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Director Ishir Honda and tokusatsu director Eiji Tsuburaya's 1954 film Godzilla is often regarded as the first kaiju film. Kaiju characters are often somewhat metaphorical in nature; Godzilla, for example, serves as a metaphor for nuclear weapons, reflecting the fears of post-war Japan following the atomic bombings of Hiroshima and Nagasaki and the Lucky Dragon 5 incident. Other notable examples of kaiju characters include King Kong, Rodan, Mothra, King Ghidorah and Gamera. Directors Ishir Honda and Eiji Tsuburaya drew inspiration from the character of King Kong, both in its influential 1933 film and in the conception of a giant monster, establishing it as a pivotal precursor in the evolution of the genre.[2]

The 1925 film The Lost World (adapted from Arthur Conan Doyle's 1912 novel of the same name), featured many dinosaurs, including a brontosaurus that breaks loose in London and destroys Tower Bridge. The dinosaurs of The Lost World were animated by pioneering stop motion techniques by Willis H. O'Brien, who would some years later animate the giant gorilla-like creature breaking loose in New York City, for the 1933 film King Kong (1933). The enormous success of King Kong can be seen as the definitive breakthrough of monster movies. This influential achievement of King Kong paved the way for the emergence of the giant monster genre, serving as a blueprint for future kaiju productions. Its success reverberated in the film industry, leaving a lasting impact and solidifying the figure of the giant monster as an essential component in genre cinematography.[2] RKO Pictures later licensed the King Kong character to Japanese studio Toho, resulting in the co-productions King Kong vs. Godzilla (1962) and King Kong Escapes (1967), both directed by Ishir Honda.

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Yoshir Edamasa directed The Great Buddha Arrival in 1934. Although the original film is now lost, stills of the film have survived, and it is one of the earliest examples of a kaiju film in Japanese cinematic history.[12]

Ray Bradbury's short story The Fog Horn (1951) served as the basis for The Beast from 20,000 Fathoms (1953), featuring a fictional dinosaur (animated by Ray Harryhausen), which is released from its frozen, hibernating state by an atomic bomb test within the Arctic Circle. The American movie was released in Japan in 1954 under the title The Atomic Kaiju Appears, marking the first use of the genre's name in a film title.[13] However, Godzilla, released in 1954, is commonly regarded as the first Japanese kaiju film. Tomoyuki Tanaka, a producer for Toho Studios in Tokyo, needed a film to release after his previous project was halted. Seeing how well the Hollywood giant monster movie genre films King Kong (1933) and The Beast from 20,000 Fathoms (1953) had done in Japanese box offices, and himself a fan of these films, he set out to make a new movie based on them and created Godzilla.[14] Tanaka aimed to combine Hollywood giant monster movies with the re-emerged Japanese fears of atomic weapons that arose from the Daigo Fukury Maru fishing boat incident; and so he put a team together and created the concept of a giant radioactive creature emerging from the depths of the ocean, a creature that would become the monster Godzilla.[15] Godzilla initially had commercial success in Japan, inspiring other kaiju movies.[16]

The term kaij translates literally as "strange beast".[17] Kaiju can be antagonistic, protagonistic, or a neutral force of nature but are more specifically preternatural creatures of divine power. Succinctly, they are not merely, "big animals". Godzilla, for example, from its first appearance in the initial 1954 entry in the Godzilla franchise, has manifest all of these aspects. Other examples of kaiju include Rodan, Mothra, King Ghidorah, Anguirus, King Kong, Gamera, Daimajin, Gappa, Guilala, and Yonggary. There are also subcategories including Mecha Kaiju (Meka-Kaij), featuring mechanical or cybernetic characters, including Moguera, Mechani-Kong, Mechagodzilla, and Gigan, which are an offshoot of kaiju. Likewise, the collective subcategory Ultra-Kaiju (Urutora-Kaij) is a separate strata of kaij that specifically originate in the long-running Ultra Series franchise but can also be referred to simply by kaij. As a noun, kaij is an invariant, as both the singular and the plural expressions are identical.[citation needed]

This created yet another splinter, as the kaijin of Super Sentai have since evolved to feature unique forms and attributes (e.g., gigantism), existing somewhere between kaijin and kaiju.[citation needed]

Toho has produced a variety of kaiju films over the years (many of which feature Godzilla, Rodan, and Mothra), but other Japanese studios contributed to the genre by producing films and shows of their own: Daiei Film (Kadokawa Pictures), Tsuburaya Productions, and Shochiku and Nikkatsu Studios.[citation needed]

Eiji Tsuburaya, who was in charge of the special effects for Godzilla, developed a technique to animate the kaiju that became known colloquially as "suitmation".[18] Where Western monster movies often used stop motion to animate the monsters, Tsubaraya decided to attempt to create suits, called "creature suits", for a human (suit actor) to wear and act in.[19] This was combined with the use of miniature models and scaled-down city sets to create the illusion of a giant creature in a city.[20] Due to the extreme stiffness of the latex or rubber suits, filming would often be done at double speed, so that when the film was shown, the monster was smoother and slower than in the original shot.[14] Kaiju films also used a form of puppetry interwoven between suitmation scenes for shots that were physically impossible for the suit actor to perform. From the 1998 release of Godzilla, American-produced kaiju films strayed from suitmation to computer-generated imagery (CGI). In Japan, CGI and stop-motion have been increasingly used for certain special sequences and monsters, but suitmation has been used for an overwhelming majority of kaiju films produced in Japan of all eras.[20][21]

Kaiju are typically modeled after conventional animals, mythological creatures, and sometimes even plants; though, there are more exotic examples. Chjin Sentai Jetman features monsters based on traffic lights, faucets, and tomatoes; Kamen Rider Super-1 includes a whole army of monsters based on household objects such as umbrellas and utility ladders. While the term kaiju is used in the West to describe monsters from tokusatsu and Japanese folklore, monsters like vampires, werewolves, Frankenstein's Monster, mummies and zombies could fall into this category (Frankenstein's Monster was once a daikaiju in the film Frankenstein vs. Baragon, which was produced by Toho). Kaiju are sometimes depicted as minions serving a greater evil. Some kaiju are elite warriors which serve as the right-hand man to the greater villain and are destroyed by the heroic forces. Others have a neutral alignment, only seeking to destroy buildings and other structures. During the early eras of tokusatsu, "heroic" monsters were seen in daikaiju eiga films, and it wasn't until later when television tokusatsu productions began using kaiju which aided the hero, saved civilians, or demonstrated some kind of complex personality. These kaiju adopted many classic monster traits, appearing as the "misunderstood creature."

In the films of Legendary Pictures' Monsterverse, kaiju are referred to in English as Titans. According to Godzilla: King of the Monsters director Michael Dougherty, "Titan" is a translation of "kaiju" and the terms are synonymous and interchangeable.[1] As such, the movie's Japanese dub uses "kaiju" in reference to the Titans. The organization Monarch classifies unidentified Titans as Massive Unidentified Terrestrial Organisms (MUTOs) before they receive official designations from Monarch and are denoted as Titans.[2] The two MUTOs which fought Godzilla in 2014, however, never receive names of their own outside of the generic "MUTO" designation.

Though their bodies breakdown fast, kaiju organ harvesters always move in quickly to harvest Kaiju parts to collect for themselves and sell on the black market. According to Hannibal Chau, every body part of a Kaiju is usable; even Kaiju excrements has a practical purpose.[3]

So I went to a locals. My opponent had zexal and removed material and activated his effect. With a Kaiju in hand I kaiju zexal. He told me I couldnt but I was like why not. One of his buddies tried to side with him but 2 other people sided with me. He went ahead and let me kaiju, I then normal summon and passed turn since I was still under the card's effect. Was I wrong because I though Kaiju was not an activated effect.

If kaiju is allowed can someone help me with the practical way to explain

I understand that you can special summon a kaiju card to the opponent's side of the field by tributing one of their monsters (which can be powerful), but then they could use the kaiju monster against you until it's destroyed, no? Which is something you obviously don't want.

From this point onwards, sci-fi movies that similarly focused on the havoc created by giant creatures adopted the term kaiju as a descriptive term. Godzilla, which was released in 1954, was one of the first to do so, directly inspired by the way that the movie The Beast from 20,000 Fathoms was presented to Japanese audiences.

Hi all, I am a post-doctoral fellow from India. When I am running kaiju through command line interface, the process gets killed at the Running kaiju step. Until this step, everything is alright. I am not getting output exactly at this step and the process gets killed at this step. Why is this happening? Is this because of less RAM capacity? We are using a system with 4GB RAM processor and 1TB hard disk storage. Kindly reply. Please somebody help. ff782bc1db