We recently had the special privilege of talking with American cartoonist, and Eisner award winning comic author and artist, Zander Cannon about his wonderful series Kaijumax. A uniquely original prison drama about life on the inside, where the inmates just so happen to be giant monsters a.k.a. Kaiju, Kaijumax is an insanely hilarious comic mashup that’s absurd, gross, hilarious, heartfelt, and filled with enough parodies, homages, and references to please and amuse everyone from battle hardened fans of Kaiju and Tokusatsu to relative newbies alike.
Our conversation together covers Kaijumax, drawing and writing comics, favorite Kaiju films, and a whole heapin’ lot of Toku talk:
00:00 – KaijuMax
32:03 – On creating your own comic
37:52 – What’s next for KaijuMax
41:37 – Tokusatsu discussion
1:17:45 – Twitter questions
Two monsters, created by science gone awry, go head to head in the second Godzilla film of the Heisei era: Godzilla vs Biolante.This follow up to Return of Godzilla or Godzilla 1984, which we reviewed in episode 7, arrived five years after the release of the previous film had under-performed at the box office. Looking for fresh ideas to revitalize the somewhat moribund franchise, producers at Toho held a public contest in search of a script. The winning entry, written by a dentist named Shinichiro Kobayashi with a script that largely sidelined the franchise’s typical anti-nuclear bent in favor of a new focus on the emerging threat posed from bio-technology, was heavily rewritten by Director Kazuki Omori to include spies, assassins, and corporate espionage. The resulting film is a truly a bizarre mishmash of ideas: espionage, deadly assassins, fictional middle eastern countries, mad science, ESPers, military super weapons, and, of course, awesome Kaiju action — it’s a hell of a ride!
Tokusatsu is an enormous component of worldwide media fandom, and its visibility has increased drastically in recent years. Before I get into some more US-centric news in upcoming posts, I want to lay down a few key terms that run through tokusatsu so that everyone is on the same page.
Tokusatsu – A term that essentially means “special filming,” and roughly refers to anything that involves special effects and would be categorized in the west as science fiction/fantasy. For most people, tokusatsu is “live action things which are exciting and cool.” If you watch an eastern program that has live actors and some things that you want to own a toy or figure of, then it is probably tokusatsu.
Daikaiju – This basically translates to “great monster” or a rough equivalent. This is explicitly referring to film series like Godzilla, Mothra, Gamera, and other giant monster movies. In the west we often simply say kaiju, though in Japanese that term is broad enough to encompass any monster from a werewolf to King Ghidorah.
Sentai – This term means “task force,” and the is part of the title of Toei’s long-running series. This basically refers to the familiar teams of primary colored spandex superheroes.
Henshin – This can mean “transformation” or “metamorphosis” and refers to any hero switching from their normal form into a their hero mode. The ultimate example of this trope is Kamen Rider, who shouts henshin before changing into his heroic self.
With our vocabulary lesson finished, here is a ridiculous video to whet your appetite for more spandex, explosions, and monsters – the glorious train-themed Ressha Sentai ToQger.
It is no secret that Kaiju movies are popular with children. Although many of the early works in the genre have a distinct horror/environmental tone, as these properties entered full-blown franchise mode many of the rubber-suited monsters became more kid-friendly.
There are some pretty obvious components to this. Many Kaiju films are marketed directly at children, so it is no great shock that they are roped into the genre. The scenes of destruction and conflict are exciting and easily understood by children, as opposed to deeper discussions of pollution, war, and human folly. Not to mention the general absurdity of enormous monsters battling is much more easily accepted by children’s less world-weary souls.
But I think there is another unexplored element to this – a child’s unique perspective.
By that I mean the literal viewpoint of a child in a physical sense. Most children who are somewhere between 5-10 years old are comparatively much shorter than adults. Often times when they encounter adults they must look up to see them quite literally towering overhead. This is especially intimidating when children meet a new adult, and we have all encountered a situation where a child reflexively hides behind a parent’s leg when first meeting a new person.
I think Kaiju tap into this primal fear of people/beings larger than ourselves. When Godzilla, Gigan, King Kong, or any number of other big beasts come stomping through a major metropolitan area in these films they are almost always filmed from a lower perspective or viewpoint. In a practical sense this is a camera trick to make the suit-wearing actors appear to be larger than normal people, but I think it also a psychological impact in that it mirrors the view of a child looking at a fully grown adult. Here we see destructive forces many times our height, laying waste to our world and we know we are powerless to stop them, much like a child would feel.
In this way children are immediately drawn into the scene because they know what it is like to see the world from this perspective.
It also serves as a great power fantasy for younglings. Not only do they understand what it is like to look upwards at larger people or figures, but they get to see this size used to devastating effect as the monsters stomp, crush, and destroy all opposition. The excitement of watching a kaiju destroy smaller objects gives a sense of raw power that children rarely get to experience. As they project themselves onto these beasts, they see how they might use that power for fun in an imaginative space, unlike the real world where they are often told not to touch/break/mess with things. It is very similar to the construction of sand castles, which is almost inevitably followed by a child stomping through said castles and giggling all the while.
This infuses Kaiju films with a sort of common language that I think few other films have, and is part of the reason why they still work even after 60 years of mighty monster mayhem.
Today’s question for the Rogues Gallery – do you think Kaiju movies resonate with children because of how they see the world? Or is there something else at work? Let us know in the comments below, rogues!