Godzilla Kaiju Popularity Overview And The New Monster General Election

 

By Joe Gibson

 

Recently on our YouTube page, I ranked the kaiju in Johnny Sokko And His Flying Robot (Ranking The Kaiju, Robots And Seijin In Johnny Sokko And His Flying Robot)as I had done for the Gamera series a while ago. For a little while now, I have been planning on ranking the Godzilla series kaiju, but since Godzilla as an IP has an extraordinary amount of kaiju compared to Gamera, Kong, Giant Robo, or one season of Ultraman even put together, I knew I would have to approach it in a different way. I realized I would be better off grouping the kaiju in subdivisions for the rankings based on more objective metrics.

 

But I had other projects I wanted to work on first. Toho, in some ways, has forced my hand with the New Monster General Election that already has the fanbase in a state of frenzy. If you are unaware, for the past few years, every Godzilla Day (November 3rd) Toho has released a tokusatsu short featuring refurbished suits and puppets usually including a kaiju battle. I have loved watching these, and others in the fandom share this sentiment. The original wave of these reached their climax with the Godzilla from Final Wars teaming up with a Jet Jaguar with Gigan claws to defeat the King Ghidorah from GMK, and that series is no longer available on YouTube, but the relaunch started with a refurbished Godzilla 2000 suit rampaging and attaining a Burning form. That video is still up, and the ending teased that another monster would arrive through the smoke and fog to fight Godzilla next (now this) year. 

 

Monster X, a Ghidorah variant from Godzilla Final Wars (2004), has been confirmed to be the first opponent for Burning G2K, but Toho has more ambitious plans for next year’s short. The New Monster General Election features eight sketches of monsters that the general public can vote on, and the winner will fight Godzilla. It is still technically unclear if next year’s short will be live action tokusatsu in this new series or something akin to Gemstone’s animated specials Godzilla vs Gigan Rex and Godzilla vs Megalon, but I really want these new designs immortalized in suitmation.

 

 

With this new marketing campaign from Toho, the Godzilla fanbase is excited but puzzled. I have heard wild speculation that Toho’s larger plans for these new eight kaiju to appear in a new Ultraman style show no matter who wins the election, and furthermore the topic on everybody’s mind is that somehow the winner will get an immediate boost to the top of franchise importance, rising to place alongside the Big Five (Godzilla, Mothra, Ghidorah, Mechagodzilla, and Rodan) in Toho’s in-house productions. I find that part, at least, unlikely, but it serves as a fair segue into my approach for ranking the Godzilla series. This article will explore the concept of Toho’s Big Five and beyond as well as the limitations of such a schema to more effectively introduce these new eight upstarts.

 

Last year, I tried to use Toho’s Big Five to frame discussion of Gamera’s costars (https://planninecrunch.blogspot.com/2025/09/who-are-big-five-kaiju-in-gamera.html). I was able to mostly map a one-to-one comparison, but the entire premise needed some disclaimers that I should reproduce here. Ostensibly, the objective measure for the Big Five is box office appeals in Toho’s filmography. This was purposeful and helped return on investment in the Heisei and Millennium films after the films with new kaiju underperformed. Consequently, it resulted in a larger market share in popular culture, which translated into numerous mainline appearances, merchandise, other ancillary media and outside references in pop culture. As I explained, that means that it is really a Big 7 that adds in Kong and a child for Godzilla (which meant that I could include Daimajin and nonspecific baby kaiju for Gamera’s Big 5 but actually 7), but the current anthology approach to kaiju storytelling in the East means that the Reiwa Era is not likely to have a Big 5 that actually interacts with each other. Furthermore, the box office disappointment of Godzilla King of The Monsters and extenuating Covid circumstances of Godzilla vs Kong means that, by box office, the Monsterverse box office positions Godzilla, Kong, Mothra and nebulous swappable villainous doppelganger (Mechagodzilla, Skar King, Shimo, Spacegodzilla) as its Big Four.

 

The Big Five as a concept only really made sense in the decade between Godzilla: Final Wars and Godzilla 2014. That is the only time in history that those 5 uniquely were set aside for their “prophesied importance.” When the original films were coming out in the 60s and 70s, there certainly was a drive to revisit Rodan, Mothra, Ghidorah and Mechagodzilla in Godzilla sequels, but Gigan also got an immediate follow-up, as was also initially planned for King Kong and Hedorah. The Heisei series only relied on Ghidorah, Mothra and eventually Mechagodzilla and Rodan when Toho lost money introducing new kaiju, and Anguirus almost made it into what eventually became Godzilla vs Destoroyah while a different son of Godzilla than Minya also existed. The Millennium series, as the third time for Mothra, Ghidorah, Mechagodzilla and Rodan, finally set the pattern that The Big Five were the only Godzilla kaiju to reappear in every era (even if Mechagodzilla and King Ghidorah were excised to elseworlds continuities from each other). With Godzilla Final Wars as the end of the franchise and Godzilla 2014 a surprising new beginning, that 10 years codified the Big Five as a group that we expected to see in any sequels to G14. The issue is that announcing Godzilla vs Kong kind of screwed with things on that front as Kong has always had more marquee value than the other four of the Big Five, and his remakes, though divorced from Godzilla, also mapped closely enough on to the Showa, Heisei and Millennium Series. 

 

 

Secondly, you may also notice that the order of that Big Five kept changing, pushing Rodan further and further down essentially. Though of the KOTM crew, Rodan was the only survivor, he only reappeared after Ghidorah’s corpse created Mechagodzilla, Mothra was reborn to help Godzilla and Kong and the new Titan X grounded a whole season of television. Rodan may very well be the central kaiju in season 3 of Monarch Legacy of the Monsters or the Cold War themed spinoff, as he was arguably the main kaiju in Godzilla Singular Point, but he is also the only one in the Big Five that has not appeared outside of an offscreen fridging with Anguirus in a recap section (Planet of the Monsters) in a Japanese feature film since 2004. Ranking the kaiju by importance honestly is difficult because Rodan has this spot no matter what, unless Toho does restructure to include the election winner.

 

Mothra has not appeared in the flesh since then outside of the Monsterverse, but the same trilogy that reduced Rodan to a generic Pteranodon corpse kept her spirit as a central Deus ex machina. Still, there is a valid argument that Ghidorah and Mechagodzilla may be surpassing Mothra overall, and even so, the recent confirmation of Ghidorah’s role in Godzilla Minus Zero, produces an interesting dialectic in regards to his overuse. 

 

Ghidorah is the most overused antagonist, appearing directly in Ghidorah The Three Headed Monster, Godzilla vs Monster Zero, Destroy All Monsters, Godzilla vs Gigan, Godzilla vs King Ghidorah, Rebirth of Mothra, Rebirth of Mothra 3, GMK, Godzilla Final Wars, Godzilla: The Planet Eater, Godzilla King Of The Monsters, and Godzilla Minus Zero with ample stock footage cameos and multimedia presence (Godzilla vs Evangelion, Godzilla The Ride, etc.). These appearances all fall into a variety of contextual subsets based on if Ghidorah is in control of his own mental faculties, if he is from outer space or not, if he is King Ghidorah or a different type, etc. to the point it is simultaneously true that both the Monsterverse and Reiwa had a Ghidorah within a year of each other and that the last time Godzilla fought a villainous King Ghidorah in a Japanese live action film was 1991 (last time Godzilla fought a villainous extraterrestrial King Ghidorah in a Japanese live action film was 1972). There is equal parts hunger for and fatigue of Ghidorah’s role as Godzilla’s eternal archenemy.

 

 

Mechagodzilla has the most unambiguous universal appeal/significance. “X vs Mecha-X” is a trope bordering on cliche at this point, and Mechagodzilla himself somehow made it into Ready Player One’s film without Godzilla (or Ultraman who Mechagodzilla fought in the book). Mechagodzilla has also made similar strides to what I pointed out for Viras in my Gamera Big Five video. Mechagodzilla was the last straight up villain and second to last antagonist to Godzilla introduced in the Showa series, and still came after Ghidorah in sequence in the Heisei, Millennium and Monsterverse series. Godzilla’s Reiwa series adapted Mechagodzilla before Ghidorah, and after Ghidorah and Rodan had to share Yamazaki’s first Godzilla the Ride, before Mothra has gotten any treatment from Yamazaki, Mechagodzilla gets the second Godzilla the Ride to himself to explore his fight against Godzilla. (This is especially significant because it took until 2002 for Mechagodzilla to be the only other kaiju/mech Godzilla interacted with in a film, and that has still only happened once since then.) Similarly, the first kaiju/mech to interact onscreen with both Godzilla and Kong was Gorosaurus, but the second one and first in an American film was Mechagodzilla, with Mothra next and Ghidorah and Rodan still not having achieved this. Despite making the least sense in the real world, a mechanical version of Godzilla has the smallest buy-in of any concept.

 

My own personal ranking based on enjoyment would be 1. Rodan, 2. Ghidorah, 3. Godzilla, 4. Mechagodzilla, 5. Mothra, but as I hope I have justified sufficiently, this is almost meaningless to say. If I do videos or later blog points following up on my Godzilla kaiju ranking, the most productive next step would be to rank the incarnations of each of the Big Five against each other, ranking the top 20 Ghidorahs for instance. And that should wait until after Minus Zero comes out for the sake of being thorough.

 

 

Expanding the Big Five into a Big 10 or Big 15 is something numerous people have tried to do, and I am still not sure that I have succeeded, but hear me out. Box office appeal is the primary metric for the Big Five, and so, logically movie attendance in Japan should be a consideration for expanding the Big Five, in which case the top 10 films are King Kong vs Godzilla (12.55 million), Godzilla 1954 (9.61 million), Godzilla Raids Again (8.34 million), Mothra vs Godzilla (7.20 million), Shin Godzilla (5.69 million), Ghidorah The Three Headed Monster (5.41 million), Invasion of Astro Monster (5.13 million), Godzilla Minus One (5.04 million), Ebirah: Horror of The Deep (4.21 million) and Godzilla vs Mothra 1992 (4.20 million) (https://www.reddit.com/r/GODZILLA/comments/1o75xmh/godzilla_series_japanese_box_office_charts/). 

 

In addition to the Monsterverse’s US and international appeal, KKvsG’s top placement means we can certainly keep Kong in the 6th slot, and while this list keeps Ghidorah, Mothra and Rodan pretty central, Anguirus’ debut film is in the top 3. I am hesitant to give Anguirus a slot here because he is not that popular in Japan (especially compared to Baragon, who, in turn, is less popular in the US), but he has been in as many films as Rodan and serves a similar role as “dinosaur inspired friend to Godzilla,” and he is the only one we can promote from this data. (For the American side of things, Anguirus has an almost cameo in the Monsterverse where a skeleton with his head appeared in Godzilla’s temple when it exploded, and Anguirus won the 2024 Toho Kingdom Hall of Fame vote, beating out Hedorah and Gigan.)

 

If we adjust and take out the films that only featured members of the Big Five, the top 10 films are KKvsG, Godzilla Raids Again, Ebirah Horror Of The Deep, Godzilla vs Destoroyah, Godzilla vs Spacegodzilla, Destroy All Monsters, Son of Godzilla, GMK, Godzilla 2014, and Godzilla vs Biollante, but GvB is about the point where we are getting into box office disappointments. This list confirms my other suspicion that the Son of Godzilla character, be it named Minilla or Godzilla Junior, is important glue in the franchise, so the 7th place spot I have earmarked for him stays (Anguirus being number 8). Put a pin in Spacegodzilla, Destoroyah, and Biollante for a moment; it makes more sense to get back to them after another Toho Kingdom indulgence. In a poll from 2020 with over 100 votes as to which kaiju should be considered the next five in a Big 10, Anguirus earned first place with 22 votes, Gigan second place with 20, Minya 12 (but Godzilla Jr 3 so our combined Son of Godzilla archetype gets 15), then Baragon with 11, Destoroyah 8, Biollante 7, and that is enough for the sake of this discussion. 

 

 

Gigan is another strong contender for a Big 10. He first appeared prominently in a film featuring King Ghidorah (though low attendance overall, it is the highest attendance of the Champion Fest era of the Showa series) and then got a direct sequel (kind of) and multiple appearances on Zone Fighter. The addition of Godzilla and Gigan together into Jet Jaguar vs Megalon and Zone Fighter indicates that, at least of the available suits, Toho considered them the quintessential hero and villain…for at least one year in the 70s. Gigan was prominent in Godzilla Final Wars, but there was no Heisei appearance, and the other continuities of Gigan have been in expanded multimedia material similar to Viras in the Gamera series. Still, multiple creatives working on the Monsterverse have voiced desire to bring Gigan into the universe, and the various repaints of Gigan are carrying the Godziburst toyline on their back, so the number 9 spot going to Gigan seems fair to me.

 

On April 10th, 2021, there was a Japanese popularity ranking, surveying modern favorites in the franchise. With 5730 votes and a two-week survey period, this is the most objective of the sources I have brought into this investigation today. The top ten films according to a modern audience (which should thus influence a modern Big 10) were Shin Godzilla (914 votes), Godzilla 1954 (662 votes), Godzilla vs Destoroyah (655), Godzilla vs Biollante (645), GMK (288), Godzilla Final Wars (274), Godzilla vs Mechagodzilla II (212), Godzilla Against Mechagodzilla (208), Mothra vs Godzilla (202) and Godzilla vs King Ghidorah (183). 

 

The Heisei series has been integral to Toho’s internal marketing of the character ever since they came out, and its new creatures Biollante, Spacegodzilla and Destoroyah deserve consideration for the last spot because even with no reappearances (yet), they have greater staying power than the Millennium kaiju (Orga and Megaguirus). GMK’s position vindicates Mothra and Ghidorah’s popularity, but also implicates Baragon as a profitable asset, and it is probably fairest to have Anguirus and Baragon share the number 8 spot, because where one is popular, the other is an afterthought basically. It is very difficult to narrow down who of the three Heisei kaiju should get that lost slot. The Monsterverse would otherwise be a kingmaker, but I do not really know if the confirmed impending revival of Spacegodzilla in Godzilla x Kong Supernova matters as much to the overall state of the franchise. Toho is introducing the eight new monsters this month before the new Spacegodzilla has the chance for so much as a trailer, and IF Toho truly does intend for the winner of the contest to be a new franchise mainstay, they would supplant Spacegodzilla here. 

 

Biollante and Destoroyah each have interesting rhetorical situations, Biollante being the result of a similar contest that actually also inspired the Ultra series kaiju Leogon, while Destoroyah was the (retconned) logical extension of the Oxygen Destroyer and also went through several drafts that would have seen him interact with Anguirus. Godzilla vs Biollante is consistently a critical darling in Japan and America, and I would give Biollante the edge just for having half the theatrical attendance of Godzilla vs Destoroyah but as much, if not more, staying power.

 

So, with these next five, I would rank them a little differently. Kong should really have his own ranking inclusive of his opponents, but Son of Godzilla includes Minya, the three different suits for Godzilla Junior, Zilla Jr, Godzilla Filius, etc, so that would be its own post or video, as would the different incarnations of Anguirus. I will just rank the rest now. I like Biollante more than Destoroyah, but then Gigan, Spacegodzilla, and Baragon.

 

There are, of course, a few more secondary kaiju in the franchise: Ebirah, Kumonga, Kamacuras, Hedorah, Jet Jaguar and Megalon had multiple appearances across films, series or official shorts. And Titanosaurus, Orga, Megaguirus, the MUTOs, Skar King and Shimo are still prominent in their own films. The tertiary kaiju and Toho expanded catalog would add Varan, Moguera, Oodako, the giant lizard, the Giant Condor, Shukra, Momagon, The Griffon, Sanda, Gaira, Frankenstein, and so, so many more. That would be its own video to parse. Let us know which of those you would like to see first (a video ranking the incarnations of Ghidorah, the same video but with a kaiju the caliber of Anguirus or a wild obscure ranking like what half of my Gamera kaiju picks were).

 

 

In the meantime, we have a new bottom eight with the potential of rising stars, so let us go through the new contenders, knowing that they will either rise to the top of our lips or die in obscurity like Firelion and Lightning Bug.

 

Though this post is technically more about grouping the different Godzilla kaiju than ranking them, I still did include my best guess of the order of importance of the Big Five as well as my own ranking of the major stars. As we know little about these new kaiju, the order of importance seems to be their billing on the website and the order their silhouettes were first revealed. This is like how, in my Gamera ranking, I had to rank Vaora, Sohra and Bodera fairly low, as I only had access to their designs in a still image. So, the objective ranking is Gigasecto, Candyroy, Gilx, Sagius, Xenolhu, Madomuh, Minacias and Rigedoh, but, for fun, I will introduce them to you in the opposite order.

 

 

Rigedoh is ostensibly a triceratops but resembles a roided up fusion of Godzilla Evolved, Shimo and the Ultra series kaiju Gomora. Rigedoh thawed out of ice, due to global warming, and went through an evolution into its final form, per the information provided on the election website. A whole movie’s worth of context already exists just leading up to Rigedoh using his Dino Trident energy move against Godzilla, so I voted for Rigedoh rather early on in this election process (the first block of voting allows one vote per day between September 16th and October 4th, at which point the top 4 advance to midterms). I like Rigedoh, and I could see him as a suit very easily, but I kind of hope he does not win. 

 

Still, we must recall that the most likely Godzilla for these kaiju to face is Burning Godzilla 2000, and I must admit that a jagged, spiky Burning Godzilla in black and orange would contrast nicely with a muscular, spiky white and pink triceratops. I also appreciate the recent trend of bringing herbivore kaiju into the fray with Therizirus in Ultraman Omega being a Therizinosaurus. I have not voted for Rigedoh a second time, but my second vote was for him.

 

 

My fourth vote overall was for the 48 meter ancient mecha Minacias, which resembles a thorny unicorn. Evidently, it was the peacekeeping guardian of an ancient prehistoric society that they used as a weapon, which wiped them out (bringing to mind Heisei Gamera and Gyaos). Upon its awakening, it passed judgement on modern day weapons testing, misconstrued Godzilla for a weapon of destruction and sought him out to make an example of him. In this case, it feels like the “movie pitch” here necessitates Godzilla, especially as its ‘Electric Damned’ unicorn electricity could beam clash with Godzilla and would effectively target the infrastructure Godzilla would not attack (siphoning energy from communication networks and causing total electrical gridlock). The spindly appendages make this difficult for me to visualize as a suit, but the silhouette is strong; of all the creatures here, I recommend flipping through the front, back and side profiles provided most of all.

 

 

I have joined consensus in declaring that Madomuh is the least unique, clearly just a copyright-able version of Cthulhu (Xenohlu, who we will get to, takes the concept of an eldritch horror interacting with Godzilla to a more fresh place), but Cthulhu vs Godzilla has always been a popular match-up that I would not mind seeing, and Toho inevitably was always going to make their own Cthulhu for this match-up to make money. Madomuh has arisen from the sea, following a period of dormancy, to re-establish itself as a ruler of earth. It can brainwash other lifeforms, is 50 meters tall (these new opponents range from 40 to 60 meters for the most part), and has a self-destructing mutagenic Grand Spore that can enter a creature to bring it under Madomuh’s control.

 

 

So far, Xenohlu is especially popular in the West, and even though I voted for it only third, this is probably my favorite to win and favorite overall. It has telekinesis, causes hallucinations and arrives, seeking out Godzilla out of a “sinister curiosity” about Godzilla’s atomic breath. This is easily the most bizarre and alien concept, as its Abyss Gaze uses a giant eye to override a person’s willpower and disintegrate them. Also, Xenolhu can fly by warping reality with his tentacles. This is almost too inventive to waste on a short film, but the odds of a feature film from a visionary director featuring this kaiju is next to nothing if he loses the poll I would think, so I still hope he wins. Starfish squid is how I would describe this design, and I think they could realize it in suitmation pretty similarly to Pestar from the Ultra series. The 58-meter height also makes Xenolhu more imposing than Madomuh, and the marquee value of “Godzilla vs Cthulhu" is present no matter which of the eldritch abominations wins this election.

 

Sagius is the other mecha, with the general shape being a cross between the Gamera monsters Iris and Legion, as is the centaur to Minacias’ horse. It was seemingly made to fight Godzilla and has drones that can come off its back as well as a variable maser attack from its chest or from its drones in an array. I would wish to actively campaign against Sagius making top 4, because it is a less cool version of the scrapped Asuka Fortress Mecha Mobile Facility with tentacles and smaller ancillary robots. I still voted for Sagius out of the interest of fairness, but I would not do so again.

 

 

Gilx feels like a Spacegodzilla offshoot concept, an extraterrestrial world destroyer that goes to earth to seek Godzilla’s energy (that already has Godzilla’s general build just with Ghidorah inspired features, in this case twin tails, and if he gets his hands on Godzilla’s energy, I suspect he would assimilate him further). Gilx’s goal with Godzilla’s energy is to destroy Earth with a beefed-up version of its Planet-Destroying ray. This is a cool enough monster and seems perfect for a short film (as opposed to a feature), but I find it weird to make Godzilla’s big 70-meter opponent that weighs over 40,000 tons only capable of destroying Earth by using Godzilla’s power. Godzilla’s victory would be ensured in the premise if his power exceeds Gilx’s already.

 

 

Though I cannot verify this, I have heard that Candyroy is especially popular in Japan, and I can see why. A Hedorah type creature composed of candy wrappers in this huggable exterior is the most “late Showa Ultraman” coded thing imaginable, and it satisfies the itch for Hedorah to return in a suitmation format while not making a CGI reimagination irrelevant. Candyroy is exceptionally weird. He looks like Alien Zamu but with a Hedorah skin texture and ranges from 0 to 55 meters. Like Hedorah, he came from space but assimilated an earthly pollution problem upon arriving. Still, like Hedorah, he seems to be a powerhouse, able to turn him body partially into particles to make a Particle Cannon shockwave or turn his arms into swords. Candyroy is neat, and I would like to see him in something. Now may be his best chance, but I figure if he makes it top four, he still has a chance to appear later on down the road.

 

 

Gigasecto was my first vote in this race, because I think he was one of the better concepts, and leading with him in the marketing tied my hands. If, after reading this whole article, Gigasecto still grabs you, then he has a unique appeal that could lead to him landing top 4. I certainly hope so, though he may be too close to Megalon (Megalon appeared in Gemstone’s Godzilla Day short in 2023, so we could do without Megalon lite this soon after). This is a detailed beetle design with six limbs and a tail, and he spent 65 million years feasting on nutrients in the Amazon rainforest before sensing Godzilla and becoming territorial. Like Megalon, his backstory could make him the lesser or greater of two evils, and if we are drawing from Megalon to make Gigasecto, I think it would be neat if Gigasecto and Gilx develop an inexplicable friendship. The Sonic Blade attack seems a little bit out there if it truly is a “vacuum blade that slices through spacetime,” but Megalon’s firepower was on par with that of King Ghidorah, so I should not complain too much. The four arms would make for interesting grappling choreography as well.

 

Well, that is the overview of the Godzilla kaiju as best as I can group them. Let us know if you agree with my drafts for the Big 10 and which of those Big 10 you would like to see ranked individually first. Also, let us know which, if any, of the new eight kaiju appealed to you in the comments below. Stay tuned for more kaiju coverage from a variety of angles in a variety of styles.

Part Three - A Nuanced Deconstruction of Godzilla x Kong: The New Empire

By Joe Gibson

The following is the third part of a larger Godzilla x Kong The New Empire review focused on act three.  You can read the first two parts here: https://planninecrunch.blogspot.com/2024/06/a-nuanced-deconstruction-of-godzilla-x.html and here: https://planninecrunch.blogspot.com/2024/06/part-two-nuanced-deconstruction-of.html

 

One-Eye reaches Skar King, who then mobilizes his army in the same amount of time it takes Trapper to examine Kong’s arm.  Trapper will then run to the HEAV, fly that to Outpost One, find Project Powerhouse, hook it up to a M.U.L.E., fly back in the M.U.L.E., hook Project Powerhouse up to Kong’s arm, evacuate the Iwi, fly back to Outpost One in the M.U.L.E. to retrieve the HEAV and then use that HEAV to find Vertacines and bring them back to Malenka in the same amount of time it will take Skar King’s army to go to Malenka.  Much of that happens after Suko sees Skar King and Shimo at the sinkhole.  That is bad.  It would be possible to re edit this to make more sense, but that did not happen.  I will not go over every moment that Skar King should have arrived, but just keep in mind that Jia has a costume change, the Iwi awaken Mothra, and Godzilla and Kong have a whole rematch as Skar King and his army cross a distance One-Eye could in the time it took Trapper to walk down to Kong and look at his frostbitten arm.

 

The novelization attempts to fix this pathing inconsistency by having the Iwi give Trapper an escort, but we have no reason to think that they would do anything except slow him down.  Within the Mothra temple ruins from earlier in the film, Trapper noticed that only the top steps were lacking moss, presumably due to use.  If the Iwi ever have any reason to leave the barrier of Malenka, it makes sense they would go as far as their irrigation system for water and also because that irrigation system leads back to their city if they get lost.  Whether or not you read into Trapper smelling rotting flesh in the tree mimic as there being previous Iwi prey caught in there, there is either no evidence the Iwi can navigate the flora fauna or evidence to the contrary.  Far more likely is a displaced Wartdog or any other animal is the carcass Trapper smelled, and, again as no one else smelled it, he might be psychic anyway. The novelization also lampshades the convenience of the armory being intact with an intact M.U.L.E. out front by having Trapper worry about it on the way over.  That does not fix that contrivance. 

 

I cannot tell which arm the blueprint of Project Powerhouse is supposed to be, so it may not be that they happened to make the correct arm needed so much as that they made both.  As for the material attributes of the Glove, Monarch would have been able to observe Kong’s ineffective punches against Godzilla and makeshift shields in the axe and that circular piece of building in Hong Kong, so there is not a great issue in the B.E.A.S.T. Glove being both a punch-enhancement and makeshift shield.  It is contrived that the Project Powerhouse B.E.A.S.T. Glove contains the necessary fluids to cure his frostbite, though, to be in best faith as possible, I will acknowledge that the only other time Monarch would have observed Kong near snow and ice was in Antarctica in GvK when they were confident he would not last long there (he did, in fact, start shivering very quickly), so it’s just an absurdly contrived failsafe rather than impossible.

 

I want to explain that there is a difference between Trapper, amid contrivances, bringing Project Powerhouse to Kong, and Nathan Lind in the previous movie detonating the last HEAV to revive Kong.  The latter came as the final escalation to a character arc based on attributes of the HEAV established at the beginning of the film, but the former comes in conveniently with very little buildup disconnected from any of the character arcs.  They are similar only in aesthetic and mark a noticeable downgrade from Wingard film to Wingard film.

 

In any case, the B.E.A.S.T. Glove and accompanying injections take Kong from a wounded, beaten animal back to a pumped up battle-ready warrior.  In the same way it got us on Kong’s side to see the Skar King win unfairly, it is very cathartic for the audience to see Kong returned to full health and strength, do better against Godzilla than before, and win the final battle against Skar’s forces.  That said, the arrival and utilization of Project Powerhouse this abruptly and riddled in contrivances weakens the structural integrity of those great moments.  This raises the question: would the film improve if Kong remained weakened through the end of the film?  In a way, this is almost the Titan Avengers or Justice League.  Skar King’s army would be an extraordinary threat for any individual monster, but Kong and Suko have already thinned out the available Red Stripes to a more manageable number with Evolved Godzilla and Mothra also available to help our good apes, this team-up stacking the odds against our villains and making the heroes look impressive.  Since Skar King is already weaker than Kong, a weakened Kong fighting him while Godzilla takes Shimo and Mothra keeps the other apes webbed up would carry more tension than the actual final fight in Rio (wherein during the scramble for the crystal, Skar King actually starts to strangle Kong, but the latter ape actually starts to get out of the chokehold, meaning he would have won regardless of Suko’s intervention) while circumventing the associated plot issues.  Trapper, as a simple Titan vet, could still just diagnose and attempt treatment of Kong to keep his character relevant (because of the previous gravity manipulation scenes, the Iwi organizing a makeshift sling for Kong would be feasible and help show this series’ previous theme of coexistence with the Titans).  Just because simple fixes are available does not mean we can afford to accept them, because the filmmakers chose not to implement them.

 

Kong goes to bring Godzilla down into the Hollow Earth, roaring at Godzilla, who hears it on Gibraltar, in Egypt.  Godzilla makes the trip to Egypt in record time, and they fight.  This would not make much sense without Godzilla King of the Monsters, which established Alpha calls by Titans can be heard across the world and that Godzilla uses a system of interconnected fast track tunnels to get all over the Earth quickly.  Just disregard that those tunnels were said to be the Hollow Earth in that film and that those tunnels have never showed up on the full Earth scans showing Hollow Earth.  Godzilla King of the Monsters underperformed in 2019, mostly due to the film’s competition, and, since Godzilla vs Kong was both in production at the same and incurred many reshoots, that film pivoted away from a lot of KOTM’s story beats.  I may write an essay about this eventually, but KOTM was full of incredibly ambitious concepts to put into the universe right before the team-up, so I find it forgivable that Wingard dropped them, especially because this new film is acknowledging them. 

 

As well as the aforementioned plot points, the KOTM “17 and counting” Titans are back including Mothra, Scylla and Tiamat (whose CGI model in this film originated in 2019), and the hints toward conflict between Monarch and the world’s governments are back (even though KOTM’s ending credits implied rather speedy resolution).  I am not sure whether or not it counts as a hint to the future of the franchise if the film is just paying lip service to previous sequel teases, but we should watch with interest in the upcoming seasons of the Apple TV+ spinoff shows and the movies to see if these ideas get further elaboration.

The fight itself is mostly well done with Kong fighting defensively and intelligently.  Both Godzilla and Kong knock each other out once and, the sand terrain saves Kong from getting his heart stopped by Godzilla stomping on him, and Mothra saves Kong from Godzilla’s atomic breath, appearing at the exact right moment.  Now, it took some time for Jia to recreate Mothra, with the bug seemingly rematerializing out of energy (the last time we had seen full-sized Imago Mothra she had dematerialized into energy to give Godzilla his Burning power-up, so not following up on the very minor KOTM end credits Mothra egg tease is forgivable), but I think it is strange that they took the time to dress Jia in Iwi garb before resurrecting their Goddess. Was it really part of the prophecy that the Iwi girl from Skull Island (undoubtedly a slightly different culture based on how long they’ve been separated) would have to fully assimilate the Hollow Earth Iwi before she could raise Mothra? Kong almost dies because Mothra did not get there sooner.  Once she is there, the three monsters stand together, making a tripartite pact against the Skar King.  There has been some confusion about the subtitle of this movie: The New Empire.  The ape kingdom is neither new, nor an empire.  It is this alliance here: Godzilla, King of the Monsters, Mothra, God Queen of the Iwi and Kong, eventual King of the Apes all aligned together.  And, of course, while we are here, people complain that Godzilla is only looking at Jia, not Mothra, when he and Mothra have deep relationship in this universe.  Godzilla does actually squint and look at Mothra after recognizing Jia, but Godzilla also had a connection with humanity in KOTM that other fans complain this movie ignored, so I am forced to conclude that to a certain extent and not even because of this film’s flaws, people will complain about it no matter what it actually does.

 

Bernie explains the Iwi gravity manipulation, and it seems feasible the way he says it.  A human society left alone long enough with gravity oddities would find a way to harness them (especially since for the past recorded history, Mothra would have been on the surface in stasis, unless this is a different Mothra, which we have no reason in film to believe).  Even so, there are larger issues with the film.

 

Skar King finally reaches Malenka and has Shimo destroy part of the organic barrier. To buy everyone time, Trapper has brought a herd of Vertacines with the HEAV, and they emerge from somewhere in Malenka.  I do not know how Trapper brought them through the organic barrier, given that both they and the barrier are bio electric.  I can only assume he navigated them through whatever hole he would have made with the M.U.L.E. (however, there is nothing at all to suggest that the Iwi didn’t just open it for him with the wheel with the B.E.A.S.T. Glove, and they cannot have done that now since Malenka is being evacuated, taking us right back to the question of how this happened).  The Vertacines are effective, but animal lover Trapper has just murdered a large population of animals by putting them up against Shimo.  There is no sense of regret for doing this, and he just continues to quip, ever the fun character.  So, at this point, I will say it.  Trapper isn’t just “not a serious person,” he is not a person.  His established attributes are expressed inconsistently, simply to keep a sense of fun in the film.  He has no arc to ground our perception of him in a lesson, and he cannot represent a wholly good paragon or mentor character because of his moments of irresponsibility that betray his character, such as the mosquito and these Vertacines.  He is arguably the worst character in this film, and it’s not necessarily close either.  Dan Stevens is a good actor with a good rapport with Adam Wingard and the rest of the cast; I just hope his writing can improve if he ever comes back. 

 

Because humor is entirely subjective, the way that I evaluate comic relief characters is if their actions and dialogue naturally come from their characters and are things they would say and do based on what we know.  Bernie is a consistent character in that he primarily reflects his conspiracy interests but also can express other emotions the way a human would (it also helps that Brian Tyree Henry based a lot of Bernie’s character on Adam Wingard’s style and mannerisms, so even the subtle parts of Bernie’s characterization have some thought behind them); whereas, I still cannot tell you what Trapper knows about the creatures he loves, how much he values them and how much that changes his actions.  Based on the idea of Trapper as the animal lover with a vested interest in Hollow Earth who knows the HEAV controls and also might have some psychic powers, he should have stayed in Malenka, while Bernie, the guy only down here to bring back proof for his blog and who has been consistently uncomfortable with the flora, fauna and even Malenka, should have been the one to leave at the end of the film (as I’ve alluded to earlier, Bernie has some semblance of the first two thirds of an arc where he realizes he doesn’t have to provide proof for his blog and becomes enamored with Malenka’s gravity manipulation, but it does not finish, meaning he remains the character that would be most likely to leave).

 

The gravity trap activates, and Kong, Shimo, Skar King and Godzilla are all thrust around.  The HEAV also malfunctions, and Trapper has a very imprecise reaction to what has actually happened to the point where I question whether or not he is skilled enough at flying the HEAV for these scenes to work.  Nathan Lind was able to fly HEAVs in the previous movie because he had been studying Hollow Earth entry as his life’s work, and he does not pull off time sensitive maneuvers.  Trapper is a dentist, who should not have even entered Hollow Earth before, least of all have a dedicated seat in the HEAV for him to control the biomimicry.  (As for how he flew the HEAV and flipped the biomimicry switch in the backseat at the same time, it is not impossible, just something that would take more time than it is given.  The editing solution is to have his Vertacine save come much later in the anti-gravity fight.)

 

Godzilla swims through the air, which makes sense (Wingard’s Godzilla crawled like a crocodile at the end of GvK; he would thrive in a simulated ocean environment).  He smacks apes with his tail (the same tail that has evolved to have Stegosaurus-like thagomizers.  This would have been the opportunity to show those off, and the film did not).  We see Kong and Skar King figure out how to fight here, and Mothra webs up apes and saves the HEAV crew.  Now, there is no indication that any of the three apes she webs are supposed to have died. (Unlike the disappearing ape from the 4 v 1, there is no indication they would be able to break out of Mothra’s webbing.  King Ghidorah only could by having the head that got the least of it start unraveling the webs, and, even then, Godzilla still had to barrel through the building he was webbed to.  The other apes are much weaker than Kong to the point where a single point blank punch could knock a guard out in act two, and Ghidorah is stronger than Godzilla, who is stronger than Kong.)  One-Eye and Suko square off, and One-Eye is implied to die because when everything starts falling, Suko kicks him underneath a very large crystal that may or may not also be falling (even if that crystal was stationary, they are higher up than the other apes were with debris falling around them).  Shimo freezes Godzilla, and Mothra saves him, the two female monsters acting according to their best interests and Godzilla for some reason not spamming his beam.  For some reason, everything is falling slowly, so I doubt anyone is falling fast enough to inherently kill them via terminal velocity because our four lead monsters are able to swim through the vortex.

 

The monsters land in Rio, where Skar King and Shimo make it out first and start attacking.  The surface is too bright for Skar King’s cataracts, so he orders Shimo to block it out with a storm.  Godzilla and Kong arrive shortly after, and the fight is mostly Skar King vs Kong and Godzilla vs Shimo with Skar King occasionally using Shimo to get Kong on the backfoot.  Shimo swings Kong around and throws him more powerfully than Godzilla did in Hong Kong and yet Kong’s shoulder is not dislocated this time.  There is an excuse for why Godzilla chest stomping Kong in Egypt was not as effective as it was in GvK (sand as a softer terrain), but there is no such apologetic here: the monsters are not being treated with the same weight of GvK anymore (a film where Kong could jump between naval vessels). At one point in the fight, Godzilla runs through a building to tackle Shimo, and, even one film ago, going through buildings hurt Godzilla substantially but not anymore.  Godzilla, in this film, is generally impervious, meaning the stakes are somewhat lacking in all of his fights.  The film will actually show Godzilla knocked out in a moment, but it is not the focus of the scene and is not treated with more weight than his Egypt knockout to the B.E.A.S.T. Glove.

 

Shimo knocks Godzilla out by throwing him very far, so the B.E.A.S.T. Glove has to hold off Shimo’s ice breath until Godzilla wakes up and destroys the whip holding Shimo’s control crystal.  I am not convinced the glove would do better than the axe at protecting Kong, but that is what the film decided.  Based on what we can see, the glove has a lot of exposed areas, and metal itself should not do that well against cold.  There is a potential fix: when Trapper put in Kong’s tooth replacement, he talked about the strength of it being great because it was made of the same material as the vehicle heat shields.  It is very strange to me that they would design a tooth with that great of an insulator and not the glove.  If Trapper would have namedropped Project Powerhouse alongside the vehicle heat shields, that would have both given the exposition that Powerhouse exists to Trapper’s knowledge (if you add in an awkward look from Andrews towards the Vortex, also the knowledge that it is in the Hollow Earth and everyone else is more reticent than Trapper with it) and given relevant feats to the B.E.A.S.T. Glove.  Again though, it is not our place to write the film for the writer, and having Kong’s part of the final battle consist of the weapon he logically should not have received hold off the weapon that previously hurt him to a sustained degree that should be impossible rather than having Kong use his intelligence once again is contrived and actually very lazy.  I think most of the complaints against this fight are mere matters of opinion, but it does not live up to the potential of the previous fights in this film and franchise, when it easily could have been the best.

 

Skar King evades Godzilla similarly to Kong in Hong Kong, and he is very expressive when he gets his crystal back.  Suko, using Kong’s axe, is the one to destroy the crystal, finally defeating the regime that stifled and abused him.  Skar King goes right back to abusing Suko by strangling him, so Kong saves Suko, Shimo freezes Skar King, and Godzilla clears away all of Shimo’s ice with a very warm beam.  Now that the crystal is gone, it is worth saying that it needed to be better explained.  A weaker villain having a crystal that controls a dragon is a well-established trope, but in a story where said crystal is the only reason the villain wins the early encounters and is a significant part of the final fight, its parameters needed to be better established. 

 

I have not seen people make the following argument for the crystal, but I think it is inevitable, so I will address it here.  If a later film is so inclined to explore and explain this crystal, those explanations will not fix the issues with this film.  That seems obvious to me, but I also have an example.  The Heisei Gamera trilogy is regarded as the best kaiju trilogy ever made, but the second film abruptly introduces a new power for Gamera to win against Legion at the end.  Technically, the film’s context allows for that to be less damaging than the crystal here, and the third film devoting a good deal of time for that explanation keeps the trilogy’s worldbuilding intact, but on a film by film basis, it is a massive Deus ex Machina and blemish on an otherwise perfect script there.  If a later film explains the Shimo control crystal, that will help the larger Monsterverse, not this film. 

 

I have alluded to the Monsterverse’s worldbuilding and lore consistently being inconsistent as both caveats attached to praise and deflections of criticism for this film and think the topic deserves its own essay, but, basically, the retcons from film to film have sometimes stacked in improbability and other times undone each other.  There was already a systemic problem before this movie, so, while it makes the movie slightly worse, it would be unfair to emphasize it here, except insofar as some of the retcons here are worse than prior examples.

 

Kong returns to the ape kingdom, Suko finally has a smile on his face, and Shimo is no longer going to be abused.  Boots looks at his new king.  I would like to reiterate here that the minimalist aesthetic of the ape kingdom works if these other apes are meant to be less human than monkey (though Kong, at this point, is basically an absurdly large Australopithecine).  It also presents the possibility for contrast later if their culture develops under Kong, but that would raise sizable questions as to why culture did not under Skar King however long they were down there.  It will take either subsequent installments or deeper analysis than mine to come to a conclusion on whether or not this is an acceptable plot point.  If Boots is the standard average of these Hollow Earth apes, following films should flesh out his capacity for intelligence.  It also would be nice for Kong to have an ally outside of Suko in the kingdom, especially one that would have an interesting dynamic with the former guards if he gets a boost in the hierarchy.

 

Regardless, Kong’s journey was, overall, well done in this universe.  In Kong: Skull Island, he conquered the loneliness of being the last of his kind by protecting the Iwi.  Then, he lost the Iwi except one and fought to protect her, finding relics of his people, then spending all of his time searching for them until he found them, and they attacked him.  He fought tooth and nail not only to liberate his people but also redeem them by putting up with Suko’s assassination attempts because he legitimately wanted to help that child and the rest of his people.  Both of Wingard’s films especially have leveraged the inherent sympathy we get for seeing a benevolent humanoid character get hurt while chasing good goals in Kong.

 

Godzilla meanwhile returns to Rome to sleep, Mothra goes deeper into the Hollow Earth after repairing the organic barrier, and Trapper takes the HEAV and leaves Andrews, Jia and Bernie in Malenka.  Andrews is finally willing to give up Jia to the Iwi, but Jia, after this cathartic experience, thinks she can handle life with Andrews.  I am not sure why they stay in Malenka, but they do not get on the HEAV with Trapper, so how long they will stay down there is unclear.  People say that their subplot lacks stakes because there was not sufficient conflict for Jia against Andrews or cost for either of them staying or leaving.  That is wrong on both counts. 

 

The subplot’s focus is not on Jia but Andrews and her uncertainty in dealing with Jia’s worsening assimilation when Andrews is technically an outsider to Jia’s culture, adopted Jia in traumatic circumstances unexpected for both, learned Jia was keeping secrets about Kong’s sign language previously, left the Hollow Earth between films where Jia was happy to live with and study Kong, witnesses Jia spiraling out of control even with Andrews doing the best she can, and watches Jia finally at ease with the Iwi.  To say that this arc does not work because the characters are not in greater conflict is the same kind of logic that Godzilla Minus One does not work because Noriko does not take a stand against Shikishima’s treatment of their cohabitation.  There is more than one way to write a character arc; the issue with this one is Andrews’ passive nature and constant retcons to what the Iwi culture was originally.  As for the consequences, Andrews is, for reasons I still do not understand, staying down in the Hollow Earth where they cannot contact Monarch when Andrews is the main PR presence in Monarch, and the world governments will have massive issues with Monarch and the lack of Hollow Earth regulation.  Andrews just chose Jia over the entire world, and that has nothing to it except consequences.  Following films really should address it, and they don’t even need Andrews on the surface to do it: just have the governments decide to take greater action against Hollow Earth and Titan neutrality, which seems to be where the series would be going anyways after Monarch failed to evacuate Egypt and Rio.

 

While there are great moments within this final act, the overall contrivances weigh down its score considerably.  I would rate this at 3 out of 10, which brings the average score of this film a 5 out 10.  I think that is fair, but I would also be willing to go down to a 4.  The film need not be perfect for me to enjoy it, and it also need not be the worst or best film ever for its flaws and merits to matter.  Of the Monsterverse films, this is probably the low point in writing overall and yet also a high point in characterization for including Kong and Suko.  At the same time, this film had the best box office worldwide of the Monsterverse, so the momentum can carry this onward to new films.  Whether they will improve or double down, we shall see.  After Godzilla vs Megalon and Godzilla vs Mechagodzilla (1974), we got Terror of Mechagodzilla, and, after Godzilla vs Spacegodzilla, we got Godzilla vs Destoroyah.  It is entirely possible for this franchise to bounce back into better consistency, and I will watch and wait.

Edit: 7/3/2024.  The actual review is over.  I alluded to the confusing nature of what is backstory for this film and the rest of the Monsterverse based on how little this film gave us.  It turns out expanded material related to the film has given us a little more.  We should not have to rely on outside material to understand a film.  If you are uninterested in reading me try to piece together the Monsterverse timeline briefly, you do not need to read this part.

Apparently, from guidebooks and the Artbook for Godzilla x Kong, the intended explanation of events was that Godzilla beat Shimo 1,000 years in the past after she tried to destroy Malenka, trapping her down in the Hollow Earth in such a way she was restrained so that, Skar King could then, after also getting trapped down there in some nebulous time, remove a crystal from her (since the novelization indicates that is where the control crystal came from).  Because none of this is in the film (and the film itself both implies Skar King didn't have Shimo when Godzilla fought the apes in dialogue and that he did through the drawing showing him brandishing his whip the same way as in modern day in the ancient battle), the confusion I demonstrate in this review is valid, and I will not remove that speculation and analysis, since this version of events also has problems.  

Shimo is most likely supposed to have either directly or indirectly frozen King Ghidorah in the ice we find him in at the start of KOTM.  Like the crystals as a light source, that was an idea Wingard's team had and dropped late into the production, but it still probably should be counted as intent.  That finally places the ancient Ghidorah events most likely before the ancient rivalries with the apes (the implied multiple Godzillas vs multiple Kongs in GvK and shown one Godzilla vs many apes in GxK, most likely meant to be the same event now based on Skar King's familiarity with the Godzilla dorsal fin Axe Kong found in the previous film).  If it really only one was Godzilla against all of those apes (and also against Ghidorah), the mutual destruction of the Godzilla species and MUTO species that serves as the backstory for Godzilla 2014 would happen before any of that (I hope you understand my previous comments about how confusing and inconsistent the Monsterverse has always been in lore and worldbuilding).  Godzilla had an ancient society worshipping him that we see the ruins of in KOTM, and now it seems he also protected the Iwi in Hollow Earth.  This is a lot of protecting of humanity for Godzilla to be doing before Skar King wages war on the surface world (since, remember the Iwi lore in GxK is that the apes were the guardians of humanity until that happened), so that already is strange but it gets worse.

If expanded material is on the table and crucial for this film, then we have to look at the prequel comic Godzilla Dominion, and these pieces will stop fitting.  In that story, Godzilla had a previous home wherein a similar, maybe offshoot society worshipped him (the abanoned art is very similar to the KOTM temple).  Another ape, nicknamed The Rival beat him up and took his home.  This is said to be a part of Godzilla's youth, so it would be very strange for this to happen after Godzilla defeated Ghidorah in ancient times, but we are given no information on why The Rival was there.  The only reason we can even guess that The Rival would be outsed is if Skar King took control, and The Rival took on a Kong in Act Two of GxK role of failing to beat Skar King and barely escaping with his life.  (Of course, that only happens in GxK because Skar King as Shimo, and he would not yet, so this relies on Skar having a physical prime we never see.)  That is potentially fine if Skar King was working on building the Godzilla axes while everything else went down, except insofar as Skar King's age.  Shimo can't be trapped until 1000 years before GxK, which is also after Godzilla is capable of defeating creatures as strong as Shimo and Ghidorah.  Kong went from a teenager to middle aged between 1973 and 2024 (and started to gray in fur by 2027), meaning despite the fact that Skar King is framed as quite old in GxK, it is impossible for him to be old enough to kick out The Rival before Shimo attacks Malenka (but Skar King has to be the ape that turned the others to conquest from being protectors of humanity).

The only timeline I can make would go like this.  The Titans are the guardians of nature and Apes are protectors of humanity, distant past.  The MUTOs and Godzillas wipe each other out.  Some circumstance arises where Godzilla is directly worshipped by multiple groups of humanity, and a Kong invades his place of worship, which becomes ruins.  Skar King arises and should live and die in the time it takes for Godzilla to mature from being beaten by an ape to beating Ghidorah and Shimo around 1000 years ago (something needs to have happened about the apes protecting humanity since Godzilla is the one doing it now).  Skar King and company need only find one Godzilla corpse to design all of the axes and build the throne room above the Hollow Earth energy source (but Godzilla being down in the Hollow Earth activately defending against threats mean that it is a very short timeframe he will allow that, since he can sense every moment those axes are charged).  That fight has to happen, and the best faith assumption is that this all is happening in modern history just under the surface of the Earth, again, otherwise Skar King would live and die many times before this film, so that the Kongs and Iwi that get displaced to Skull Island can be as recently as possible (this also does not work with expanded material pertaining to Kong Skull Island but seems possible based on the Godzilla vs Kong novelization).  

Godzilla then has to dump Skar King in a pit where Shimo is restrained, not the apes.  I talked in the review about it making sense to drop the apes into a Shimo pit where they will not survive, but he actuallly restrained her, allowing Skar to take a crystal from her and control her.  This is strange.  Even though Shimo was a destroyer by nature, if we take into account Dominion and the end of GxK, he has leniency for destroyers (he helps out destroyer cephalopod Titanus Na Kika, and of course lets Shimo go after her control is broken).  That seems like the opposite of what he should have done, since, outside of one attack on Malenka, Shimo was an incidental ally, freezing Ghidorah, while Skar King and the apes would not only resemble the rival he hates but have harnessed weapons of at least one fallen Godzilla (technically, the set that made the axes could be Godzilla's own, but then he would have even more reason to kill them).  This is the most workable order I can contrive, but Legendary would need to make the appropriate retcons or make a Monsterverse film that references no ancient backstory.

While this is all a mess, adding back in the prequel comic Godzilla Dominion mitigates one perceived issue with Godzilla x Kong The New Empire.  In that comic, Tiamat nearly kills Godzilla after he tries to go back to the home The Rival destroyed (the reason he is finally going back is that his KOTM home got blown up in that film). Tiamat also looks different once she reappears in GxK, meaning that from Godzilla's perspective, she was already evolving in her GxK home, meaning she was most likely planning on a rematch.  People complain that Godzilla kills Tiamat in this movie, but, from every angle, it is the kind of thing he would justify without character assassination, especially because she came the closest of any KOTM lesser Titan to killing him.

As I have been implying, this mess is not solely because of Godzilla x Kong but the entire Monsterverse adding things that would have been impossible in the world of Godzilla 2014 and never officially reconciling them.  Consequently, it has been best to ignore the novelizations and prequel comics and just focus on the films.  But since this film makes that impossible with cut content, then it should hold up to all of it or at least as much of it as possible.