Godzilla's Legal Defenders

by Armand Vaquer

Above, former Toho-L.A. General Manager Masaharu Ina and Armand at the Godzilla statue in Hibiya in February. The good working relationship between fan groups and Toho began under Ina's tenure as general manager. 

Here's a story that fans of Godzilla are familiar with. Or should be.

The article from the Japan Times is on the team of lawyers that Toho Co., Ltd. enlists to protect the Godzilla (and related creatures) trademark against bootleggers and companies who try to use Godzilla's image in advertising and other unauthorized ventures.

The article begins with:

LOS ANGELES – He spews radioactive fire, razes cities and pummels creatures from Earth and beyond, but even Godzilla needs a good lawyer sometimes. After all, you don’t survive 60 years in the movie business without taking some fights to court. 

For decades, attorneys acting on behalf of Godzilla’s owners, Tokyo-based Toho Co., have amassed a string of victories, fighting counterfeiters and business titans such as Comcast and Honda along the way. The opponents have come from all corners of pop culture: TV commercials, video games, rap music and even the liquor industry. 

The litigation has kept Godzilla’s brand thriving and helped pave the way for commercial and merchandising tie-ins that will accompany the monster’s return to the big screen on Friday after a 10-year hiatus. Godzilla’s image is for sale, but permission is needed.

Back in the days when I was associated with G-FAN magazine, I made it a point to consult with Toho's Los Angeles office to make sure that what we did on different things didn't infringe on their trademarks. This was started while Masaharu Ina was Toho's Los Angeles General Manager. In this way, no toes were stepped on and Toho appreciated the the gesture. If they a problem with a certain aspect, they would suggest changes. We had an excellent working relationship, even though, officially, Toho has a policy of not sanctioning fan activities. But they were helpful whenever they could. Prior to this, there existed some friction between Toho and various fan leaders (some of whom seemed to want to pick fights with Toho). Cooperating with Toho had paid off many times.

To read the full story, go here.

Godzilla "Concept" Art: Nothing To See Here, Folks!

by Armand Vaquer

These images purported to be "rejected concept designs" for the Legendary Pictures/Warner Bros. Godzilla are making the rounds over the Internet.



Sites such as Shock Till You Drop, Dread Central and others have posted articles proclaiming that these are "the real deal" and, also, citing G-Fan as the source.

From Dread Central:

The images popped up in the latest issue of G-Fan. It should be noted these concepts were rejected, but at least they offer insight into which direction they're looking to go. Thankfully it's the right one!

Unfortunately (or fortunately, depending upon one's point-of-view), the images are fan-art drawings. They are not rejected concept drawings.

"Monster Attack Team" No. 8

Above, the cover of "Monster Attack Team" #8.

by Armand Vaquer

There's a "new" magazine that's just been announced: Monster Attack Team (issue #8). The folks behind MAT describe it as "the seminal magazine devoted to Japanese monsters and super-heros." It is an old 'zine with a fresh perspective.

From the photos at the magazine's website, the graphics and layouts in the magazine shows an exciting flair. There's nothing stodgy-looking about it from what I can see.

Also, the list of articles indicates that the magazine is presenting a variety of topics by different contributors from Godzilla to Ultraman, instead of being dominated by one or a few. Many Japanese science-fiction and fantasy film historians of note are contributors to this issue.

The list of articles (from their website) include:

Go Go Godzilla
Patricia Rodriguez parties kaiju-style in Dallas, Texas.

Monster Toy Madness
Japanese style toys are the big thing for sculptors.

The Last Showakan Picture Show
August Ragone looks back with fondness of the end of a cinematic era.

Big Man Japan
Mini review by Steve Norwood.

Kikaida 01
David McRobie provides an overview and episode guide to the classic Toei tokusatsu series.

Kamen Knowledge
Who was that masked cricket motorcycle man? August Ragone knows!

Godman and Greenman
Mike Bianco explains how Toho kept school children occupied for five minutes at a time in the 1970’s.

Working Among the Monsters
Would you like to have Ultraman as your boss? Brad Warner did, and made it happen.

The Fantastic Cinema of Kinji Fukasaku
M.G. Keller gives an overview of the director’s sci-fi and fantasy films.

The Ultraman That Almost Was
M.G. Keller, Don Glut and Alex Wald provide insight into a fascinating project that never saw the light of day.

The Selling of Japanese Science Fiction
Ed Godziszewski shares knowledge and visuals of fantastic Japanese film posters and advertising.

The Last Dinosaur
Stuart Galbraith IV talks about the latest DVD release of the 1970’s Tsuburaya telefilm.

Tik Tak Talk
Lock up your daughters and brush up on your boxing. Tak Sakaguchi is in town, and M.G. Keller has an exclusive interview with him.

Putting Faces To Names
We enjoy their movies, but could we pick them out in a crowd? David Milner could, and gives us a visual reference to do so.

Wataru Mimura and Hiroshi Kashiwabara
MJ Simpson provides an interview with these two Godzilla screenwriters.

Jail Time
Jail O’Hashi is the guitarist for rock band Seikima-II. Edward Holland has a chat with Demon’s right hand axe-man.

Shut Your Venus Flytrap!
Think you’ve seen it all? How about a Japanese monster movie made by the US military and written by Ed Wood? Dr. Robert Kiss fills us in.

Not Just A Burnt Lizard
Nikkatsu’s Daikaiju Gappa was a monster never seen before and not seen since. Bob Johnson has the lowdown.

Ten Questions With Damon Foster
Edward Holland interviews the enfant terrible of Asian film fandom.

The Taste of Tea
Mini review by Crystal Decker-Norwood.

Monsters, Minatures & Magic
Steve Ryfle gives us an insider’s look at the recent documentary.

Ultraman, Path Towards Resurrection
Edward Holland has a few words about the show that gave MAT its name.

The Green Behemoth
Edward Holland gets some words of illumination and wisdom from August Ragone.

The creators are offering the book (well, it is 132 pages thick) in two versions: full color interior ($23.00 plus shipping & handling) and black & white interior ($9.00 plus shipping & handling). Both versions will have the full color cover. This may seem pricey, but the editors say that the money would be well-spent.

As I mentioned, MAT is an old name, stretching back to the original issues of the 1990s. According to the MAT website:

It started as a small newsletter and blossomed into a full-blown Japanese monster funbag - joining the ranks of similar themed zines such as G-FAN, KAIJU REVIEW and ORIENTAL CINEMA. During its time, Ed Holland was assisted in his editorial role by David May and then Michael Keller, and ran articles by genre luminaries such as August Ragone, Kip Doto, Damon Foster and Ed Godziszewski.

Like The Monster Movie Fan's Guide To Japan, Monster Attack Team is also being published through ComiXpress.

For more information, ordering, and to get a peek at the issue, go here.

"The Monster Movie Fan's Guide To Japan" Thank-yous

by Armand Vaquer

The Monster Movie Fan's Guide To Japan became a reality on January 13. It is now available at ComiXpress.com. I would be remiss if I didn't acknowledge a few people.

Following my job lay-off in November 2007, I was collecting unemployment and looking for work. Due to the economic conditions then, and now, positions as an insurance claims examiner weren't available. Since I had some idle time, I had to do something.

Above, Armand Vaquer.

So, I had the idea to put together a travel guide for kaiju movie locations in Japan. This would be a handy guide for people traveling to Japan to see the locations depicted in the movies over the past 55 years.

Beginning in February 2008, I began work on the guide. Compiling the information and writing it up took nearly four months. I approached it by going north to south. I started with the island of Hokkaido and then the main island of Honshu and finished up with the island of Kyushu, and included points in-between.



I obtained the assistance of G-FAN magazine editor and publisher J. D. Lees (above) to edit and do the lay-outs. The guide was originally conceived as a special, but separate, edition of G-FAN. The original title conception was The G-FAN Guide To Kaiju Japan. But it was decided by J. D. and I that it would be better if it stood on its own merits and it then became The Monster Movie Fan's Guide To Japan. The average person would have no idea what "kaiju" means (although fans would). I wanted the guide targeted to people outside of giant monster fandom. Replacing "kaiju" with "monster" would immediately tell the average person that Japanese monsters would be the focus of the Guide.

Above, Mr. & Mrs. Martin Arlt.

This is my first venture into the publishing world. And, boy, did I get an education on it! The work involved was a lot more complicated than I expected. I can truly appreciate the time it consumes publishers like J. D. or Martin Arlt of Mad Scientist magazine who have to crank out issues on a monthly, or even quarterly schedule. Then again, they have several years of publishing under their belts. So it pays to have experience.

I found that going to the printer that J. D. uses would be cost-prohibitive. Then Martin Arlt steered me to ComiXpress. ComiXpress is a company created by comic book veterans to provide a means for the budding creator to publish their own comic book or magazine. I liked their approach and their terms. So I decided to go through ComiXpress.

In the fall of 2009, J. D. completed the layouts and got them over to me. I am pleased with the results. I then solicited for some advertising and got some.

Above, Archie Waugh, who did the cover.

I then came up with a cover idea, using a photo of the Godzilla statue in Hibiya that I took in 2007. It was perfect for a cover. I came up with a concept and posted it over on Facebook. Archie Waugh, a 20-year graphics artist, then volunteered to compose the cover using my idea. The resulting cover is very impressive. Archie has also found himself a victim of the current economic conditions, so he had the time to create the cover. (He's still available for a job, so if anyone needs a graphic artist, he would be a great addition to your firm!)

Above, the cover by Archie Waugh.

With the cover done, the layouts done and the ads in, the Guide was ready to go to ComiXpress in the beginning of December. Originally, it was slated to be available on January 4, but due to equipment malfunctions and the Christmas holidays, it was delayed a week.

I composed a news release on its availability weeks before, so all I had to do was to add in a couple of details and it was ready to go. It is fortunate that I did this, as my mom had been ailing for several weeks and we had to ambulance her to the hospital on January 13, the day the Guide "went live." She had to undergo exploratory surgery that night, and the doctors's findings were not good. In fact, they did not expect her to survive the night. Sadly, although she lived through the next day and most of the next night, she passed away around 2:00 am January 15.

Her passing, funeral planning (the funeral will be held in Riverside this coming Thursday) and liquidation of her belongings have taken up most of my time. Once things settle down again, I will be able to concentrate on promoting the Guide. Although she won't be able to hold a copy of the Guide in her hands, she did see the layouts and cover and was aware it became available. She was very pleased!

But I would like to take this opportunity to acknowledge and thank those who were instrumental in getting the Guide off the ground.

To order The Monster Movie Fan's Guide To Japan, go here.

The Peter H. Brothers Interview

The Peter H. Brothers Interview:
Mushroom Clouds and Mushroom Men: The Fantastic Films of Ishiro Honda

by Armand Vaquer

Longtime Godzilla fan Peter H. Brothers has completed his new biography/filmography on director Ishiro Honda. Recently, Peter discussed his book. It is available for purchase through www.authorhouse.com.

Q. Peter, congratulations on the publication of your new book, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda. You must be proud of your completed work and relieved?

A. Thank you very much, but it’s not in my nature to be proud of anything I accomplish; it could always have been better. But yes, I am relieved that it is finally in print. I did do my best.

Q: Please tell us a little about yourself. What publications have you written for?

A: Well, I have loved Honda’s movies ever since seeing Godzilla, King of the Monsters! when I was a child; I was also fortunate to have seen King Kong vs. Godzilla, Atragon, Mothra, Varan the Unbelievable and Godzilla vs. the Thing in theaters during their initial runs. I have been writing articles on Japanese science-fiction films ever since Brad Boyle’s Japanese Giants in the early 1970s, but the vast majority of my writings have appeared in G-Fan.

Q: When did you decide to write a biography/filmography on Ishiro Honda?

A: In 1973 I was working at my first job when I thought about how nice it would be to write a book about Ishiro Honda. When no one had do so in the intervening 30 years, I mentioned my idea during a lunch I shared with Brett Homenick and Brant Elliott at a Japanese fantasy film convention. They gave me a great deal of encouragement to get the ball rolling.

Q: When did you start it?

A: In many respects I began writing the book as far back as 2000 when my first articles on Honda’s fantasy films were printed in G-Fan, although I didn’t know it then. The articles were in many ways embryonic versions of the chapters in the book to follow. It was not until late 2004 that I began to write the book in earnest.

Q: What was your original concept for the book?

A: I based much of the book’s format on Citadel movie personality books, which begin as biographies and then discuss the films in chronological order.

Q: What did you learn about Honda that was most surprising?

A: Just how loyal he was to his employer. After starting at Toho in the early thirties, Honda was drafted several times into military service, but each time he returned to work as an assistant director. As I mentioned in an unpublished early draft of the book:

In the spring of 1947, in what became known as the “Third Toho Dispute,” the studio fired some 1200 workers; the “official” reason given that the studio was now overstaffed. When asked years later to give his impression of the dispute, Honda said, “Well, we were union members, so we did what the union told us to do; but we were not all that excited about it. All we wanted to do was make movies.

“People suggested I transfer over to the New Toho, but I didn’t want to leave behind the people who were still with the old Toho. I questioned the whole concept of having to choose right or left, yes or no. I just wanted to make movies, but I didn’t want to dance to either company’s tune. I wanted to make something that would satisfy me, not necessarily something that would make me a lot of money.”

Kimi remembered those tense times: “We were living 10 minutes away from the studio, so our home became the rendezvous point for everyone. I cooked food with whatever we had and fed those guys.”

Director Kon Ichikawa – who would later direct The Burmese Harp and Fires on the Plain -- had broken with Toho, and visited Honda to see if he would join the staff at New Toho. Honda declined, preferring to remain with the original unit. The dispute eventually reached such proportions that American Occupation troops were called in to monitor the situation; fortunately, the strike was ultimately resolved without violence (the New Toho eventually declared bankruptcy in 1961).

Q: What source material did you rely upon while writing it?

A: A number of Japanese sources such as books written on Honda and the Toho fantasy films.

Q: Was this a solo effort or did you have help?

A: Originally I had hoped to work with Oki Miyano (who was the best translator I ever worked with as well as possessing a considerable amount of unique material on Honda). Unfortunately, we had different ideas on how the book should be written; plus there was a misunderstanding over an incident that occurred during an event at the American Cinematheque at the Egyptian theater in Hollywood, when he thought I was being rude to Mr. Inoue and Mr. Arikawa [while] being interviewed by Steve Ryfle before a screening of the American version of Rodan. Believing the lies being told about me, Miyano brought off contact. I regret it very much, because his information and input would have been invaluable for the book, but that was his decision, not mine.

Q: That’s unfortunate. So how were you able to translate the Japanese source materials?

A: With time and money, both of which are in short supply. I do not have the luxury of having a Japanese wife or girlfriend who will gladly translate for me for free. Over the years I would be introduced to Japanese transfer students whom I would pay to translate the material.

Even this lead to some difficulties, as translating Japanese into English is filled with many variables; often the material would be returned to me in English but in an almost jumbled state, so I had to try and sort it all out as to what was being stated. I used over half-a-dozen different translators for the book.

Q: What did you find the most difficult experience while writing it?

A: The most difficult experience was writing at home in my spare time, since I was also working a full-time job with the additional responsibilities that come with being a husband, a father and a dog-walker.

Q: What was the most frustrating aspect of writing this book?

A: Trying to get a mainstream publisher to print it. One sat on it for six months before telling me they were not interested.

Q: What were the most enjoyable aspects of writing this book?

A: It was always a joy to write. There would be days when I would be working a nine-hour day staring at a computer, get home bone-tired and only wanting to spend maybe a half-hour on the book. I would get started, look at the clock and two-to-three hours had gone by. That’s what threw me about writing the book, it was never a chore.

Q: You had a book deal with Midnight Marquee. What happened with that and why did you go with AuthorHouse?

A: It’s a rather involved story, but after sitting on my manuscript for three months before they even knew they had received it, I had to force the issue after an additional two months, at which time they did agree to publish it. However, their delay in getting me a contract -- plus the fact that they would not move-up the publishing date at my request (a concern as others were working on their own Honda book) -- forced me to seek publication elsewhere.

Q: Did you watch all of Honda’s movies, including the non-genre ones?

A: I wouldn’t have put a comma between “movies” and “including” but hopefully someday all of Honda’s films will be available in video, but the sad fact is that his non-genre films are rarely available on home video in Japan as he is considered only as a fantasy film director, even though those films include only half the total of all the films he directed; THAT would be my dream come true. Fortunately I was able to see Ise Shima, Farewell Rabaul, Eagle of the Pacific and Will You Marry Me?

As far as his fantasy films are concerned, I was already very familiar with all but two that I had never seen before writing the book: H-Man and Yog, two polar opposites if there ever were!

Q: What did you find most interesting about his non-genre movies?

A: There is still the same sense of calmly-determined understated craftsmanship; but, as was the case with all his films, if the project did not have an emotional heart at its core, it was not terribly interesting to watch, because Honda was not terribly interested in directing it.

Q: What are your favorite Honda genre movies?

A: Well, it all begins and ends with the original Godzilla, but I also love The Human Vapor as well as Godzilla vs. the Thing, Atragon and Rodan. I also get a kick out of The Mysterians and Varan.

Q: Did you do any research for your book while in Japan when you were there for G-TOUR?

A: No, I was too busy taking in the sights with my family; I was particularly disappointed we were not allowed to visit Toho Studios. What an experience that would have been!

Q: Well, we tried. Were you able to interview any of his associates?

A: Sadly, I do not have the money and the means to do so, and I have always been out of the loop when people have interviewed Honda’s actors; I always find out about it after the fact (although Brett Homenick was kind enough to forward some of my questions to Rhodes Reason when he interviewed him).

Q: Did you rely upon any American books or periodicals while researching your book? If so, which ones?

A: Magazines such as Famous Monsters of Filmland, Markalite, G-Fan, Fangoria and the like. David Kalat’s A Critical History and Filmography of Toho’s Godzilla® Series was an inspiration, as was the late Guy Mariner Tucker’s seminal work on the subject, Age of the Gods.

Q: Which did you find most useful?

A: Age of the Gods, which I frequently referred to.

Q: What was the process like when you were shopping your book around to different publishers?

A: Depressing and frustrating. Japanese fantasy films is a specialized market to begin with, and there was great difficulty in convincing publishers as to the legitimacy of the subject matter (for example, I submitted a proposal to Titan Books in England, but was told that – even thought the book fell within their parameters – it was not something they would be interested in). I contacted nearly two-dozen publishers, of which only four agreed to read the manuscript.

Q: What are your five favorite Ishiro Honda movies?

A: Well, again, I wish I could see them all, but Farewell Rabual should be available on Criterion; for that matter, Toho should show some guts and release Abominable Snowman on home video, it is a stunning film.

Q: Would you attempt another book? If so, what would the subject be?

A: Only if conditions warrant it. I am considering a book on the making of the first Godzilla film (another topic long overdue in book form) as well as a book on my idol, actor Bela Lugosi (incidentally, I was delighted that the book became available on Lugosi’s birthday – October 20th – as well as in the 55th anniversary year of the release of the original Godzilla. The book may still be available in 2011, which is the Centennial of Honda’s birth.

Q: Who designed the cover?

A: That’s a picture of my wedding reception! Seriously, the publishing house referred me to a public-domain pictorial site called “Jupiter Images.” It was up to me to pick out two images I could use for free, and the mushroom cloud was a cinch. However, pictures of Toho’s Mushroom Men are rare (and copyrighted), so I had to go with zombies, but their silhouettes can be loosely-interpreted as Mushroom Men during their transformation phase.

Q: Who came up with the title, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda? I thought it was pretty clever.

A: A fellow I work with named Ryan Eden came up with the book’s snazzy title. Ryan is also a fan of the genre, and I asked him to come up with a title that would hint at themes common to Honda’s fantasy films. The title conveys not only the nuclear bomb connection (a theme so prevalent in Honda’s films) but also one of his most famous movies (Ryan’s original title was Mushroom Clouds and Mushroom People, but I changed “People” to “Men” for a better rhythm).


Q: Is there any aspect of Ishiro Honda that the reader's attention should be drawn to?

A: I think if there is one word that best describes Honda the man and Honda the professional, that word is "integrity." This I feel is true of not only him but of his collaborators: Tsuburaya, Ifukube, Tanaka and all the rest. They loved and respected their profession, and were not only grateful but keenly aware of their responsibilities as filmmakers. To a man, their motto was: "Give the audience its value and a good show." And they always did. The results may not have been totally satisfactory, but the effort was always there. This I believe is the key to their long lasting legacy.

Q: Do you have any messages to the G-fans out there and why they should buy your book (besides helping to put food on your table)?

A: Be the best move they ever made. Seriously it was always my attention to bring to light and hopefully the mainstream media's attention why Honda should be taken seriously as an artist and a filmmaker. His works have lasted through the decades and have made the cinema richer by his marvelous craftsmanship. There is a great deal of information on Honda never before seen in English book form, and although I originally intended it to be "definitive," I am hopeful it will get the dialogue going; I am also delighted to see so many of his films recently coming out in their Japanese versions on American DVD. I never thought I would ever see that in my lifetime. It's wonderful!

By "food on the table" I presume you mean my making money from the book. Surely you jest. Money was never my intention, or fame. It may interest you to know that shortly after I decided to write the book, you put me into contact with "G-Author Steve Ryfle." I was very excited and keen to get his approval and encouragement. Instead, Mr. Ryfle tried to talk me out of writing the book on the premise that I would not make a lot of money from it. Now I understand -- according to what I've been told -- Mr. Ryfle is currently working on a book on Ishiro Honda. Hmmm....

No, money was never an issue with me -- unless you count the change I have spent on not only doing the research but in getting the book printed. Just to break even, Mushroom Clouds and Mushroom Men will have to make it on the New York Times Bestseller list, and I don't see that happening. The important thing was to get the word out on Honda to both those familiar with his films and to those unfamiliar with his films; giving some respect to a man who has always deserved it.

If I have at least accomplished that -- and people find the book entertaining and worth their time and money -- I can take some satisfaction in that I have hopefully done right by a man whose example I tried to follow: Ishiro Honda.

UPDATE: Autographed copies of Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda are now available on eBay.

G-FAN #89

G-FAN #89

by Armand Vaquer

G-FAN #89 finally arrived in the mailbox two days ago and I've since been pouring through it. It is a thick issue with lots of goodies for the fan with Japanese reptile dysfunction.

One thing I did notice was that we have a lot of new contributors in this issue. That's really great! Many people have asked me about submitting articles, etc. to G-FAN and I've always told them to "go for it." Some had expressed hesitation about contributing, but I've told them that they can't get published if they don't submit. Nothing ventured, nothing gained! Many of them could have different ideas and perspectives that potentially will add a new freshness to the magazine.

A vibrant magazine is one that evolves and changes. If a magazine gets stagnant in a formula, it will lose readers. Staleness is one thing to be avoided. Who wants to see the magazine descend into interviews with Eiji Tsuburaya's mailman's daughter? Different "takes" on familiar topics are welcome. The Chicago Tribune, in their write-up on "Our Fifty Favorite Magazines" article last year marveled at how G-FAN magazine can constantly sustain itself with such a narrow genre and finite number of movies to analyze. (How many fan-produced magazines have received this recognition?) One reason is the many people who do contribute. Another is the magazine's willingness to think outside of the box. It dares to try new things.

It is nice to see others getting into the arena, adding more freshness into the magazine. Evan Brehany's interview with longtime fan Dana Foreman was interesting as Foreman was involved from the early days of G-FAN, G-Con and G-FEST. It is interesting to read about fandom's pioneers and events before I got involved. Many have gone on to other interests and some, unfortunately, have passed on.

For the last few years, I've done the G-FAN summaries. Someone else has decided to do it. Which is fine with me, I like to see how others approach it. Ryan Clark did a couple a few months ago. Just as long as they are accurate, complete and professional about it, no problem. The idea is to promote the magazine (which keeps everyone in business). So I don't mind who does it.

This year J. D. Lees (editor-in-chief) decided to let "pictures speak thousands of words." So he let the pictures of the fun and celebration at G-FEST XVI do the talking. A majority of the photos were from my camera lens, so, in a way, I did do the recap again this year. Whenever I do photography work at G-FEST, I try to emphasize "the fan" at the event. After all, the magazine is called G-FAN for a reason.

On the issue itself, the cover by Lee Munday is spectacular! I think it is the best of the year (so far). There is one issue to go for this year, so we'll see if #89's cover will be topped. (All covers have been fantastic this year.) But it is definitely a candidate for "best magazine cover" for a Rondo Hatton Award.

G-FAN #89, has a nice mix of articles and interviews. Additionally, there is a longer-than-usual batch of G-Mail (letters to the editor), which is one of my favorite things to read in any publication.

Do yourself a favor, if you have something to say about a movie, actor or event that you think nobody else has been saying, feel free to submit your article. Don't be afraid. Also, get yourself a subscription. It is only $20.00 for a year. That only amounts to four meals at McDonalds and it will last a whole lot longer, and much more satisfying!

Check out G-FAN's website: www.g-fan.com

G-FAN No. 88 Summary

G-FAN No. 88 Summary

by Armand Vaquer

G-FAN #88 (Summer 2009) is now out and en route to your favorite mailbox (presumably yours) or your dealer. The issue contains the following:

G-News, including the passing at 57 Evelyne Kraft of “Mighty Peking Man” and Haruo Nakajima’s return to Toho Studios with his “Mangled Skyscraper Award.”

Interviews with Dore Kraus and Derek Partridge by Brett Homenick.

G-FAN Spotlight on Japan’s National Diet Building by Armand Vaquer

“Voyage To the Bottom of The Fly” features an interview with actor David Hedison by Armand Vaquer.

“Yokai and Obakemono: Monsters of Japanese Legend and Lore” by Jeromy Van Paassen looks at the influence of Japanese folklore on kaiju.

“Komodo, Ancestral Kaiju” by Allen Debus looks at how Komodo Dragons inspired giant monsters.

Book Review: “Monstrous: 20 Giant Tales of Giant Creature Terror.” Reviewer: Jarret Keene.

Totorom interviews Ryuji Honda, son of Ishiro Honda in “Tokusatsu Studios Were My Playground.”

Screenwriter Wataru Mimura is interviewed by Brett Homenick.

Gfantis returns in “Heart of the Beast” by Matt Frank and Frank Parr.

“The Drink of Kaiju” focuses on a “shameful plug” for Eiji Tsuburaya’s favorite drink, by Armand Vaquer.

Matt Frank reviews the movie “Monsters vs. Aliens.”

The 2008 Tokyo International Film Festival had screened “The Last Dinosaur” and a Q & A followed with director Tom Kotani. As reported by Yoshikazu Ishii.

Mike Bogue takes a retro review of “Mighty Peking Man.”

Brett Homenick reviews Joerg Buttgereit’s “Monsterland” documentary and Ib Melchior’s new book, “Mechior A La Carte.”

Steve Agin returns with his quarterly report on toys and models in “All Monster Toys Attack!”

That’s is for this issue. G-FAN will return in the fall with issue number 89.

G-FEST XVI Flier

Jeff Horne, who is working with me on publicizing G-FEST XVI, has created the official G-FEST XVI flier that will be distributed to Chicago-area comic shops, etc. Nice job, Jeff!




Click on it to see it full size.

G-FEST XVI Is Fast Approaching

G-FEST XVI Is Fast Approaching!

G-FEST XVI is a little over a month away. If you haven't registered or made your room reservations at the special G-FEST rate, now's the time to get a-crackin'!

North American Godzilla fans will be gathering July 3-5, 2008 at the Crowne Plaza O'Hare International in Rosemont, IL for G-FEST XVI. The special guests for G-FEST XV are Kenji Sahara, who has appeared in more Godzilla films than any other actor, including the classics: King Kong vs. Godzilla, Mothra vs. Godzilla, and Destroy All Monsters; and Robert Scott Field, who appeared in Godzilla vs. King Ghidorah as android M-11.

G-FEST XVI will feature panel discussions with Kenji Sahara and Robert Scott Field along with fan movie historians. August Ragone, "the living encyclopedia of kaiju", plans to be on hand at the convention. There will also be a giant dealers room, video game contests, video contests, art contest, modeling contest, costume contest & parade, special programming for young fans and more.

Movie screenings will be held at the Pickwick Theater in Park Ridge, Illinois. The movies to be shown will be announced shortly.

Weekend admission tickets are $40.00 for adults, $20 for youth (12 and under). Daily admission (at the door) is $25.00 for adults, $10.00 for youths. Children 5 and under are admitted FREE. For more information, log onto www.g-fan.com.

Preserving Godzilla And The Blu-Ray Announcement

Preserving Godzilla And The Blu-Ray Announcement

by Armand Vaquer



Fangoria.com is reporting that Classic Media will be releasing Godzilla (Gojira) on blu-ray later this year.

Their article says that the blu-ray will replicate the previously-released DVDs.

Fans are understandably concerned that the image quality is either "cleaned-up" or "restored" for a satisfactory blu-ray release. It all depends upon what source materials are used.

It has been reported that Toho Co., Ltd. has been restoring their Godzilla catalog of movies. Some comparison images have been posted on the Internet and the differences are striking. But will Classic Media have access to use those film elements in their release?

One of my earliest G-FAN articles was one entitled, "Preserving Godzilla." I discussed at length on how Toho stores their films, etc. Back at the time of the original publication, the issue was raised over preserving American movies. Early motion pictures were on nitrate stock before safety film became widely used. Even safety film can deteriorate (the "vinegar effect").

It would be worthwhile to take another look at my original G-FAN article on "Preserving Godzilla."

Do you wonder if Godzilla will be around for future generations to enjoy? This thought occurred to me when I set out to check on the state of Toho’s classic Godzilla films and what efforts are being made to ensure that the “King of the Monsters” will be around for generations to come.

I recently checked on the subject of film preservation and restoration with the American Film Institute (AFI) and found that our film heritage is in pretty good shape, at least for now. The thought also occurred to me, “ What is being done in Japan by Toho Co., Ltd. in preventing film deterioration?” I will state my findings herein.

Background.

As many of you motion picture fans know, film deterioration has been a major concern during the past several years. Many studios and the American Film Institute have in place programs to restore, preserve and protect films of varying ages and film types.

Several years ago, concern was raised over the loss of films before 1951 that were on nitrate-based film stock. Nitrate film stock turned out to be unstable, flammable and deteriorates after several years. When it was realized that we were losing our old films, efforts began to transfer these films from nitrate stock to modern safety film. Thanks to these efforts, older nitrate films were saved and not lost to the ages as some had already been.

Another concern was that color films were deteriorating (even though they were on safety film) because of the single strip film emulsion also proved to be unstable. It has been learned from bitter experience that unlike the earlier three-strip Technicolor film process, today’s color film can fade irretrievably in as little as five years (note that Lucasfilm had to restore the earlier “Star Wars” films before they could be re-released just prior to the release of “The Phantom Menace”).

According to the AFI, “There is no practical solution for preserving the color in single-strip emulsion safety film.”

Then there’s also “The Vinegar Syndrome.” Modern safety film bases are composed of either acetyl cellulose (triacetate) or polyester (product names “Estar” or “Cronar”). When exposed to flame, modern safety film will only curl and extinguish itself. When modern safety film is properly stored, it should not decompose over time and is estimated to have a shelf life about as long as that of good quality paper, approximately 200 to 300 years. Shrinkage and brittleness will also be minimized in films that are properly stored.

However, during the past several years, archivists and technical experts have learned that triacetate film is not always as stable as was originally thought. Acetate degradation has been identified as a new and potentially serious problem for preservationists. Commonly referred to as “the vinegar syndrome” (because of a vinegar-like odor is given off by deteriorating acetate), acetate degradation proceeds in a way not dissimilar to nitrate deterioration, but without the flammability factor. This problem has proven to be especially serious in films improperly stored in high temperature and humidity environments. It is also believed to be contagious, that degrading acetate can infect other films stored in the same area.

Toho’s film library.

Fortunately for us kaijulogists, although there had been kaiju eiga films ("Godzilla", 1954 and "Godzilla Raids Again", 1955) made with nitrate-based film stock, Toho had transferred all original nitrate films to non-flammable safety film. Therefore, no Toho Co., Ltd. kaiju films have been lost due to nitrate deterioration. Like the United States film industry, the Japanese film industry ceased using nitrate-based film stock and started using safety film in the late 1950s.

What of the Godzilla color films? Toho reports that they have the original negatives /master materials of their kaiju eiga films in their best possible conditions. Toho has been aware of the “vinegar syndrome” and has been paying due attention to temperature/humidity control of their film vaults. This has been perfected by Toho’s introduction of their new storage facility for original negatives with a more advanced temperature and humidity control system, called PPM Centre, three years ago.

According to Stuart Galbraith’s book, “Monsters Are Attacking Tokyo!,” Toho primarily used Eastman Color for their color kaiju eiga films. So it appears that the three-strip Technicolor process was never used for their films. U.S. releases of some films ("King Kong vs. Godzilla" (1963) for example) were printed in Technicolor.

On the video and DVD road.

The advent of home video (originally in Beta and VHS formats) in the 1980s allowed Godzilla fans to collect their favorite kaiju films. Often these mass-produced videos had picture qualities that varied as much as the designs of Toho’s monsters. Everyone is pretty much in agreement that the video quality depended upon the original source material.

For example, some companies (Simitar, for one) released video tapes of the classic (or Showa) Godzilla films and often the film prints used left much to be desired. It was through either indifference or economy that this is the case. Many of the video tapes that I have purchased had faded images, choppy editing or horrible sound. Then there are other video distributors who had an excellent print to work with and therefore produced a fine video. Some companies issued videos in EP (extended play) speed that would accentuate an already bad print.

With the introduction of digital DVD in the 1990s, kaiju collectors are able to enjoy superior video and sound on their players. Most, if not all, Heisei series Godzilla films are starting to be released in DVD . This allows for a superior product to be produced before film deterioration to sets in.

At present, there are no programs at Toho to restore their older kaiju films a la Lucasfilm and others. This may be due to the costs involved (in the U.S., AFI reports that the cost to preserve color images can easily be $40,000 per feature-length film), the quality of negatives and storage facilities involved. I have a copy of “Godzilla vs. Ebirah” that has excellent color images, and that film is around 35 years old. I have also seen different prints of “King Kong vs. Godzilla” (1962) and each one had color images that looked as though the film was made this year or pretty close to it.

At present, according to AFI, the only cost-effective means of dealing with color fading is to slow it down by storing color films in vaults designed to maintain below-freezing temperatures and low humidity. This is a stopgap measure. While cold storage may prolong the life of color films, it cannot ensure their survival until the time when it may be possible to transfer the images to an archivally stable medium. It was hoped that digital archiving would accomplish this, but it appears that digital images may not be as perpetually stable as was originally thought or hoped for. The jury is still out on this aspect and it depends upon whom you talk to.

But for the short term at least, we can still enjoy vibrant images of Godzilla in his nearly five decade long adventures.

Sources: American Film Institute, Toho Co., Ltd. (L.A.) and “Monsters Are Attacking Tokyo!” by Stuart Galbraith IV.


©2001 Armand Vaquer

G-FAN: 2 Reasons To Subscribe

Above, the cover of the current issue of G-FAN.

G-FAN: 2 Reasons To Subscribe

by Armand Vaquer

The recent policy changes involving Diamond Comic Distributors have many small-press publishers reeling as the company now has a new minimum order requirement before they will continue distributing those publications. In view of this article from Publisher's Weekly about Diamond's owner, Stephen Geppi, it would be wise to subscribe to G-FAN. Diamond distributes G-FAN.

G-FAN is not in any danger of being dropped by Diamond as it consistently far exceeds the minimum requirements of Diamond. But, should Diamond go under due to Geppi's legal troubles, that would put a major crimp of getting G-FAN out to dealers. G-FAN is currently investigating other distributors in case the need arises.

Besides the above matter, subscribing will also save you some money. A one-year scription to G-FAN is only $20.00 (U.S. and Canada) for four quarterly issues. The cover price is $5.95. By buying at a dealer, you would have to pay that ($5.95 x 4 = $23.80) and sales tax. Minus sales tax, you are already saving $.95 per issue or $3.80 per year. I know that isn't a huge chunk of money, but in these economic times, saving here and there does add up with more money left in your wallet.

You can subscribe to G-FAN through the official website at G-FAN.com or you can send a check or money order for $20.00 (U.S. and Canada) and payable to:

Daikaiju Enterprises, Ltd.
530 Willow Cres
Steinbach, Manitoba, Canada R5G 2A3

Ishiro Honda Bio Being Negotiated

Above, Skip Peel, Peter H. Brothers, J. D. Lees and Armand Vaquer in Kyoto, Japan, August 2004 during G-TOUR.

Ishiro Honda Bio Being Negotiated

by Armand Vaquer

Peter H. Brothers is currently in discussions with a publisher on his biography/filmography on Japanese giant monster director Ishiro Honda. Several publishers have expressed interest in the book and negotiations are currently underway.

Above, Ishiro Honda with special effects director Eiji Tsuburaya during the making of the Toho's classic "Godzilla" in 1954. Toho Co., Ltd. photo.

Honda was the director of classic Godzilla movies and other Japanese science-fiction and fantasy films of the 1950s and 1960s beginning with Godzilla in 1954. His last Godzilla movie was Terror of Mechagodzilla (Mekagojira No Gyakushu) in 1975.

Brothers had been working on his book for the past several years and is currently a contributor to G-FAN magazine. He received several nominations for a Rondo Hatton Award for his articles.

He also does some small-theater acting work in his spare time.

Videos of Haruo Nakajima At G-FEST XV

Videos of Haruo Nakajima At G-FEST XV

A generous fan has posted a series of videos of Haruo Nakajima's G-FEST XV interview along with the welcoming ceremonies.

G-FEST XVI Now Taking Registrations

Above, the costume contest and parade is fun for all ages.

Registrations are now being accepted for G-FEST XVI. G-FEST XVI is proud to have actor Kenji Sahara as this year's special guest.

From G-FAN.com:

G-FEST is the largest regular gathering of Godzilla and Japanese monster fans in the world. Held each summer, G-FEST typically attracts about 1000 attendees. In 2005, more than 1300 attended.

G-FEST is a family-oriented convention which caters to a wide variety of interests within the kaiju genre. G-FEST features presentations and Q & A sessions by actors and crew from the Japanese Godzilla films, fan presentations on topics of interest, contests and gaming, new and classic kaiju movies, the western world’s largest kaiju-oriented dealers room, and lots of fun and camaraderie.

THE 2009 CONVENTION
G-FEST XVI will be held from July 3rd through July 5th, 2009, at the Crowne Plaza Chicago O’Hare (same site as last year). Registrations are now being accepted. Register by mail with the printable form, or online with your PayPal account. Explore Past G-FESTS to get an idea of the exciting things to expect at G-FEST in 2009.

More guests and movie information will be posted when finalized.

For more information and on-line registration, go to G-FAN.com.

Bree Turner: Let Breedom Ring

Above, Armand with actress Bree Turner in Hollywood, 2005. Photos by Brett Homenick.

by Armand Vaquer

FoxNews.com has a little article on actress Bree Turner:

She burst onto the scene with the unforgettable part of Dancer No. 1, in "Austin Powers: The Spy Who Shagged Me."

They referenced an article at Maxim.com in which Turner describes her idea of a perfect date:

"This is what you should do guys," Turner told Maxim.com. "I love a man who plans a romantic dinner, candlelight, good food, eggplant parmiagana, my personal favorite, a bottle of good red wine, romantic conversation, followed by, you know, one of those nights back at the house!"

About four years ago, I attended a play reading to photograph Godzilla Final Wars pimp Darren Schnase and Bree Turner was also one of the actors in the play. I met up with her afterwards and the photos shown here were taken.



My impression of Bree was that she seemed to be a good actress with a very nice personality and that she was destined for bigger things.

To read the FoxNews.com article, go here. It also has links to some photo galleries of Bree.

G-FEST XVI To Host Kenji Sahara

Kenji Sahara To Guest At G-FEST XVI

Actor Kenji Sahara, who appeared in many Godzilla movies for Toho Co., Ltd., will be this year's special guest at G-FEST XVI on Independence Day weekend in Rosemont, Illinois (outside of Chicago).

Sahara appeared in several Godzilla movies including Godzilla (1954), King Kong vs. Godzilla (1962), Mothra vs. Godzilla (1964) and Destroy All Monsters (1968). His most recent Godzilla appearance was in Godzilla Final Wars (2004). He also appeared in Rodan (1956).

From IMDB:

Kenji Sahara (佐原 健二 Sahara Kenji) (born May 14, 1932) is a Japanese actor. He was born in Kawasaki City, Kanagawa. His real name is Masayoshi Kato (加藤 正好 Katō Masayoshi). Initially he used the name Tadashi Ishihara before changing it when he secured the lead role in Rodan (1956).

Above, Kenji Sahara in his memorable role in "Rodan."

For additional information on G-FEST XVI, go to www.g-fan.com.

Small Press Screwed By Diamond Distribution?

Above, Little Shoppe of Horrors had their legs cut off by Diamond Distribution.

Small Press Screwed By Diamond Distribution?

by Armand Vaquer

Diamond Distribution, the biggest and who also practically monopolizes the distribution of large & small press comic books and periodicals has announced a new policy, one that could spell the end to small press publications.

According to Publishers Weekly.com:

Diamond Distribution, the largest and practically only North America distributor of periodical comics, is in the process of rolling out a few new business processes, and the results could be a very different landscape for comics publishing.

In a change that will have a far greater impact, according to numerous reports, Diamond is raising its benchmark for products it will carry from $1500 to $2500. (Simon) Jones (of Icarus Comics) has the clearest explanation of this change, (although he later amends perhaps the most key point of all) but the short version is that unless orders to Diamond on a product are consistently greater than $2500 at wholesale, Diamond will no longer carry the product.

From the New York Times:

Is this the end of independent comic books?

That was the fear around the comics blogosphere last week when word spread of a policy change from Diamond Comic Distributors, the world’s dominant distributor of English-language comic books. The company has decided to raise the minimum advance order it needs from comic-book stores before it will agree to distribute a title. The figure, called the purchase order benchmark, has increased to $2,500 from $1,500.

It may seem like a minor matter, but this is life or death for many small, struggling comic book companies.

Diamond is the distributor of G-FAN magazine, the magazine I contribute to, and it was noticed by David, one of the owners of Classic Horror Film Board, that G-FAN wasn't listed in Diamond's current Previews magazine (of upcoming new product). He is concerned that G-FAN, like Little Shoppe of Horrors magazine, may fall victim of this new policy. G-FAN publisher J. D. Lees says, "I'm nowhere close to being under their profitability cut-off."


Above, G-FAN is in 'safe' territory.

Unless Diamond relents (and goes back to its $1,500 former threshold) or another distributor steps in to pick up the small press publications, it appears that the "little guy" is getting screwed.

Go here to read the full article.

ADDENDUM: Tom Spurgeon at The Comics Reporter has this to say about the policy change at Diamond:

I think Diamond's decision was wrong.

I think there are a lot of complications.

I agree with many of you that Diamond has the right to make the best business decisions they can. I remain unconvinced, however, that this is a good decision. The numbers are too vague, the policy implications are too vast and undependable. I hate to say it, but I'm not even sure the logic presented as the basis for the necessity of these actions holds up. A four percent loss following years with significant gains doesn't particularly sound to me like it's totally freaking time to cut staff and change policy. I assume there are other factors involved. I mean, does anyone out there really believe that we're in a recession that somehow forces industry behemoths like Diamond and DC to fire people and change policies while mid-sized publishers pick up projects and tiny boutique publishing houses hold pat? That's one remarkably capricious, Robin Hood-like recession. It's also difficult to argue convincingly, as I think Diamond has been if I'm understanding what's out there, that you're losing money per a certain kind of item and yet you've somehow lost more money recently during a time of selling fewer items. When I was a teenager, that was the kind of two-pronged logic that got me grounded a lot.

New King Komodo Art Straight From Todd Tennant

Written By Ken Hulsey / Todd Tennant
Source: Todd Tennant

Todd Tennant just sent the cover art for his latest installment of the "Tales of King Komodo" comic series that appears in G-Fan magazine.

Normally I would tell you about the upcoming story, but Todd has taken the time to write his own copy, so I thought it would be best to let him tell you about it:

In this last episode of TALES OF KING KOMODO (5), "the KING" &the giant abominable snowman (affectionately nicknamed "Snowball")go at each other in a Kaiju battle to the death, leveling Monster Stadium and the nearby Southwestern town of Luden. Be sure to order your copy of G-FAN #87 today! - Todd

Hey, who better to tell you about "King Komodo" than they guy who creates it?

See Also: A King Komodo vs Snowball Grand Finale - Sneak Preview / Todd Tennant To Return To Godzilla 94 / Its A King Komodo Cage Match / The Cage A Special King Komodo Sneak Peak From Todd Tennant / G-FAN #85 / King Komodo's Next Opponent - Meet mScorpio / The Godzilla 94 Trailer - Now With Music And Sound Effects! / Is This The End Of King Komodo? / Todd Tennant's New Godzilla 94 Trailer / Yet Another Sneak Preview Of King Komodo From G-Fan #84 /You Can Be The Victim On The New King Komodo Poster / King Komodo - G-Fan #84 Sneak Peak / Godzilla vs The Gryphon - Jeff Farley's Godzilla Sculpt / An Exclusive! Godzilla 94' Page 60 / An Exclusive Sneak Preview Of The Gryphon From Godzilla 94 / King Komodo Returns To The Pages Of G-Fan / Robo Japan Exclusive! - Godzilla 94 Page 56 / Godzilla Attacks!

Nakajima-san Honored At G-FEST XV

Nakajima-san Honored At G-FEST XV

by Armand Vaquer

Another year and another G-FEST is now in the history books. And what a G-FEST it was.

Chicago Here We Come!

As I was loading my car to get to the airport, I received a call from a Chicago area radio station. I gave them an impromptu interview (literally in the street) about the convention. Several conventioneers later told me that they heard the interview and many walk-ins found out about G-FEST from the interview.

I arrived Wednesday night at Chicago's O'Hare International Airport and what greeted me was pouring rain. There were storms along the flight path from Los Angeles to Chicago, and my plane took off about an hour and a half late. Although there were storms, the flight was relatively smooth all the way.

G-FEST XV was held from July 4 through 6 with a bonus of two double features shown at the Pickwick Theater on July 3 for those who arrived in town early. In the afternoon, Destroy All Monsters was paired with Matango (a.k.a. Attack of the Mushroom People) and in the evening, Godzilla vs. Gigan was paired with Orochi, The Three-Headed Dragon. Godzilla vs. Biollante (1989) and Godzilla x Mechagodzilla (2002) were the Friday and Saturday night movies respectively.

I was planning to attend the evening screenings, but I elected to volunteer to assist Brett Homenick in picking up our very special guest Haruo Nakajima and his daughter Sonoe from the airport and bring them to the hotel.

Also attending G-FEST XV as guests were Don Frye (Captain Gordon from Godzilla Final Wars); last year's Mangled Skyscraper Award winner Don Glut; Robert Scott Field, returning as celebrity guest and as translator and assistant to the Nakajimas; and August Ragone, author of Eiji Tsuburaya: Master of Monsters.

As G-FEST XV was scheduled on Independence Day weekend, many conventioneers planned to attend early to beat the holiday rush, the double-double features at the Pickwick was set up for Thursday afternoon and evening to entertain them.

G-FEST Begins (Officially)

The official start of G-FEST XV was on Friday, July 4. J. D. Lees held an orientation session that morning to explain the details on the convention and to take questions to first-time attendees.

Next, G-Pardy Game One, hosted by J. D. Lees, started the convention with Godzilla trivia questions patterned after the Jeopardy game show. Elsewhere, a panel discussion on The Host by Philip Garnecki, Martin Arlt and Bill Mann Jr. was held.

The video room and Minya’s Place were opened for business.

August Ragone held a discussion on Ultraman that afternoon in the Main Hall, while in the Midway Room, Lewis Austin held a discussion on “The Space Giants Are Coming.” After these sessions, Vince Cornelius hosted a presentation on “Godzilla In The Grindhouse” and a panel discussion on “What Is A Kaiju?” featured Robert Dwyer, Bill Mann, August Ragone and Allen Debus was held concurrently.

Later, Lewis Austin held a discussion on plans for his TG2WAC Productions in the Midway Room.

That evening, the video gaming and dealers rooms were opened up for convention attendees. These were followed by G-Pardy Game Two and the Opening Ceremonies in which all of our special guests were introduced to the convention. Art and Artist Alley were opened up following the opening ceremonies.

Following the opening ceremonies, the conventioneers migrated over to the Pickwick Theater for the night’s screening of Godzilla vs. Biollante. Unfortunately, fifty minutes into the movie, a technical glitch with the theater’s equipment prevented the movie from being shown to completion. Attendees were given the option of a refund or finishing the movie in the Main Hall the next day (on reliable equipment). For the most part, theatergoers took the problem in good stride. A couple of fans got up on the theater stage with their Biollante and Godzilla figures and held a mock battle to the amusement of those present.

Following this, conventioneers returned to the Crowne Plaza Hotel to socialize, party or get some sleep in preparation for the next day’s events. As it was Independence Day night, we were treated to fireworks displays all around while going to and from the Pickwick.

More G-FEST fun on Saturday

G-FEST attendees woke up bleary-eyed after the festivities the previous day on Saturday morning with more fun things to do.

Our super-special guest Haruo Nakajima began the day with his two-hour session with panelists Brett Homenick and August Ragone. Robert Scott Field assisted with translations. Lots of good questions were posed and Nakajima gave a lot of great answers (some very humorous) in return.

Elsewhere, a panel discussion on “Japanese Superheroes” featuring Jay Johnson and Lenell Bridges was taking place.

Meanwhile, G-FEST Kids Programming was taking place in Minya’s Room; the gaming room was opened for fans who love Godzilla video games; Paul Gavins was hosting a “Building Manda” (costume) workshop; and the ever-popular dealers room was open for business.

That morning, a nice gal with the local ABC-TV affiliate showed up and was filming the convention. I asked her if she’d like to meet Mr. Nakajima. She said, “Sure!” So we had Sonoe go up to her room to see if her father was available or not. Minutes later, they came back down. The reporter with the television station said they didn’t need an interview, but just something she could film. So, I dashed into the Main Hall and snagged a few people (including Stan Hyde) and they did an impromptu “discussion” with Nakajima on the famous “Godzilla shie” for the television viewers. As the camera continued to roll, they attempted (with varying degrees of success) to do the shie. I hope someone taped this!

Noon usually means lunch for most folks, but at G-FEST, it means that a thrill-packed session was taking place in the Main Hall with Godzilla Final Wars star Don Frye along with questioning by Brett Homenick. Frye discussed his experiences in making the movie and his wrestling career as “The Predator.” Fans found Frye to be a genuinely nice and funny guy and eager to mingle.

Elsewhere, Lewis Austin was holding a session on “Monster Making” in the Midway Room and Artists Alley was opened up.

At 1:00, a G-Pardy session aimed at young fans (14 and under) was underway in the Main Hall.

In the Midway Room, August Ragone hosted a session discussing the career of special effects pioneer Eiji Tsuburaya accompanied by a slide show that spanned the Tsuburaya years.

Later, Don Glut held a session called, “Ask Me Anything” in the Main Hall. Concurrent to this, the Costume Parade Orientation for participants was held in the Kitty Hawk Room. After this, Game Three of G-Pardy was held in the Main Hall.

That afternoon, all of our special guests held a 3-hour marathon autograph signing session in the registration area. The lines for this event were huge, so much so that some attendees had to be turned away (but were given priority tickets for a continuation session held the next day). It is a wonder that the writing hands of the guests didn’t fall off their wrists! But they all graciously signed posters, photos, toys, buttons and programs and posed for photographs with fans.

Later in the afternoon, we attempted to show the Godzilla Music Videos. Unfortunately, some were unplayable due to format issues, so we ended up showing about half of them. [Note to those of you planning to make a music video for next G-FEST, please either have them in either VHS video or DVD formats (that are playable on any DVD machine and not just on a computer.]

Franz Vorenkamp next attempted to show his latest (and complete) version of his Godzilla Zero Hour fan-flick. Due to unknown problems, he could not get it to play.

Randy Giesey held the Kaiju Swap Meet in Ballroom 4 for people who want to buy or swap Godzilla items.

At 7:00, the final round of G-Party tournament was held and last year’s winner, Jay Grymyr, won again. He’ll get to take the trophy back home to Las Vegas, Nevada for another year.

Following G-Pardy, the ever-popular Costume Parade was held to a standing-room-only crowd in the Main Hall. There were many creative costumes made by fans of all ages. After the parade, Amateur Videos were shown to the delight of the audience.

Thus ended the official G-FEST activities for Saturday at the Crowne Plaza. Fans then migrated over to the Pickwick Theater for the screening of Godzilla x Mechagodzilla, which originally was to screen back in 2003, but was replaced by Tokyo S.O.S.

Sunday: Honoring a wonderful man

A discussion panel on J. J. Abrams’ Cloverfield was held in the Main Hall. The panel (consisting of Philip Garnecki, Bill Mann, Robert Dwyer, Jay Grymyr and Armand Vaquer) were unanimous in their opinions of the movie: they all liked it. An audience member suggested that we should have a crew member of Cloverfield be invited as a guest to next year’s G-FEST (are you listening, J. D.?) to which the panelists agreed that was a good idea. The discussion was greatly enhanced by clips from the movie being shown.

After Cloverfield, a panel discussing American Kaiju was held with panelists Don Glut, Martin Arlt, Bill Mann Jr. and Allen Debus.

While all this was going on, elsewhere the dealers room, gaming room, and Art Room were opened. A panel discussion called After The Parade discussed the costume parade and took suggestions for future costume events.

At noon, Don Glut presented a session on Dinosaurs In The Movies in the Main Hall and Lewis Austin held a session on Latitude Zero: The Lost Classic.

At 1:00 o’clock, the Awards Luncheon was held in Ballroom 5 in which prizes for modeling, amateur video and other contests were awarded. But the highlight of the luncheon was the awarding of the “Mangled Skyscraper Award” to Haruo Nakajima.

During the presentation, several letters of congratulations were read (in English to the attendees and in Japanese to the Nakajimas) including one from Toho Pictures President & Executive Producer Shogo Tomiyama. Tomiyama’s letter said:

“I would like to congratulate Mr. Nakajima on his Mangled Skyscraper Award.

For many Godzilla fans around the world, there is no greater joy than seeing you looking great and healthy.

For 54 years since his birth back in 1954, Godzilla has been roaring in the hearts of the people around the world who love "Sense of Wonder".

Sadly, the creators of Godzilla, the producer Tomoyuki Tanaka, the director Ishiro Honda, the special effects director Eiji Tsuburaya and the composer Akira Ifukube are no longer with us, making you, Mr. Nakajima, a living legend in the world of Godzilla.

How fantastic is it that the American Godzilla fans inviting that living legend to Chicago and showing him gratitude and respect?

I would like to thank all of you Godzilla lovers who gathered here today.

Mr. Nakajima,

Please stop by at the Toho Studio with the trophy when you get back to Tokyo.

We would love to take a picture* of you in front of the Godzilla statue at the main gate.

Congratulations!!!!

Shogo Tomiyama
President and Executive Producer
Toho Pictures”

*We hope to obtain a copy of this photo for publication in G-FAN. [Note: We received the photos and they will be published in G-FAN #87.]

This was met with the biggest standing ovation for a “Mangled Skyscraper” recipient ever. Mr. Nakajima was visibly moved by this honor (I noticed tears in his eyes while reviewing photographs after I returned home). On a personal level, I am so happy that we were able to bestow this honor to Mr. Nakajima while he is still in good health. I can’t think of a more deserving person for this honor.

Following the luncheon, a panel discussion on the 40th Anniversary of Destroy All Monsters was held in which panel members included Danny Tokarz, August Ragone, John DeSentis and Greg Cordaro.

J. D. Lees then held his annual session discussing future plans for both G-FEST and G-FAN in the Midway Room. This was followed by Lewis Austin’s “How Not To Make A Blockbuster.”

Of course, no G-FEST would be complete without the final official event of the convention: Stan Hyde’s Kaiju Konfessions.

With the final note being sung at Kaiju Konfessions, G-FEST XV was then concluded. Despite some glitches, the convention went smoothly and the attendees had a great time. This also has to be the coolest G-FEST held. The outside temperatures averaged in the 60s (Fahrenheit) and rarely reached the 70s. It was noted during a staff meeting held Sunday night, the Crowne Plaza will be undergoing remodeling during the early months of 2009. We may see a whole different look to the hotel with the meeting rooms in different configurations when we return next July.

The unofficial/official meeting of the Titanosaurus Society (a.k.a. Dead Dog-zilla Party) was held in various locations at the hotel the rest of the night, with the biggest gathering being in the patio area featuring a “Godzilla Blood” concoction. This concoction was thoroughly enjoyed by all, including Don Frye.

We hope to see you all at next year’s G-FEST XVI. Until then, have a safe and enjoyable year.

G-FAN #86 Summary

G-FAN #86 Summary

This quarter, we have a "special guest summary"* of the new G-FAN #86 by Ryan Clark:

Godzilla & Friends III review by Ryan Clark (yours truely).

The Last Samurai interview with Hiroshi Fujioka by Brett Homenick.

Racing for Megalon interview with Yutaka Hayashi by Brett Homenick.

Cult Classic Commander interview with Robert Horton by Brett Homenick.

Godzilla 1998: A Second Look by Mike Bogue.

Lord Zedd Invades ACen by Brett Homenick and How I felt About ACen by Robert Axelrod. (Really enjoyed these artcles, being a Power Rangers fan.)

Monster Music article about French band Gojira.

Kaiju Singalong Time with original and translated lyrics to Miyarabi's Prayer and Get Mechagodzilla!

G-Fan Retro Review: Attack of the Crab Monsters by Mike Bogue.

3D Kaiju Fun concerning Monster Planet of Godzilla.

Centerfold of Gamera vs. Godzilla by John Belloti Jr.

Godzilla Appears In Northern California featuring a suit made by Gabe McIntosh.

Guilala's Godfather interview with Minoru Kawasaki by Jorg Buttgereit.

Tales of King Komodo: Episode 4 comic by Rouge & Tennant (if I read that right).

Kaiju Poetry Corner

A Wonderful Kaiju Weekend G-Fest review by Armand Vaquer and staff writers.

G-Fest 2008 Costume Parade Roundup by Paul Gavins.

My G-Fest XV Experience by Lyle Huckins.

The Show Must Go On! overview of the Biollante incedent at G-Fest by Jonathan Morris.

G-Fest Trivia Quiz 2008 questions and answers. G-Fest XVI registration form.

Godzilla vs. Rikao Yanagata book review by Jason Meininger.

Atami Castle by Armand Vaquer.

I should add, the Far East Monsters ad in the back of the magazine says, concerning their DAM Battlezone figures, "Order by Dec. 31!! After that, these babies are gone!!" I'm not sure if this means King Ghidorah or both that and Godzilla, but their prices are now reduced; I recommend grabbing these great figures while you can.

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G-FAN is available at comic and specialty stores or by subscription. See you next quarter. Stay warm!

*Since I haven't received the issue yet to do my usual summary.