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Godzilla and Godzilla Raids Again
The first English translations of the original novellas about the iconic °ì²¹¾±Âᨱ Godzilla
Godzilla emerged from the sea to devastate Tokyo in the now-classic 1954 film, produced by T¨h¨ Studios and directed by Ishir¨ Honda, creating a global sensation and launching one of the world¡¯s most successful movie and media franchises. Awakened and transformed by nuclear weapons testing, Godzilla serves as a terrifying metaphor for humanity¡¯s shortsighted destructiveness: this was the intent of Shigeru Kayama, the science fiction writer who drafted the 1954 original film and its first sequel and, in 1955, published these novellas.
Although the Godzilla films have been analyzed in detail by cultural historians, film scholars, and generations of fans, Kayama¡¯s two Godzilla novellas¡ªboth classics of Japanese young-adult science fiction¡ªhave never been available in English. This book finally provides English-speaking fans and critics the original texts with these first-ever English-language translations of Godzilla and Godzilla Raids Again. The novellas reveal valuable insights into Kayama¡¯s vision for the Godzilla story, feature plots that differ from those of the films, and clearly display the author¡¯s strong antinuclear, proenvironmental convictions.
Kayama¡¯s fiction depicts Godzilla as engaging in guerrilla-style warfare against humanity, which has allowed the destruction of the natural world through its irresponsible, immoral perversion of science. As human activity continues to cause mass extinctions and rapid climatic change, Godzilla provides a fable for the Anthropocene, powerfully reminding us that nature will fight back against humanity¡¯s onslaught in unpredictable and devastating ways.
Godzilla emerged from the sea to devastate Tokyo in the now-classic 1954 film, produced by T¨h¨ Studios and directed by Ishir¨ Honda, creating a global sensation and launching one of the world¡¯s most successful movie and media franchises. Awakened and transformed by nuclear weapons testing, Godzilla serves as a terrifying metaphor for humanity¡¯s shortsighted destructiveness: this was the intent of Shigeru Kayama, the science fiction writer who drafted the 1954 original film and its first sequel and, in 1955, published these novellas.
Although the Godzilla films have been analyzed in detail by cultural historians, film scholars, and generations of fans, Kayama¡¯s two Godzilla novellas¡ªboth classics of Japanese young-adult science fiction¡ªhave never been available in English. This book finally provides English-speaking fans and critics the original texts with these first-ever English-language translations of Godzilla and Godzilla Raids Again. The novellas reveal valuable insights into Kayama¡¯s vision for the Godzilla story, feature plots that differ from those of the films, and clearly display the author¡¯s strong antinuclear, proenvironmental convictions.
Kayama¡¯s fiction depicts Godzilla as engaging in guerrilla-style warfare against humanity, which has allowed the destruction of the natural world through its irresponsible, immoral perversion of science. As human activity continues to cause mass extinctions and rapid climatic change, Godzilla provides a fable for the Anthropocene, powerfully reminding us that nature will fight back against humanity¡¯s onslaught in unpredictable and devastating ways.
233 pages, Paperback
First published October 25, 1954
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Displaying 1 - 30 of 216 reviews
September 27, 2023
¡°Recent hydrogen bomb tests must have destroyed Godzilla¡¯s habitat. Let me be clear. Damage from the H-bomb tests seems to be what drove him from the home where he had been living in relative peace up until now?¡¡±
¡
¡°But Professor! We can¡¯t let that berserk offspring of the H-bomb just run around wild! If anything, Godzilla himself is the hydrogen bomb hanging over Japan right now!¡±
Godzilla and Godzilla Raids Again are novelizations of the first two Godzilla movies. Both novelizations were written by Shigeru Kayama, a science fiction writer who was credited with writing the story for first two movies for T¨h¨ Studios. The novelizations were published in Japan in 1955, around the time the second movie was released in Japan (one year after the original was released). Despite all of the attention paid to Godzilla movies over the years, this book contains the first English translation of these two novellas.
When you think of the old Godzilla movies, you probably think of cheesy, B-movie nonsense involving Godzilla fighting some other strange monster(s). And Godzilla Raids Again is exactly that. Somehow, a second Godzilla has returned, and this time he¡¯s fighting an enormous ankylosaurus called Anguirus. The story is largely ridiculous, and its ridiculousness apparently led Shigeru Kayama to stop working on Godzilla movies thereafter.
But the original Godzilla, unlike all the sequels, remakes, and reboots, is really about something. During the Allied occupation of Japan after WWII, the Japanese were not really permitted to use the media to discuss the nuclear bombing of Hiroshima and Nagasaki. While it later became something sillier, the Godzilla in Godzilla was mysteriously symbolic. Seemingly awakened by America¡¯s recent and nearby testing of the hydrogen bomb, some saw Godzilla as a symbol of nature¡¯s wrath against humanity¡¯s use of atomic weapons. Given his unstoppable destruction of Tokyo almost without warning, some saw Godzilla as a symbol of the Americans use of the nuclear bombs against Japan. But just when you think you¡¯ve got the story figured out, there¡¯s a scientist, Dr. Serizawa, who has developed a different weapon of mass destruction (the awesomely named ¡°Oxygen Destroyer¡±) and is correctly worried about humanity having such a weapon. Yet he ultimately decides that its use to stop Godzilla is for the greater good¡ªexactly the same kind of ethical calculation American scientists and military made in deciding to use the very atomic weapons that Godzilla so solidly criticizes.
In many ways, the most interesting part of the book is the translation notes at the end. There¡¯s a discussion of some of the biggest changes that were made between the original story and the movie, changes that show the competing concerns the filmmakers had about the movie being perceived as anti-American.
The first major problem with Godzilla and Godzilla Raids Again is that the novelizations were written for a young adult audience. An adult novelization could have gone deeper into the emotions, the meaning and the context, and the scenes of destruction. But somewhere between the intended audience, and the nearly 70 years evolution in what passes for quality YA fiction, the writing here is often flat, and even comical at times:
Godzilla versus modern weaponry! Once the battle started, no doubt the fireworks would fly!
The second major problem with Godzilla and Godzilla Raids Again is that it¡¯s a novelization of a monster movie. While I usually prefer the book to the movie, I doubt I¡¯m alone that I¡¯d rather see Godzilla smashing his way through Tokyo than read about it. There are so just many images and scenes in the movie that land a more emotional punch than what is contained in these two YA novelizations. As a matter of movie history, I¡¯m glad these works are finally available in English. But I¡¯m not sure there will be much of an audience for this book. More than anything, reading this book made me want to rewatch the original Godzilla movie, which despite the 1950s special effects is often genuinely haunting and moving. 2.5 stars rounded up to 3.
P.S. When you go to find the original Godzilla movie, you are looking for the 1954 version with an all-Japanese cast. If you find a version with Raymond Burr (sometimes called Godzilla, other times called Godzilla, King of the Monsters), just stop watching that Americanized trash and keep looking for the original. ?
October 26, 2023
A new translation of the novelizations of one of history¡¯s most iconic monsters. Lively, action packed, and innovative, the lore of Godzilla is so much more than a beloved cultural icon. It is a riveting metaphor for the destruction that man reaps in pursuit of the most powerful weapons, the most global control. It is a callout to the devastation of war and weapons of mass destruction, used with no sight for the impact on nature and future generations. Despite Godzilla¡¯s fun and familiar stories, which remain timely and universally enjoyable, it also remains a sobering warning against nuclear warfare and the unethical use of its weapons.
December 13, 2023
Review to come.
November 4, 2023
For "Godzilla Day," marking the anniversary of the original release of the 1954 masterpiece "Gojira," I decided to celebrate by reading the English translation of the novelizations of the first two films in the now almost 70-year franchise, finally available through the University of Minnesota.
As much of a Godzilla fan I thought I was, I never knew there had existed two novellas in Japanese that were as old as the films themselves. They are not necessarily the stories upon which they are based--but sort of are. Poet and science fiction author Shigeru Kayama was tasked with developing the ideas for what would be the original "Gojira," but he didn't write the full script. Due to the success of "Gojira," he was asked to come up with a sequel which became "Godzilla Raids Again." He then melded his own initial concepts with how they actually appeared in film to create more-or-less faithful novelizations with slight differences.
For those familiar with the films, readers will find that certain supporting characters are actually more elevated in importance within the novels. Some relationships and characterizations differ slightly. Other scenes take on different contexts, are more detailed, or have a higher emotional impact. A scene that was cut from the original film, where Godzilla first appears with a dead cow in its jaws, survives in the book version. You understand motivations of characters much better in the novels than in the films. There's even the inclusion of subplots that were cut from the films. One thing that I also noticed was that Godzilla's appearance is never detailed in the books. If the character had not become such an archetype in the world zeitgeist, Godzilla would be a more mysterious, almost Lovecraftian entity to anyone who just read the books. Only Anguirus, the monster Godzilla fights in the second story, gets any distinctive description, which is somewhat different from how the beast appears on film.
Speaking of Anguirus, most everyone recognizes the original film to be a great and important piece of cinema, which has been studied extensively by film critics, scholars, and historians. I am one of the minority of Godzilla fans who think the second film is also absolutely fantastic. I found it atmospheric and even chilling at times, but not as one-note as its predecessor. And it upped the stakes of the original story by including a second monster, Anguirus, who is my personal favorite of the Toho kaiju universe. Without this film, we would not have the template of giant monster mashups that we know and love today in the world of tokusatsu. So for me, the second novel was a real treat. The fight with Anguirus is expanded upon, and Godzilla has never felt more vicious.
But what the reader really needs to know is that these novels were written for children. That surprised me, considering the Godzilla films had not become popular with the younger demographic as it would by the 60s. The dark and somber tone of these films was very much geared towards adults. Katama felt the antinuclear theme was so strong, however, that it was important for Japanese youth to get the message, and what better way than to use tragic but awesome monsters as an allegory that kids could understand and get excited about? As such, the books retain the themes, but I didn't find the writing lent itself to the bleakness of the originals.
For example, I counted 19 uses of onomatopoeia in the first 30 pages alone. Now, in some ways, this can make for a very cinematic literary experience. But can't we just imagine for ourselves what the rumbling of Godzilla's roar from beneath the sea would sound like? Do we need the author to actually write, "RRRRRRR!"? Every other page contains a whoosh and a bam and a crash and a thud and a briing briing and a toot toot. Yes, we know what a flute sounds like, and a whistle, and a footstep, and the howl of wind, and the creak of a door, and even modern kids know the ring of a telephone. In one scene, there is a rustling of leaves. I'm surprised the author didn't immediately follow this sentence up with "rustle... rustle..." That's how bad it gets.
Jeffrey Angles of the University of Michigan, who has translated many works of Japanese literature, has noted in interviews that the books are very auditory in nature. This is because the Japanese language has many words for particular sounds, sometimes combining an auditory experience in an action. He says that he would combine the sounds into the flow of the narrative and other times simply recreate the sound as best as he could for English readers. He tried to preserve that auditory nature of the source text as much as possible, which is admirable, but for me it needed to have been toned down. It was hard to feel that special thrill up my spine as Godzilla's huge shadow was hinted at being just beneath feet on the deck of a boat, or as his giant form wades through the skyline of a burning Tokyo, or as we anguish with Dr. Serizawa over his decision to use the Oxygen Destroyer, while you are inundated with BAM, BOOM, WHOOSH, GWAAARRR, ZOWIE like in the Batman TV series.
That being said, adult fans will still love this, and I think this would be a great way to get your kids to love reading. I wish these books had been available when I was my son's age. Angles himself had grown up during the Cold War as I had, and he had been in Japan during the 2011 disasters and developed a respect not only for the impact of disasters on a society, but a fear for radiation that few Americans can fathom. This led him to start looking at the original "Gojira" film on a deeper level, and he discovered they were based on the work of Kayama. Though he was familiar with Kayama, Angles did not know that Kayama had made books out of his original treatments for the first two films. These two novellas never received any attention in the English-speaking world like the films did. There were translations in French and Italian, so he decided it was time to bring them to the attention of the Anglican world.
So kudos to Jeffrey Angles for bringing us this important gem of science fiction history! Also thanks to University of Minnesota Press for giving these stories so much respect, adorning them with a wonderful cover depicting Godzilla from a vintage comic book that feels very traditionally Japanese and captures the mythological and mystic nature of the titular character.
These stories still provide a strong metaphysical tale about our place in the universe, our relationship with the Earth and technology, and a powerful cultural perspective about a very real horrific period in history, all wrapped into easily accessible English prose about a kaiju that has become an international phenomenon.
SCORE: 4 kaiju out of 5
As much of a Godzilla fan I thought I was, I never knew there had existed two novellas in Japanese that were as old as the films themselves. They are not necessarily the stories upon which they are based--but sort of are. Poet and science fiction author Shigeru Kayama was tasked with developing the ideas for what would be the original "Gojira," but he didn't write the full script. Due to the success of "Gojira," he was asked to come up with a sequel which became "Godzilla Raids Again." He then melded his own initial concepts with how they actually appeared in film to create more-or-less faithful novelizations with slight differences.
For those familiar with the films, readers will find that certain supporting characters are actually more elevated in importance within the novels. Some relationships and characterizations differ slightly. Other scenes take on different contexts, are more detailed, or have a higher emotional impact. A scene that was cut from the original film, where Godzilla first appears with a dead cow in its jaws, survives in the book version. You understand motivations of characters much better in the novels than in the films. There's even the inclusion of subplots that were cut from the films. One thing that I also noticed was that Godzilla's appearance is never detailed in the books. If the character had not become such an archetype in the world zeitgeist, Godzilla would be a more mysterious, almost Lovecraftian entity to anyone who just read the books. Only Anguirus, the monster Godzilla fights in the second story, gets any distinctive description, which is somewhat different from how the beast appears on film.
Speaking of Anguirus, most everyone recognizes the original film to be a great and important piece of cinema, which has been studied extensively by film critics, scholars, and historians. I am one of the minority of Godzilla fans who think the second film is also absolutely fantastic. I found it atmospheric and even chilling at times, but not as one-note as its predecessor. And it upped the stakes of the original story by including a second monster, Anguirus, who is my personal favorite of the Toho kaiju universe. Without this film, we would not have the template of giant monster mashups that we know and love today in the world of tokusatsu. So for me, the second novel was a real treat. The fight with Anguirus is expanded upon, and Godzilla has never felt more vicious.
But what the reader really needs to know is that these novels were written for children. That surprised me, considering the Godzilla films had not become popular with the younger demographic as it would by the 60s. The dark and somber tone of these films was very much geared towards adults. Katama felt the antinuclear theme was so strong, however, that it was important for Japanese youth to get the message, and what better way than to use tragic but awesome monsters as an allegory that kids could understand and get excited about? As such, the books retain the themes, but I didn't find the writing lent itself to the bleakness of the originals.
For example, I counted 19 uses of onomatopoeia in the first 30 pages alone. Now, in some ways, this can make for a very cinematic literary experience. But can't we just imagine for ourselves what the rumbling of Godzilla's roar from beneath the sea would sound like? Do we need the author to actually write, "RRRRRRR!"? Every other page contains a whoosh and a bam and a crash and a thud and a briing briing and a toot toot. Yes, we know what a flute sounds like, and a whistle, and a footstep, and the howl of wind, and the creak of a door, and even modern kids know the ring of a telephone. In one scene, there is a rustling of leaves. I'm surprised the author didn't immediately follow this sentence up with "rustle... rustle..." That's how bad it gets.
Jeffrey Angles of the University of Michigan, who has translated many works of Japanese literature, has noted in interviews that the books are very auditory in nature. This is because the Japanese language has many words for particular sounds, sometimes combining an auditory experience in an action. He says that he would combine the sounds into the flow of the narrative and other times simply recreate the sound as best as he could for English readers. He tried to preserve that auditory nature of the source text as much as possible, which is admirable, but for me it needed to have been toned down. It was hard to feel that special thrill up my spine as Godzilla's huge shadow was hinted at being just beneath feet on the deck of a boat, or as his giant form wades through the skyline of a burning Tokyo, or as we anguish with Dr. Serizawa over his decision to use the Oxygen Destroyer, while you are inundated with BAM, BOOM, WHOOSH, GWAAARRR, ZOWIE like in the Batman TV series.
That being said, adult fans will still love this, and I think this would be a great way to get your kids to love reading. I wish these books had been available when I was my son's age. Angles himself had grown up during the Cold War as I had, and he had been in Japan during the 2011 disasters and developed a respect not only for the impact of disasters on a society, but a fear for radiation that few Americans can fathom. This led him to start looking at the original "Gojira" film on a deeper level, and he discovered they were based on the work of Kayama. Though he was familiar with Kayama, Angles did not know that Kayama had made books out of his original treatments for the first two films. These two novellas never received any attention in the English-speaking world like the films did. There were translations in French and Italian, so he decided it was time to bring them to the attention of the Anglican world.
So kudos to Jeffrey Angles for bringing us this important gem of science fiction history! Also thanks to University of Minnesota Press for giving these stories so much respect, adorning them with a wonderful cover depicting Godzilla from a vintage comic book that feels very traditionally Japanese and captures the mythological and mystic nature of the titular character.
These stories still provide a strong metaphysical tale about our place in the universe, our relationship with the Earth and technology, and a powerful cultural perspective about a very real horrific period in history, all wrapped into easily accessible English prose about a kaiju that has become an international phenomenon.
SCORE: 4 kaiju out of 5
March 20, 2025
Godzilla and Godzilla Raids Again are the original novellas written by the original writer, Shigeru Kayama, of the T¨h¨ Studio movies by the same names. As one can expect both novellas are pretty similar to the 1950s¡¯ films and focus on the legendary kaiju, Godzilla. I won¡¯t go into much of the plot but readers can expect lots of Godzilla rampaging and destroying Japanese cities and the occasional kaiju on kaiju fight. Overall nothing too surprising to me but still very enjoyable for Godzilla fans.
I was pleasantly surprised by the afterword, here the translator Jeffrey Angles goes into a brief history lesson on the author, the Japanese political climate surrounding the making of the films and books following the war, the inspiration and making of the films and Kayama¡¯s moving away from the films and writing the novellas. Angles also tells about his experience translating Kayama¡¯s works and the issues translating from Japanese to English. This was longer than most afterwords but very informative and enjoyable.
I was pleasantly surprised by the afterword, here the translator Jeffrey Angles goes into a brief history lesson on the author, the Japanese political climate surrounding the making of the films and books following the war, the inspiration and making of the films and Kayama¡¯s moving away from the films and writing the novellas. Angles also tells about his experience translating Kayama¡¯s works and the issues translating from Japanese to English. This was longer than most afterwords but very informative and enjoyable.
October 3, 2023
After watching the movies, over and over again, I had to grab me a copy of Godzilla and Godzilla Raids Again by Shigeru Kayama, when I had the opportunity. I didn¡¯t even know there were novellas out there and Jeffrey Angles did a great job translating this Japanese classic into English. The stories flowed smoothly and rolled out like the movies I¡¯ve seen. That always makes it easier to visualize the action as Godzilla leaves his devastating mark on Japan. Of course, he may never have risen, if we didn¡¯t create nuclear weapons, and that is Shigeru Kayama¡¯s statement against the proliferation of nuclear weapons.
I learned some of the facts that are shared in the part of the book about the author, Shigeru Kayama and the how and why of his desire to create a monster that is payback for humans disregard for the world around them. His ¡®bio¡¯ is about a third of the book, and though I found it interesting, I wanted more of Godzilla and the other creatures he comes up with.
All in all, it was worth the read and I recommend grabbing a copy for yourself. It may be a fluff piece, but it is loaded with action and a quick read. If you are a creature feature lover, like me, this is a must have. HA HA HA HA HA
I learned some of the facts that are shared in the part of the book about the author, Shigeru Kayama and the how and why of his desire to create a monster that is payback for humans disregard for the world around them. His ¡®bio¡¯ is about a third of the book, and though I found it interesting, I wanted more of Godzilla and the other creatures he comes up with.
All in all, it was worth the read and I recommend grabbing a copy for yourself. It may be a fluff piece, but it is loaded with action and a quick read. If you are a creature feature lover, like me, this is a must have. HA HA HA HA HA
September 14, 2023
¡°We can¡¯t let that berserk offspring of the H-bomb just run around wild! If anything, Godzilla himself is the hydrogen bomb hanging over Japan right now!¡±
Honestly, while I am a kaiju fan, I found this translated story dated with awkward dialogue.
This is definitely a book that will appeal to Godzilla/Japanese Literature fans, as it is the first time being translated. Possibly some of the context and connections between characters gets lost, or it could be like that in the Japanese version too.
Don¡¯t expect a classic like Frankenstein or Dracula, but hopefully it does find the right audience that can appreciate this tale.
Thank you to NetGalley, the author & translator, and University of Minnesota Press for a copy.
Honestly, while I am a kaiju fan, I found this translated story dated with awkward dialogue.
This is definitely a book that will appeal to Godzilla/Japanese Literature fans, as it is the first time being translated. Possibly some of the context and connections between characters gets lost, or it could be like that in the Japanese version too.
Don¡¯t expect a classic like Frankenstein or Dracula, but hopefully it does find the right audience that can appreciate this tale.
Thank you to NetGalley, the author & translator, and University of Minnesota Press for a copy.
April 11, 2025
This book contains the novelizations of the first two Godzilla films, which were also written by Kayama, surprisingly for the first time in English. They were written for young readers, so one shouldn't expect an adult level of complexity or depth. Still, I enjoyed the first one. The second is not quite as good. (Neither is the film.)
The book also contains a lengthy afterword by the translator, which is very informative regarding the author, historical period, and cultural context of the stories. It's a shame that at the end he can't resist ruminating on - I kid you not - Godzilla's personal pronouns. He also expresses his desire to "queer" the monster. Jesus, even if you go back to the 1950s you can't get away from this shit. GWAAAAR!
The book also contains a lengthy afterword by the translator, which is very informative regarding the author, historical period, and cultural context of the stories. It's a shame that at the end he can't resist ruminating on - I kid you not - Godzilla's personal pronouns. He also expresses his desire to "queer" the monster. Jesus, even if you go back to the 1950s you can't get away from this shit. GWAAAAR!
November 16, 2023
A wonderful curio that is both enjoyable and fascinating. The volume contains new English translations of the 1950s Japanese novelisations of the first two Godzilla movies, as well as an interesting afterword about the movies, novelisations and act of translation.
December 28, 2024
I must admit that this is one of those times when I sorely miss the ability to "bump up" to additional half-star ratings. The books themselves, GODZILLA and GODZILLA RAIDS AGAIN, were written in the 1950's for a Young Adult Japanese audience and are filled with florid and breathless writing that occasionally wore me out ... especially with the second one that doesn't nearly have the emotional foundation of the first one.
That said, there is also a superior section describing the production history of both films and supplemental media. There was much here that I already knew having read a lot about the Toho Godzilla films, but there were also delightful nuggets that were new to me. For instance, I did not know there was a radio "play" of the original story before the first film was released ... and that it had some notably different plot points.
Shigeru Kayama not only did the "novelizations" of both stories, but also created the original screenplays upon which the movies were based. His concern about the dangers of nuclear proliferation greatly influenced the "dark tone" of the initial movie (a film that I regard highly). The screenplay for GODZILLA RAIDS AGAIN was completed to "cash in" on the tremendous success of the original ... only 6-months after its release. I've always considered that one to be a poor entry in the series, and was amused to learn that the writer informed the studio that this would be his last Godzilla story, as he thought that the creature was being turned from a "force of destruction" into a likable character.
The book finishes with an overview of vocabulary, locations, mythological and historical representations that appeared in both books. I was very intrigued by that!
Ultimately, GODZILLA AND GODZILLA RAIDS AGAIN wavered between a curio and an engaging read.
That said, there is also a superior section describing the production history of both films and supplemental media. There was much here that I already knew having read a lot about the Toho Godzilla films, but there were also delightful nuggets that were new to me. For instance, I did not know there was a radio "play" of the original story before the first film was released ... and that it had some notably different plot points.
Shigeru Kayama not only did the "novelizations" of both stories, but also created the original screenplays upon which the movies were based. His concern about the dangers of nuclear proliferation greatly influenced the "dark tone" of the initial movie (a film that I regard highly). The screenplay for GODZILLA RAIDS AGAIN was completed to "cash in" on the tremendous success of the original ... only 6-months after its release. I've always considered that one to be a poor entry in the series, and was amused to learn that the writer informed the studio that this would be his last Godzilla story, as he thought that the creature was being turned from a "force of destruction" into a likable character.
The book finishes with an overview of vocabulary, locations, mythological and historical representations that appeared in both books. I was very intrigued by that!
Ultimately, GODZILLA AND GODZILLA RAIDS AGAIN wavered between a curio and an engaging read.
April 13, 2025
Godzilla is pretty cool I think
September 23, 2024
I LOVE GIANT MONSTERS AND NUCLEAR WAR ALLEGORIES ? RAAAAHHHHHH ?
August 26, 2023
I admit that my Godzilla experience is mostly limited to episodes of Mystery Science Theatre 3000. That doesn't stop this book from feeling familiar in a wonderful way. Godzilla himself is a cultural artifact, a combination of nightmare and camp, and seeing where it begins in print is pretty fantastic. Until I read this, I hadn't quite put together that Godzilla is meant to be a warning about the dangers of nuclear war, but it makes sense: an ordinary being, out of time, transformed by man's dangerous hubris becomes a rampaging monster, which is, it must be said, a pretty accurate description of war. Warfare awakens the monster in the man, and so it's only right that man's monstrosity should in turn affect the natural world. This isn't a subtle book, and it at times blatantly spells out its message, but it is one that it's worth revisiting in our current world. Our monsters may not be literal dinosaurs, but we make them more monstrous all the same.
January 31, 2025
This is the first time the original Godzilla novellas by Shigeru Kayama have been translated into English.
They're an enjoyable read, though for me the best part of the book is the extensive afterward by the translator, Jeffrey Angles.
In it, he takes the reader through the development of Godzilla and Shigeru Kayama's role in the creation of the most famous kaiju of all.
He also places the stories in their historical context, as Japan struggled to deal with the legacy and effects of having been the only country ever to have nuclear weapons used against its population, as well as simply trying to recover from the devastation of war.
Lastly, he writes of the difficulties he faced in translating the books into English, which was also fascinating.
If you're a fan of Godzilla, you will enjoy experiencing it in a different way.
They're an enjoyable read, though for me the best part of the book is the extensive afterward by the translator, Jeffrey Angles.
In it, he takes the reader through the development of Godzilla and Shigeru Kayama's role in the creation of the most famous kaiju of all.
He also places the stories in their historical context, as Japan struggled to deal with the legacy and effects of having been the only country ever to have nuclear weapons used against its population, as well as simply trying to recover from the devastation of war.
Lastly, he writes of the difficulties he faced in translating the books into English, which was also fascinating.
If you're a fan of Godzilla, you will enjoy experiencing it in a different way.
February 11, 2025
The original novella length novelizations of the first two 1950s Godzilla films finally translated into english! Both are fun reads though I found myself surprised by the fact that of the two movies Shigeru Kayama novelized I had a much better time with his "Godzilla raids again" then the original 1954 Godzilla film also included in this translation!
Like don't get me wrong both are good and are well worth reading but maybe its because the 1954 "Godzilla" does not entirely work in the "YA/young adult novel" style Kayama was writing for that does work much better with a story like "Godzilla raids again"
The afterword included in this first English translation of them both is well worth the price of admission as well! It shines a light on a unsung creative hero (Shigeru Kayama) behind the global icon that Godzilla has become!
Like don't get me wrong both are good and are well worth reading but maybe its because the 1954 "Godzilla" does not entirely work in the "YA/young adult novel" style Kayama was writing for that does work much better with a story like "Godzilla raids again"
The afterword included in this first English translation of them both is well worth the price of admission as well! It shines a light on a unsung creative hero (Shigeru Kayama) behind the global icon that Godzilla has become!
April 30, 2024
One of those instances where the movies are better than the book, but you really can not help but like this if you are a monster movie fan. Extra points for trying to put Big G's roar into print, although I'm not sure I agree that it looks like GRAAAAAAWR.
December 29, 2023
Godzilla seemed underutilized in these two novellas and the stories seemed to be for younger readers. Don't get me wrong I'm still happy that I got to read this and I did enjoy it overall.
June 5, 2023
I am a huge Godzilla fan. I have all the thirty odd movies on DVD. Godzilla models line my bookshelves. There is a Godzilla bobble head on my desk at work. Yet, despite my lifelong obsession, I had never heard of these novellas written by Shigeru Kayama before. So, when I heard about them being translated into English, I was definitely curious and excited.
It¡¯s hard to really judge these novellas. On one hand, as a fan of sci-fi/fantasy stories, I would say that these novelizations of the first two movies are middling. Between paragraphs the setting will jump back and forth. The characters are rather flat. The narrator suddenly talks directly to the reader in a jarring way. There are some subplots that are not found in the movie seemingly go nowhere (such as the Godzilla Tokyo Society). The allegorical connection between Godzilla and the atomic bombs that destroyed Hiroshima and Nagasaki is made clearer than it was in the movies, but also becomes a little ham-fisted.
On the other hand, as a Godzilla fan these are the most amazing books ever. They are a piece of the franchise¡¯s history that has been denied to Western Godzilla fans for decades. This book provides an insight into the creation of the Godzilla movies especially the role of Shigeru Kayama. This man was the one that came up with the outline the movies follow and is just as much the creator of Godzilla as Ishiro Honda.
The final third or so of the book is translator notes, and these are fascinating. It dives into translations choices that I found interesting, such as how can you translate onomatopoeia? It also shines a spotlight onto Shigeru Kayama. I deeply appreciate all the work that Jeffery Angles has put into bringing these novellas to Western Godzilla fans. It is obvious that this was a labor of love.
That¡¯s why in the end, I have to recommend this. If you are a Godzilla fan, then you already want this. It should go up on the shelf alongside your Criterion collection of the Showa series. If you are a fan of Japanese literature, then here is a chance to read one of the more prolific Japanese sci-fi authors of the 20th century. If you are at all interested in the art of translation, then these novellas provide an example of how it should be done.
I received a copy of this book from the publisher in exchange for an honest review.
It¡¯s hard to really judge these novellas. On one hand, as a fan of sci-fi/fantasy stories, I would say that these novelizations of the first two movies are middling. Between paragraphs the setting will jump back and forth. The characters are rather flat. The narrator suddenly talks directly to the reader in a jarring way. There are some subplots that are not found in the movie seemingly go nowhere (such as the Godzilla Tokyo Society). The allegorical connection between Godzilla and the atomic bombs that destroyed Hiroshima and Nagasaki is made clearer than it was in the movies, but also becomes a little ham-fisted.
On the other hand, as a Godzilla fan these are the most amazing books ever. They are a piece of the franchise¡¯s history that has been denied to Western Godzilla fans for decades. This book provides an insight into the creation of the Godzilla movies especially the role of Shigeru Kayama. This man was the one that came up with the outline the movies follow and is just as much the creator of Godzilla as Ishiro Honda.
The final third or so of the book is translator notes, and these are fascinating. It dives into translations choices that I found interesting, such as how can you translate onomatopoeia? It also shines a spotlight onto Shigeru Kayama. I deeply appreciate all the work that Jeffery Angles has put into bringing these novellas to Western Godzilla fans. It is obvious that this was a labor of love.
That¡¯s why in the end, I have to recommend this. If you are a Godzilla fan, then you already want this. It should go up on the shelf alongside your Criterion collection of the Showa series. If you are a fan of Japanese literature, then here is a chance to read one of the more prolific Japanese sci-fi authors of the 20th century. If you are at all interested in the art of translation, then these novellas provide an example of how it should be done.
I received a copy of this book from the publisher in exchange for an honest review.
August 6, 2023
Finally, to get to the source material of a monster that has lived on and on through the decades. My only connection to the monster was from the 1998 version with Matthew Broderick, and from then on, action figures from Chinatown, though Mothra was a kaiju I was particularly more fond of.
But I was surprised to find that the original Godzilla stories came from novellas written for teenage boys.
???????? was mostly this:
RAWRRRRRRR!
WHOOSH!!!
Glubglubglubglub...
whoosh!
Click!
RAWWRRRRRRR!
???????? ????? ?????:
Comes with a bit more poeticism in its prose to develop aid in appreciation to landscape, but the novella bogs itself down with its weird marriage subplot. Do kids really want to read about marriage??
What I found most compelling from this was the author's note at the end of the two novellas by Jeffrey Angles, where he goes into the actual lore behind the movie-making process and adaptation. How the director of the original 1954 film was inspired by ??? ????? ???? 20,000 ???????, which was inspired by a Ray Bradbury short story. His knowledge of Japanese history, as well as literature and cinema directly after WWII is illuminating and lent a greater appreciation to the two novellas.
But I was surprised to find that the original Godzilla stories came from novellas written for teenage boys.
???????? was mostly this:
RAWRRRRRRR!
WHOOSH!!!
Glubglubglubglub...
whoosh!
Click!
RAWWRRRRRRR!
???????? ????? ?????:
Comes with a bit more poeticism in its prose to develop aid in appreciation to landscape, but the novella bogs itself down with its weird marriage subplot. Do kids really want to read about marriage??
What I found most compelling from this was the author's note at the end of the two novellas by Jeffrey Angles, where he goes into the actual lore behind the movie-making process and adaptation. How the director of the original 1954 film was inspired by ??? ????? ???? 20,000 ???????, which was inspired by a Ray Bradbury short story. His knowledge of Japanese history, as well as literature and cinema directly after WWII is illuminating and lent a greater appreciation to the two novellas.
October 12, 2023
[Doug Note: For consistency, I will be using the word "Godzilla" to refer to the eponymous kaiju. If you prefer "Gojira", I understand]
For entertainment value, these novellas (and the nice afterword by Jeffrey Angles) are primarily about historical context. They are worth a read, especially if you have any interest in the design and creation of the iconic kaiju, but your prior attachment to the deep lore of the Godzilla franchise will likely be your deciding factor on how good these are.
Despite some claims on this site and others, these are not the "novels upon which {Godzilla | Gojira} is based." Kayama wrote the original treatments (at a very fast pace) with the first movie being a direct response not only to the relaxing of censorship in post-war Japan related to atomic/nuclear testing but specifically to a tragic incident in which atomic testing exposed a boat of Japanese fishermen and their catch to lethal radiation [and impacted the Japanese fishing trade]. This treatment, in turn, went to Ishiro Honda, Eiji Tsuburaya, and others who turned it into a full script. They toned down several of Kayama's direct references while still retaining the overall metaphor of the first Godzilla as a stand-in for a nuclear threat against Tokyo. After the success of the first movie, Kayama was brought back to do it again for the second.
Then, later, Kayama went back to the movies and reworked their plots just a bit into these novellas, aimed them at a young audience, and considered it kind of his swan song to the franchise because he did not like where it was going [for one, he found himself rooting for Godzilla which he likened to rooting for the nuclear bomb].
This means you have, here, not a snapshot of pre-movie Godzilla development process but a glimpse into one part of the collaborative writing process that made these original movies and their legacy but definitely written after the movies as a novelization [one with the original author's insights]. If they still exist in a publishable form, it might have been better to have the original treatments translated and attached but I do not want to take away from Angles' excellent job in finding a good balance between a 1950s Japanese YA audience and a modern English-reading probably-not-young-adult one. That and his insights into the process make this book, as I said, good for historical context even if some of the entertainment value is stilted otherwise. Angles is sparse on the footnote until the final essay, but at least he did not spoil the entire thing¡ªas many do¡ªby kicking off with a detailed discussion of a plot as an "introduction".
Some of the changes from the movies are questionable, such as making the main male character of the first story into a younger man while giving away his original name to an older guy who does less with the plot. Angles suggests this was to make the central couple appeal more to a younger audience while getting rid of some of the questions of Ogata's culpability in the war, but it seems like Kayama could have simple made Ogata younger rather than changing his role. Other changes are more interesting, such as including a plot thread about a "Tokyo Godzilla Society" which seems initially to be a reference to the way people cling to war and devastation as a godly force [and/or a high concept hint towards the events that would happen later with Mechagodzilla] but turns out to be more about the way people feed off tragedy.
Angles' insights help to fill in some details that might be missed on a more modern audience who does not know the Japanese original. The island where Godzilla shows up is "Big Door," implying an almost spiritual gateway to another world. Furthermore, it never occurred to me that the initial flash seen in the movie was anything other than Godzilla while it would have been understood by the original audience as the atomic testing that had happened earlier that year. The test that "woke up" Godzilla and started the chain of events. Both through Angle and through Kayama's text, it makes it clearer that Serizawa's role was meant to examine the ethics of science directly in relation to the very many ethical ramifications of World War II. That he ultimately decides to uphold the sanctity of science even at the cost of his own life towards the end is not necessarily just a noble action but also perhaps one rooted deep in a survivor's guilt related to his own actions during the war.
Mostly, having these two novels together just helps to demonstrate how rough and lacking the second story was compared to the first. The first is an examination of the nuclear threat, the way that different people respond to a crisis, the question of human life versus technological achievement, the question of how old myths reference old truths, and how far the human spirit can be pushed. The second is much more an action story with many elements¡ªsuch as the radiation Godzilla spreads just by existing¡ªtoned down or forgotten. Even though Kayama tries to loop certain elements back around to some of the deeper meaning, it is hard to see it as anything more than a disaster story that just happens to feature larger kaiju fighting it out (it did give us that, at least).
One last observation is that it is odd reading this just how much Kayama avoided actually describing Godzilla. We get a reference to his height (50m), mention of scales and claws, hints towards his bipedal nature. We know Godzilla is a "dinosaur" [note, in the Goji-verse, dinosaurs were just a LOT bigger, there is no claim here that the radiation did anything to alter Godzilla's size] who can live indefinitely underwater and also walk on land, most of the rest would be left up to the imagination. It assumes that its audience would already know those details. That or it considered the details of what Godzilla looked like to be secondary to his effect.
For entertainment value, these novellas (and the nice afterword by Jeffrey Angles) are primarily about historical context. They are worth a read, especially if you have any interest in the design and creation of the iconic kaiju, but your prior attachment to the deep lore of the Godzilla franchise will likely be your deciding factor on how good these are.
Despite some claims on this site and others, these are not the "novels upon which {Godzilla | Gojira} is based." Kayama wrote the original treatments (at a very fast pace) with the first movie being a direct response not only to the relaxing of censorship in post-war Japan related to atomic/nuclear testing but specifically to a tragic incident in which atomic testing exposed a boat of Japanese fishermen and their catch to lethal radiation [and impacted the Japanese fishing trade]. This treatment, in turn, went to Ishiro Honda, Eiji Tsuburaya, and others who turned it into a full script. They toned down several of Kayama's direct references while still retaining the overall metaphor of the first Godzilla as a stand-in for a nuclear threat against Tokyo. After the success of the first movie, Kayama was brought back to do it again for the second.
Then, later, Kayama went back to the movies and reworked their plots just a bit into these novellas, aimed them at a young audience, and considered it kind of his swan song to the franchise because he did not like where it was going [for one, he found himself rooting for Godzilla which he likened to rooting for the nuclear bomb].
This means you have, here, not a snapshot of pre-movie Godzilla development process but a glimpse into one part of the collaborative writing process that made these original movies and their legacy but definitely written after the movies as a novelization [one with the original author's insights]. If they still exist in a publishable form, it might have been better to have the original treatments translated and attached but I do not want to take away from Angles' excellent job in finding a good balance between a 1950s Japanese YA audience and a modern English-reading probably-not-young-adult one. That and his insights into the process make this book, as I said, good for historical context even if some of the entertainment value is stilted otherwise. Angles is sparse on the footnote until the final essay, but at least he did not spoil the entire thing¡ªas many do¡ªby kicking off with a detailed discussion of a plot as an "introduction".
Some of the changes from the movies are questionable, such as making the main male character of the first story into a younger man while giving away his original name to an older guy who does less with the plot. Angles suggests this was to make the central couple appeal more to a younger audience while getting rid of some of the questions of Ogata's culpability in the war, but it seems like Kayama could have simple made Ogata younger rather than changing his role. Other changes are more interesting, such as including a plot thread about a "Tokyo Godzilla Society" which seems initially to be a reference to the way people cling to war and devastation as a godly force [and/or a high concept hint towards the events that would happen later with Mechagodzilla] but turns out to be more about the way people feed off tragedy.
Angles' insights help to fill in some details that might be missed on a more modern audience who does not know the Japanese original. The island where Godzilla shows up is "Big Door," implying an almost spiritual gateway to another world. Furthermore, it never occurred to me that the initial flash seen in the movie was anything other than Godzilla while it would have been understood by the original audience as the atomic testing that had happened earlier that year. The test that "woke up" Godzilla and started the chain of events. Both through Angle and through Kayama's text, it makes it clearer that Serizawa's role was meant to examine the ethics of science directly in relation to the very many ethical ramifications of World War II. That he ultimately decides to uphold the sanctity of science even at the cost of his own life towards the end is not necessarily just a noble action but also perhaps one rooted deep in a survivor's guilt related to his own actions during the war.
Mostly, having these two novels together just helps to demonstrate how rough and lacking the second story was compared to the first. The first is an examination of the nuclear threat, the way that different people respond to a crisis, the question of human life versus technological achievement, the question of how old myths reference old truths, and how far the human spirit can be pushed. The second is much more an action story with many elements¡ªsuch as the radiation Godzilla spreads just by existing¡ªtoned down or forgotten. Even though Kayama tries to loop certain elements back around to some of the deeper meaning, it is hard to see it as anything more than a disaster story that just happens to feature larger kaiju fighting it out (it did give us that, at least).
One last observation is that it is odd reading this just how much Kayama avoided actually describing Godzilla. We get a reference to his height (50m), mention of scales and claws, hints towards his bipedal nature. We know Godzilla is a "dinosaur" [note, in the Goji-verse, dinosaurs were just a LOT bigger, there is no claim here that the radiation did anything to alter Godzilla's size] who can live indefinitely underwater and also walk on land, most of the rest would be left up to the imagination. It assumes that its audience would already know those details. That or it considered the details of what Godzilla looked like to be secondary to his effect.
January 3, 2024
I had such a good time
April 28, 2024
As you might have noticed from past reviews on my blog, I¡¯m a pretty big fan of Japan¡¯s greatest daikaiju, Godzilla. I¡¯ve seen almost all the movies and TV shows, as well as read the comic book adaptations. But I was unaware that Shigeru Kayama, the scenario creator for the first two movies in the series, had written novelizations of them for young adult readers. But University of Minnesota Press found out, and was able to get the license to have an English translation by Professor Jeffrey Angles published. So here we are.
The novellas roughly follow the same plots as the movies. In ¡°Godzilla¡±, a series of ships mysteriously disappear, with communication suggesting that an unknown force is sinking them. This turns out to be a giant dinosaur-like creature which is quickly named ¡°Gojira¡± after a legendary monster the people of Oudo Island have long feared. (While the name ¡°Godzilla¡± is a bad transliteration, it works well as Gojira is supposed to be godlike in nature.)
Godzilla is highly radioactive, and appears to have been awoken/mutated by hydrogen bomb tests in the area. For reasons known only to itself, Godzilla comes to Japan and rampages through Tokyo, killing thousands. The Self Defense Forces are helpless against it as conventional weaponry will not penetrate the kaiju¡¯s skin.
Brilliant scientist Dr. Serizawa has developed a device known as the Oxygen Destroyer that might be able to destroy Godzilla. And all other marine life within its radius of effect. Realizing that such a creation would immediately be weaponized by militaries, and possibly still having some guilt over his participation in Axis research during World War Two, Serizawa refuses to let this be used.
Finally, the destruction that Godzilla has caused, and its existential threat to Japan, convince Dr. Serizawa to act. But he makes sure to destroy all copies of his research process, and hand-delivers the prototype to Godzilla so that they die together. Paleontologist Professor Yamane warns that if hydrogen bomb testing continues, another Godzilla might be created.
In ¡°Godzilla Raids Again¡±, sure enough, it¡¯s discovered that there¡¯s a second Godzilla, this time not so far from Osaka. Worse, a second kaiju, Anguirus (a giant mutated ankylosaur) is also on the loose. The two monsters are antagonistic to each other, and fight each time they meet.
This is not a good thing. The titans clash in Osaka, and their battle destroys the city as a byproduct, killing more thousands before Godzilla manages to roast Anguirus to death with his atomic breath.
The military has learned lessons since the first Godzilla, and at the end they are able to bury the second Godzilla under enough ice that even it can¡¯t dig its way out. But the cost is high.
There are some changes as well. The novels are even more direct that Godzilla is a metaphor for the atomic bomb and the horrors of nuclear warfare. The first one also shifts the human protagonist role from Mr. Ogata, the president of the marine salvage company, to his young employee, Shinkichi. Among other things, this eliminates the love triangle subplot from the movie.
It¡¯s pretty obvious that these stories were written for younger readers. The author sometimes addresses the readers directly to explain things more clearly than might be done for adults who would already be expected to know the subject matter. There¡¯s also quite a lot of sound effect words left in when the translator was able to make them work in English. (Godzilla and Anguirus have different sound effects for their roars.)
There¡¯s also extensive translator notes, explaining the creative process that led to the Godzilla movies, the cultural context that made them (especially the first) so impactful, who Mr. Kayama was and what else he¡¯s known for, and the translation choices made. This comes with footnotes and a glossary.
Content note: A lot of people die in these early Godzilla stories, including children and named characters. Mr. Kayama does not shy away from depicting the effect this has on the survivors.
These are exciting stories from the roots of the Godzilla mythos, before all the later additions. While any kaiju fan should find them interesting, they¡¯d be best appreciated by teenage fans of giant monsters. If this volume sells well, UofM Press might be able to get the rights to Mothra, the novel on which that film was based.
The novellas roughly follow the same plots as the movies. In ¡°Godzilla¡±, a series of ships mysteriously disappear, with communication suggesting that an unknown force is sinking them. This turns out to be a giant dinosaur-like creature which is quickly named ¡°Gojira¡± after a legendary monster the people of Oudo Island have long feared. (While the name ¡°Godzilla¡± is a bad transliteration, it works well as Gojira is supposed to be godlike in nature.)
Godzilla is highly radioactive, and appears to have been awoken/mutated by hydrogen bomb tests in the area. For reasons known only to itself, Godzilla comes to Japan and rampages through Tokyo, killing thousands. The Self Defense Forces are helpless against it as conventional weaponry will not penetrate the kaiju¡¯s skin.
Brilliant scientist Dr. Serizawa has developed a device known as the Oxygen Destroyer that might be able to destroy Godzilla. And all other marine life within its radius of effect. Realizing that such a creation would immediately be weaponized by militaries, and possibly still having some guilt over his participation in Axis research during World War Two, Serizawa refuses to let this be used.
Finally, the destruction that Godzilla has caused, and its existential threat to Japan, convince Dr. Serizawa to act. But he makes sure to destroy all copies of his research process, and hand-delivers the prototype to Godzilla so that they die together. Paleontologist Professor Yamane warns that if hydrogen bomb testing continues, another Godzilla might be created.
In ¡°Godzilla Raids Again¡±, sure enough, it¡¯s discovered that there¡¯s a second Godzilla, this time not so far from Osaka. Worse, a second kaiju, Anguirus (a giant mutated ankylosaur) is also on the loose. The two monsters are antagonistic to each other, and fight each time they meet.
This is not a good thing. The titans clash in Osaka, and their battle destroys the city as a byproduct, killing more thousands before Godzilla manages to roast Anguirus to death with his atomic breath.
The military has learned lessons since the first Godzilla, and at the end they are able to bury the second Godzilla under enough ice that even it can¡¯t dig its way out. But the cost is high.
There are some changes as well. The novels are even more direct that Godzilla is a metaphor for the atomic bomb and the horrors of nuclear warfare. The first one also shifts the human protagonist role from Mr. Ogata, the president of the marine salvage company, to his young employee, Shinkichi. Among other things, this eliminates the love triangle subplot from the movie.
It¡¯s pretty obvious that these stories were written for younger readers. The author sometimes addresses the readers directly to explain things more clearly than might be done for adults who would already be expected to know the subject matter. There¡¯s also quite a lot of sound effect words left in when the translator was able to make them work in English. (Godzilla and Anguirus have different sound effects for their roars.)
There¡¯s also extensive translator notes, explaining the creative process that led to the Godzilla movies, the cultural context that made them (especially the first) so impactful, who Mr. Kayama was and what else he¡¯s known for, and the translation choices made. This comes with footnotes and a glossary.
Content note: A lot of people die in these early Godzilla stories, including children and named characters. Mr. Kayama does not shy away from depicting the effect this has on the survivors.
These are exciting stories from the roots of the Godzilla mythos, before all the later additions. While any kaiju fan should find them interesting, they¡¯d be best appreciated by teenage fans of giant monsters. If this volume sells well, UofM Press might be able to get the rights to Mothra, the novel on which that film was based.
December 28, 2024
When we think of Godzilla, we think of a giant destructive lizard that fights other giant creatures of similar power and stature. We think of him as a symbolic media icon from the nation of Japan. Or, if you enjoy basketball (like myself), you might even remember a certain comic depicting Godzilla playing basketball against famous power forward Charles Barkley.
This book encompasses two novellas, comprising of the outline for the first two movies in the Godzilla cinematic canon.
Shigeru Kayama had much to say about Godzilla in his first Novella, and wanted to used Godzilla as an allegory for the dangers of the hydrogen bomb and the testing effects of it in Japan.
The first Novella, while still similar to the movie you might already know about, is a bit more heavy-handed when it comes to establishing Godzilla as a threat that emerged because of the hydrogen bomb tests happening near the coast of Japan in the early 1950s. In the foreword of the book, Kayama urges readers to read the first novella with this in mind.
While the book still reads like a Godzilla movie translated into a book, the first novella makes it clear that Godzilla's attack on Japan is the product of nuclear fallout from bomb testing.
The second novella (Godzilla Raids Again) is more of a military romp in which we see Godzilla emerging again, and fighting another kaiju named Anguirus. A fun read if you love kaiju movies, but there isn't much substance to it otherwise.
3.5/5 stars (rounded to 4)
The first novella did much of the heavy lifting for this review over here. As well as the carefully curated afterword by the translator Jefferey Angles, that gives us great insight about the vision that Kayama had for the movie and his voice as a protestor against nuclear weapons.
This book encompasses two novellas, comprising of the outline for the first two movies in the Godzilla cinematic canon.
Shigeru Kayama had much to say about Godzilla in his first Novella, and wanted to used Godzilla as an allegory for the dangers of the hydrogen bomb and the testing effects of it in Japan.
The first Novella, while still similar to the movie you might already know about, is a bit more heavy-handed when it comes to establishing Godzilla as a threat that emerged because of the hydrogen bomb tests happening near the coast of Japan in the early 1950s. In the foreword of the book, Kayama urges readers to read the first novella with this in mind.
While the book still reads like a Godzilla movie translated into a book, the first novella makes it clear that Godzilla's attack on Japan is the product of nuclear fallout from bomb testing.
The second novella (Godzilla Raids Again) is more of a military romp in which we see Godzilla emerging again, and fighting another kaiju named Anguirus. A fun read if you love kaiju movies, but there isn't much substance to it otherwise.
3.5/5 stars (rounded to 4)
The first novella did much of the heavy lifting for this review over here. As well as the carefully curated afterword by the translator Jefferey Angles, that gives us great insight about the vision that Kayama had for the movie and his voice as a protestor against nuclear weapons.
July 6, 2023
The 1955 release of the film "Godzilla" from TOHO Studios was a groundbreaking event, one of the very first movies released in Japan that explored the consequences of the atomic bomb and World War II. And in such a big and lively way with a 150-foot tall, fire-breathing kaiju who angrily tries to destroy all of Tokyo!
Shigeru Kayama was responsible for the original story and then created novelizations of both the first film and its rapidly produced sequel "Godzilla Raids Again", and its those that have been translated into English for this new volume by Jeffery Angles. Both stories are fascinating to read and much blunter about the ethical lapses of a science that would create the atomic bomb, and more overt (though not 100% transparent) about naming the United States of America as the bad guy. Godzilla represents both the evil menace of the bomb and an enormous victim the explosion and radioactive fallout.
Angles also includes an excellent afterword that explores the relationship between the film versions of "Godzilla", the role of celebrated director Ishir¨ Honda, and Kayama's vision, along with common interpretations and changes to Godzilla over time.
This is an excellent read, with both Godzilla novellas for young adults and anyone interested in the ethics and life of 1950s post-war Japan, and the additional extensive afterword for people with a more scholarly bent towards one of the great monster franchises in cinematic history. Highly recommended.
Tip: Read the novella, then watch the original movie, then read the second novella before you watch "Raids".
Shigeru Kayama was responsible for the original story and then created novelizations of both the first film and its rapidly produced sequel "Godzilla Raids Again", and its those that have been translated into English for this new volume by Jeffery Angles. Both stories are fascinating to read and much blunter about the ethical lapses of a science that would create the atomic bomb, and more overt (though not 100% transparent) about naming the United States of America as the bad guy. Godzilla represents both the evil menace of the bomb and an enormous victim the explosion and radioactive fallout.
Angles also includes an excellent afterword that explores the relationship between the film versions of "Godzilla", the role of celebrated director Ishir¨ Honda, and Kayama's vision, along with common interpretations and changes to Godzilla over time.
This is an excellent read, with both Godzilla novellas for young adults and anyone interested in the ethics and life of 1950s post-war Japan, and the additional extensive afterword for people with a more scholarly bent towards one of the great monster franchises in cinematic history. Highly recommended.
Tip: Read the novella, then watch the original movie, then read the second novella before you watch "Raids".
July 23, 2024
This was exactly what you'd expect if you've seen the original Godzilla movies. Definitely a book of it's time with some interesting commentary on the use of nuclear weapons. The story is slightly different than the original films in the minor details but follows basically the same plot and has the same feel. I'm glad I read it but it was honestly just ok for me...nothing that makes it stand out compared to other creature feature type books. But it was still fun to read this original text (translated). I will say that the MOST interesting part of this was actually reading the translator's notes at the end. Godzilla Raids Again actually ends about 77% of the way into the book and then you get some history behind the films, the events that inspired them and this book, and then some notes related specifically to translating this book from Japanese to English and the differences between the two languages and the issues that can create when translating. That was pretty interesting and a part of me wishes I'd read that before reading the book as it would have given me something more to think about while reading. In any case...glad I read this but also glad I got it from the library.
October 31, 2023
I did not know this book even existed until it arrived as a birthday gift from an old friend. Even then, I thought it was a product of the long-gestating Godzilla Novelization Project. Nope. It's the original novellas published in Japan in 1954, written by the author who came up with the original versions of the plots for the movies. The novellas were aimed at a YA Japanese audience, so the writing _per se_ is not outstanding. However, these stories contain much stronger anti-nuclear messages than the films, which I had always thought were pretty strong. It was also interesting seeing how characters were split and combined in the evolution of the story, which puts very different spin of the characters. This book has an excellent, extended afterword describing the history of the author, the plots, and their times.
August 15, 2024
These are the novelizations of the first two Godzilla movies released in Japan and the first editions that have been translated into English. Overall I enjoyed both stories, but I thought that Godzilla was a better story than Godzilla Raids Again.
I have never seen the original Godzilla movies, but according to the afterword from the translator, these stories follow the movie plot pretty closely. To give a basic summary, Godzilla attacks Japan, and it is up to a group of scientists and government officials to stop the attacks.
I was not aware before reading these stories of the political nature of the original Godzilla story and how it was a warning about the use of the hydrogen bomb and the creation of technology that could lead to the destruction of all humans.
If you are a fan of the original Godzilla movies, or just fans of monster movies/books in general, I would definitely recommend these stories.
I have never seen the original Godzilla movies, but according to the afterword from the translator, these stories follow the movie plot pretty closely. To give a basic summary, Godzilla attacks Japan, and it is up to a group of scientists and government officials to stop the attacks.
I was not aware before reading these stories of the political nature of the original Godzilla story and how it was a warning about the use of the hydrogen bomb and the creation of technology that could lead to the destruction of all humans.
If you are a fan of the original Godzilla movies, or just fans of monster movies/books in general, I would definitely recommend these stories.
March 14, 2024
I have to admit, I feel like this book was heavily over-marketed to me. Seeing it in the bookstore I thought it was going to be like "Silence of the Lambs", "Jurassic Park", or "Frankenstein". I thought it was going to be a great book that was adapted into a great movie. Instead this felt more like a book that was written to be a movie, or a screenplay that was filled in and adapted into a film. I need to look up the history of this novel, whether it was written as a book first, or whether it was written to be a film. Either way this book isn't the literary masterpiece or monumental work it might have marketed itself as.
Instead the book felt very pulpy. A lot of the characters are two dimensional and Godzilla does very little except roar and crash things. Even here I felt like the book was not very descriptive. If it wasn't for the mountain of film adaptations made by Toho in Japan to fuel my notions of what Godzilla looks like and acts like, I probably would be very bored with this book's descriptions or lack thereof.
Also, the science behind this book is laughably absurd. I feel like Godzilla has always had a problem with the explanation for how a 100 ft monster has seemingly existed beneath the waves for centuries, but this book just felt absurd. Let me just say as well that some of the explanations given have always been campy and silly, however this explanation just feels incredibly lazy.
They try to say Godzilla is a Dinosaur, except they said it is from 1 million years ago. They also try to describe Angirus, Godzilla's opponent in the second novel as an Ankylosaurs, even though he never behaves or looks like one.
So yeah, I get it, the book is pulpy and campy and it's all suppose to be taken with a grain of salt to service the plot. Also, yes, paleontology did not know as much in 1950s as they do today. However it feels like Shigeru Kayama didn't even bother to try and get the science right. It's like he saw a dinosaur in a museum and said, "Hey that's a cool idea" and just ran with it, not bothering to figure out what a Dinosaur actually was. For a book that is touted as a somber analogy for Nuclear war it's consequences, it feels woefully under researched and underdeveloped.
As a big fan of the Godzilla franchise, I was very disappointed with this origin story.
Instead the book felt very pulpy. A lot of the characters are two dimensional and Godzilla does very little except roar and crash things. Even here I felt like the book was not very descriptive. If it wasn't for the mountain of film adaptations made by Toho in Japan to fuel my notions of what Godzilla looks like and acts like, I probably would be very bored with this book's descriptions or lack thereof.
Also, the science behind this book is laughably absurd. I feel like Godzilla has always had a problem with the explanation for how a 100 ft monster has seemingly existed beneath the waves for centuries, but this book just felt absurd. Let me just say as well that some of the explanations given have always been campy and silly, however this explanation just feels incredibly lazy.
They try to say Godzilla is a Dinosaur, except they said it is from 1 million years ago. They also try to describe Angirus, Godzilla's opponent in the second novel as an Ankylosaurs, even though he never behaves or looks like one.
So yeah, I get it, the book is pulpy and campy and it's all suppose to be taken with a grain of salt to service the plot. Also, yes, paleontology did not know as much in 1950s as they do today. However it feels like Shigeru Kayama didn't even bother to try and get the science right. It's like he saw a dinosaur in a museum and said, "Hey that's a cool idea" and just ran with it, not bothering to figure out what a Dinosaur actually was. For a book that is touted as a somber analogy for Nuclear war it's consequences, it feels woefully under researched and underdeveloped.
As a big fan of the Godzilla franchise, I was very disappointed with this origin story.
October 14, 2023
Godzilla and Godzilla Raids Again is a deeply fascinating read that gives deeper insights into the first two Godzilla films. It really gives you an idea of Shigeru Kayama's original intent with the stories, as he is the one who developed the original story ideas. Therefore, Kayama deserves to be credited along with Ishir¨ Honda, Tomoyuki Tanaka, Eiji Tsuburaya, and Akira Ifukube as one of the men responsible for the creation of the greatest movie monster of all time. I think this book is an invaluable addition to any Godzilla fan's library.
December 15, 2023
I love old school Godzilla movies. And I jumped at the chance to read this version of two Godzilla stories: Godzilla and Godzilla raids again. While I did receive this as an E-ARC via Netgalley, I'm such a fan of Godzilla I bought a copy.
This book read like the script from the old Godzilla movies. It's melodramatic, it's action-packed, and it's everything a Godzilla fan could possibly want.
The essay that's at the end of the book is incredibly interesting and really worth the whole book and reading the two novels. The post-war trauma in Japan and the fear of nuclearization jump off of the page.
If you're a Godzilla fan it's definitely worth checking out. If you're a fan of creature features, it's also definitely worth checking out.
This book read like the script from the old Godzilla movies. It's melodramatic, it's action-packed, and it's everything a Godzilla fan could possibly want.
The essay that's at the end of the book is incredibly interesting and really worth the whole book and reading the two novels. The post-war trauma in Japan and the fear of nuclearization jump off of the page.
If you're a Godzilla fan it's definitely worth checking out. If you're a fan of creature features, it's also definitely worth checking out.
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