposes the plan because it will cost lives, and he does not want to risk the 600 people Haruo needs (Deputy Director Hamamoto also declares it out of the question). Somehow, Haruo gets his way anyway, and I really am not sure of the cause and effect that got us to this point from one scene ago. The council members were discussing how it would drastically affect public perception of them if they were unable to land on Earth, and we never saw Mori too torn up about sacrificing the elderly to Tau-e (even if he did not think that would happen, the calculations given in the film still revealed it was not an optimally safe planet). Unless the Exif and Bilusaludo came together to strongarm the literal captain of their ship, there is really not sufficient justification for Mori to immediately reverse his stance, but we know that isn’t true because somehow human Colonel Elliot Leland becomes commander of the Earth Landing Brigade and not Metphies or Galu-gu.

 

 

Leland is a very different character than Commander Erwin Smith from Attack on Titan, but they share a voice actor, hair color, insubordination to the government and willingness to put their own life on the line in these risky military maneuvers, so the inspiration is evident. Leland’s selfishness is on display sooner, as he claims that defeating Godzilla will appoint a new era for him as a pampered hero, a much more shallow and stock secret motivation than wanting proof that more is outside the walls in order to vindicate your father’s secret theory that you feel a lot of guilt for outing to the government as a child. That contained some spoilers for Erwin, I am sorry, but we are already exposing both the official and hidden motivations for Leland in his first scene, a hallmark of great writing. Where Leland comes into his own as the most dynamic character of the movie though is his past with Haruo. They are childhood friends, and, since Haruo is the criminal on bail that they are technically following in this mission, Leland has to weigh following chain of command against listening to his friend.

 

I am not sure if this is from lack of subtlety in the storytelling, inability to read finer emotions in the art style or to further show Metphies’ manipulation of Haruo’s emotions, but he feels the need to say outright that Haruo is still angry even though he is getting his goal. Haruo responds that he is unsure if everything will go to plan, and Metphies repeats a line from Leland about trusting in a hero, but Metphies says that the hero he trusts in is Haruo. Now, again I mentioned how Eren was singularly confident in himself before he faced any real opposition from the Titans. Haruo said earlier that kindness and pride are dead, so this would almost further that except that his ego clearly informed his terrorism attempt and his confidence in writing, updating regularly and presenting his paper to the leaders of the ship. Heck, forget all that, Leland is Haruo’s childhood friend and is as proud as ever. True, we are only seeing him now after they are within Earth’s orbit, but he had to have this belief to choose to be commander of this mission, and if he was a child same as Haruo when they entered this ship but became his superior, he needed his same motivation to achieve his rank. In any case, it is just strange that Metphies has to elicit in Haruo what his archetype already bore from the beginning, and Metphies’s AOT analog and actual role in this story is a foil to Haruo/Eren.

 

When the party lands, they unload their mechs, traps and command centers to begin their plan. I do not think it productive to give an exact play by play of the conversation between the characters, but Martin slots into the Zoe Hange role from AOT, and Yuko Tani becomes Haruo’s official handler 38 minutes into the film as a scout team goes out, at which point they realize how different the flora/fauna have become. Leaves are sharper than razors, and a masked humanoid watches the operation from the razor bushes. Yuko now explains her motivation; she joined this operation because Haruo was here. She always wanted to meet him and is curious if the central committee used his bombs to destroy the Tau-e shuttle. Haruo shuts this down, stating that he does not want to be so judgmental of humans, but this is against his own philosophy expressed through the opening scene and then the narration of the committee sacrificing them and kindness being dead. Yuko’s grandfather is who saved Haruo as a child and talked him down from his terrorism attempt, so maybe there was a double meaning to his “kindness is dead” remark that he could rediscover in Yuko, but that would be if the trilogy cared about Yuko outside of her obsession with Haruo, which is not likely because instead Haruo blames Godzilla for taking away justice, pride and faith. He says that fighting Godzilla again can take back that dignity, but clearly they never lost pride or faith through Leland and Metphies but also they have a working justice system as he got court martialed for terrorism. This primes us for a story where he realizes they still have humanity, exemplified through Yuko, but she will entirely orbit his character and eventually get fridged to make room for other characters.

 

 

Okay so the three leads of Attack On Titan are Eren Jaeger, Armin Arlert and Mikasa Ackerman. Mikasa is another childhood friend of Eren who the Jaegers took in after human traffickers killed her parents, and the moment when Eren saved her by killing one of the traffickers and then wrapped his scarf around her awoke something in her that indebted her to Eren. This also manifests as romantic feelings as the cast goes from ten years old to mid teens to young adults over the show. Mikasa bears a strength that Eren never gets though, and she has to save him as often as he saves her. Mikasa is the least developed of the three main characters, but she still grows a lot in her outlook, and she winds up the deciding factor of many of the action scenes in the show. Eren, Mikasa and Armin balance each other, and this trilogy took Armin out entirely and relegated Mikasa to a weak damsel that completely loses agency midway through the story. I feel the need to reiterate that Attack On Titan is not the only way to tell a story of this scale, but legitimately, as I think you will come to see, this trilogy is the kind of story where failing the Bechdel test legitimately does make it is somewhat misogynistic, and Mikasa is an example of a well written character that is still obsessed with the main hero that they chose to deviate from because their inspiration was clearly AOT.

 

The party stumbles upon the ruins of some buildings that have almost transformed into the Earth. As Martin explains, lichen attached itself to the buildings’ rubble and fossilized, with further flora growing on top of that. Haruo loses his balance, a symptom of PCP addiction, nah kidding he intentionally drops to his knees, and declares, as the music swells that “Although we’ve forgotten, this planet has always remembered us,” and that they must take it back. This is a very effective emotional moment, but we have to actually examine what happened here because Haruo is wrong and that is part of the point of this whole trilogy. As we learn in scenes before and after this one, the florafauna of the Earth changed while they were gone. 

 

Leaves are stronger than steel, and the native animals are just as strong but seem like offshoots of Godzilla; these Servum as they are called attack the base camp, and this batch is winged but there are also terrestrial ones later. The metallic and magnetic properties of the Servum and the plants are in common with Godzilla, and the trilogy later confirms it is not Godzilla’s doing but natural mimicry across nature. So nature has absorbed the humans’ buildings, yes, but did so to become Godzilla. There is an old poster that came out before we knew much about what the 2014 film would entail, I believe it was a Comic Con exclusive, and it showed building rubble coalescing into an effigy of Godzilla. It equates Godzilla with destruction and dominion over what he has destroyed. A Monster-Planet (now you can see why I said that title made more sense) growing over the remains of humanity is a win condition for Godzilla not an inspiring moment for humanity. Haruo is of course allowed to be wrong, he’ll be wrong a lot, it just is important to note that as often as it happens.

 

Leland listens to Martin’s explanation of the florafauna and comes to the reasonable conclusion that they need to retreat, saying it would be the height of stupidity to fight Godzilla for a planet like this. Haruo has an emotional attachment obviously to staying but he gets so angry at this that he literally attacks his good friend Leland, pinning him up against the wall. Haruo confronts Leland on abandoning his goal of being humanity’s hero by taking down Godzilla, and Leland, again correctly, explains that they have already taken heavy losses, their manpower is not trained in fighting, and he frankly underestimated the mission. Now, since Leland is now abdicating the “hero of humanity” title, and Metphies applied it to Haruo’s holy mission, we can fairly expect it to be Haruo that this journey immortalizes into some kind of legend (we’ll get there) and not Leland. Now notably, Metphies followed these two when they ran off, so he is able to manipulate Leland by saying he agrees with him, but the Servum damaged their equipment so they cannot leave. Metphies keeps going, explaining that the only plan for retreat they even have is pretty much verbatim the choreography of Haruo’s attack plan. Later, Metphies tells Haruo that he knows that Godzilla will not let them escape and will seek them out.

 

There’re certainly things to appraise as well or poorly written in this trilogy, and that’s not my focus here. The movie has been functionally speaking good so far. Haruo is not going to have an arc until the next film, the side characters are more of a Greek chorus than individuals, and the specific details built up in this movie are going to destroy some plot points of the later films, but, so far, nothing has contradicted itself, and I think Leland’s arc ground this film pretty well. Still, now Godzilla shows up, and we have another point of comparison to AOT.

 

Eren Jaeger winds up in military custody after his actions in the Battle of Trost, and, after a trial, Captain Levi becomes Eren’s official handler, Levi being humanity’s strongest soldier, a very dynamic role that toes the line between mentor and main cast member. Levi’s deal is that he is so strong and skilled that eventually he has to watch everyone around him die. His “Levi Squad” consists of very skilled handpicked soldiers, and, on a mission outside of the walls midway through season one, they are responsible for protecting Eren. Now, at that point, an intelligent 15 meter Titan starts hunting after Eren, and Levi Squad races through a wooded area as this huge Titan follows them. Levi Squad begs Eren to trust them and not go off and fight the Titan by himself. Eventually, Levi Squad has to fight this Titan because the plan did not work, and Eren chooses to believe in them. Levi tells him that, after all of these missions, he does not know which is the correct option, if he should trust in his comrades or in himself. Levi tells Eren to “do as his conscious dictates,” and then Eren watches this intelligent Titan systematically kill the other soldiers in Levi Squad, and then Eren fights the Titan himself. That scene is so crucial to the entire show and Eren’s development, and Planet of the Monsters has a scene so similar I think the inspiration is clear. (Just so you know that the reference is possible, you should know this movie came out in 2017, and season one dropped in 2013, so yeah they had time to copy this part.)

 

When Godzilla appears, it is in a wooded area where he poses a big danger to their convoy. Even though by all accounts, Yuko is Haruo’s official handler, Metphies has control over Hauro’s handcuffs and releases him. Specifically, Metphies says the words, “Do as your soul is crying out to do,” and Haruo races off on a speeder to fight Godzilla. In this case, he wants to record Godzilla’s force field pattern, which is crucial to his annihilation strategy, but all of the speeder’s attacks are too light so he preps a kamikaze run. This is at the beginning of Haruo’s journey, and it would be rather embarrassing if this exact visual becomes the wrap-around to the end of his arc, but I digress. Delusions of grandeur and inflated strength as well as violent suicidal actions are side effects of PCP use. Taking a scene that was so complex and driven by the strong personalities of a large cast and turning it into Haruo distracting Godzilla to selfishly advance his plan while killing himself is just so weird to see as a consumer of both pieces of media.

 

The only reason Haruo does not go through with it is because Leland commandeers some heavier artillery to get Godzilla’s attention, and Godzilla returns fire, killing Leland. As I am rewatching and reviewing this, I am realizing that this film is rather light on Leland, and this is not a case where he has a top 10 or even top 20 character arc in this franchise, but I gravitated toward him because his is the only character arc in the film, he is a well-intentioned and level headed character, and the conflict between his ideals and Haruo’s is actually very interesting in a movie where the only other main character is Metphies, who just agrees with Haruo. I like Leland because he had a simple arc of choosing between his military role or his childhood friend, that is to say choosing between what is best for humanity and his childish goal of being the ultimate hero, and it always felt to me watching this movie that there was a complexity to his choices instead of just vague confused writing that I see in the trilogy as a whole. He died to save another soldier, but that soldier was specifically Haruo, and, in so doing, he helped Haruo get the data he needed for the plan Leland at least professionally opposed (but Leland must have been on board enough to initially take the mission).

 

Metphies immediately defers leadership to Haruo, which confirms they will do his plan. Despite there being an entire chain of command composed of a coalition of three humanoid species, Haruo’s acceptance speech is enough to convince everybody there not to mutiny and instead follow him to their certain death fighting Godzilla. Again, AOT being a good show is not really relevant to this point, but this specific plot point made a lot more sense when it was cadet Eren Jaeger who finished top 10 of his training year inspiring other cadets, one of which was Armin, in the lead-up to the Battle of Trost. There is no reason that Adam Bindewald, Belu-be, Galu-gu and Martin should all listen to Haruo, and we cannot argue that the earlier scenes of Haruo not being confident in this mission means he had an arc because he was willing to ask the entire ship to implement this plan anonymously and then also presented it to the central committee. Nothing changed in Haruo from the beginning even though his friend died saving him from recklessly carrying out this plan. The Servum swarm also poses a major roadbloack in operational security.

 

Godzilla’s part of the battle is looking around and firing his beam. Throughout the entire trilogy, Godzilla will be very sluggish and lethargic, another symptom of PCP we haven’t covered yet, and believe me it is actually very notable how lethargic this Godzilla is. During Leland’s death, Haruo’s attacks were not hard enough to register on Godzilla’s force field, and yet after sustaining those, a volley of shots from Leland that did register on the force field and shooting one atomic breath at Leland, Godzilla was spent and retreated instead of finishing off the people Metphies was so sure he would not let escape. This is not even a case like in Minus One where using the beam hurts him. He got so tired from doing nothing that he had to retreat. And Godzilla will spend most of film 2 and like half of film 3 sleeping, actually Godzilla has spent most of this film sleeping, and you’ll find out soon enough how I can say that so confidently.

 

After a battle where Godzilla can barely register how fast (comparatively) the machinery around him is moving, Godzilla explodes. Now this still required Haruo risking his life, but it kind of screwed with the stakes because no one saved Haruo, he just managed to survive the guns shooting on his power suit like there was no tomorrow. Okay so Godzilla just died, and we’ve got 14 more minutes and then two more movies. Martin starts talking to Haruo, because Martin is the exposition guy as I am sure you remember, about how biologically the Godzilla they just killed is unlikely to be the real capital G Godzilla let’s say because nature always changes. And yeah that wasn’t the Godzilla this trilogy bears in its title. That 50 meter creature was Godzilla Filius, and the original Godzilla now wakes up, demolishing the mountain he was sleeping under because he is 300 meters tall and has a beard. Okay so anyway he issues a super oscillatory wave out of his mouth and creates a huge shockwave from whipping his tail, and that destroys at least the vehicle Haruo was in, knocking him out. 

 

 

It is difficult to actually use the built in stopping points of these films for one thing because it is meant as one big story but also because the novel adaptations literally chopped the second film in half in order to make the whole story just two books.

Even so, we will stop here for now. The video upload (Godzilla's Anime Trilogy: Attack On Titan On PCP) of this still wound up at an hour and thirty seven minutes (the whole thing was 15,000 words), and I invite you to watch the video while you wait for the next part of the transcript. Also, watch Attack on Titan in the meantime, as the next parts will significantly spoil several plot points.