DOCSLIB.ORG

Godzilla!​ However,​This Mighty Beast's Rampage Across The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Introduction In the frigid state of Alaska, the mildest winter in 200 years and an abnormally warm spring has unleashed one of the greatest beasts that the world has ever known: Godzilla! However,this mighty beast’s rampage across the Alaskan coast hasn’t ​ ​ gone unnoticed. The Supreme Headquarters, International Espionage and Law-Enforcement Division, also known as S.H.I.E.L.D, has noticed Godzilla’s rampage! Dum-Dum Dugan of S.H.I.E.L.D will attack the beast to no avail. This seemingly minor conflict in Alaska will escalate until Godzilla fights the Avengers themselves! That is, if you do not change things by your actions in this world. You begin one week before Godzilla awakens. Location (Roll 1d8) Somewhere, Alaska (1) ​ You start your time here somewhere on the coast of Alaska. This area will be the site of Godzilla’s initial rampage! This is a relatively rural area with only a lighthouse in the immediate vicinity. A few miles inland there is a major terminal for a very important Alaskan oil pipeline. Seattle, Washington (2) ​ Seattle is a beautiful and thriving city in the equally beautiful state of Washington. However, this city won’t be untouched by the wrath of Godzilla. Not long after his awakening in Alaska, Godzilla will make his way down to Seattle and will rampage through the city! San Francisco, California (3) ​ One of the jewels of the Golden State, San Francisco is a thriving metropolis. San Francisco is home to the monumental Golden Gate Bridge and will see an equally ​ ​ monumental event! It will come under attack by the monster Godzilla! Luckily for the City by the Bay, the mighty Avengers are there to protect them as they are based some 400 miles away in Los Angeles. Los Angeles, California (4) ​ Another of the great cities of the Golden State, Los Angeles is a bustling city with a thriving hero scene. It is the home of the mighty Avengers! This powerful team of heroes includes: Black Widow, Angel, Iceman, Black Star, Ghost Rider, and even gods like Thor and Hercules! Not long from now the Avengers will leave their post to fight against the radioactive terror known as Godzilla! The Aleutian Islands, Alaska (5) ​ A set of rather underdeveloped islands just off of the coast of Alaska. These islands are quite rural with very few people living on these islands at all. However, there is one group that has made this island chain their home. In the heart of a volcano, the terrifying Dr. Demonicus tinkers away at his monstrous experiments! Godzilla himself will follow one of these experiments, the one known as Batragon, to the island and will endeavor to destroy the monsters himself! San Diego, California (6) ​ San Diego is yet another thriving city on the West Coast! It may not be as prosperous as the previous two megacities of the Golden State, but that doesn’t make it any less of an important city. Not too many miles north of the city, there is a military base that will see a titanic battle between the radioactive beast, Godzilla, and the robotic samurai, Red Ronin! Salt Lake City, Utah(7) ​ Salt Lake City, the crown jewel of the state of Utah. This city is undergoing a bit of decline in the current decade, but it still finds itself as the area with the largest population in Utah. This great city will become the site for a brutal battle between Godzilla, Red Ronin, and three terrible monsters from Outer Space! Free Choice (8) ​ You’re in luck, Jumper! If you’ve landed on this option you have a choice on where you’ll begin. You could take any of the places above or any place on Earth! .
Recommended publications
  • Toho Co., Ltd. Agenda

    Toho Co., Ltd. Agenda

    License Sales Sheet October 2018 TOHO CO., LTD. AGENDA 1. About GODZILLA 2. Key Factors 3. Plan & Schedule 4. Merchandising Portfolio Appendix: TOHO at Glance 1. About GODZILLA About GODZILLA | What is GODZILLA? “Godzilla” began as a Jurassic creature evolving from sea reptile to terrestrial beast, awakened by mankind’s thermonuclear tests in the inaugural film. Over time, the franchise itself has evolved, as Godzilla and other creatures appearing in Godzilla films have become a metaphor for social commentary in the real world. The characters are no longer mere entertainment icons but embody emotions and social problems of the times. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 4 About GODZILLA | Filmography Reigning the Kaiju realm for over half a century and prevailing strong --- With its inception in 1954, the GODZILLA movie franchise has brought more than 30 live-action feature films to the world and continues to inspire filmmakers and creators alike. Ishiro Honda’s “GODZILLA”81954), a classic monster movie that is widely regarded as a masterpiece in film, launched a character franchise that expanded over 50 years with 29 titles in total. Warner Bros. and Legendary in 2014 had reintroduced the GODZILLA character to global audience. It contributed to add millennials to GODZILLA fan base as well as regained attention from generations who were familiar with original series. In 2017, the character has made a transition into new media- animated feature. TOHO is producing an animated trilogy to be streamed in over 190 countries on NETFLIX. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 5 Our 360° Business Film Store TV VR/AR Cable Promotion Bluray G DVD Product Exhibition Publishing Event Music 2018 © TOHO CO., LTD.
  • Godzilla: History's Greatest Monster Online

    Godzilla: History's Greatest Monster Online

    lcGsF [Mobile pdf] Godzilla: History's Greatest Monster Online [lcGsF.ebook] Godzilla: History's Greatest Monster Pdf Free Duane Swierczynski audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #989776 in Books 2014-04-29 2014-04-29Ingredients: Example IngredientsOriginal language:EnglishPDF # 1 10.20 x .80 x 6.60l, 1.40 #File Name: 1613779488324 pages | File size: 33.Mb Duane Swierczynski : Godzilla: History's Greatest Monster before purchasing it in order to gage whether or not it would be worth my time, and all praised Godzilla: History's Greatest Monster: 5 of 5 people found the following review helpful. Doesn't Fulfull PotentialBy Le Night Dominator"Godzilla: History's Greatest Monster" was originally published as "Godzilla" for 13 issues. This paperback volume contains all of them, and in full color (unlike the Dark Horse and Marvel Godzilla reprints). If you're a fan of the franchise and want to get into the comics, I recommend that you start elsewhere. I'm not a frequent reader of comic books, but I'll try my best to provide an insight on why this particular series didn't exactly hit the mark.First of all, the characters are largely uninteresting. We follow a group of bounty hunters as they attempt to take down Godzilla's massive friends and foes for billions of dollars. Illegally, I might add. This sounds like a fun idea on paper, but let's get down to the actual people themselves: The protagonist is a man named Boxer, who loses two young children to Godzilla and wants revenge and has a ex-wife as part of his team.
  • Ishiro Honda: a Life in Film, from Godzilla to Kurosawa by Steve Ryfle

    Ishiro Honda: a Life in Film, from Godzilla to Kurosawa by Steve Ryfle

    Ishiro Honda: A Life in Film, from Godzilla to Kurosawa by Steve Ryfle Ebook Ishiro Honda: A Life in Film, from Godzilla to Kurosawa currently available for review only, if you need complete ebook Ishiro Honda: A Life in Film, from Godzilla to Kurosawa please fill out registration form to access in our databases Download here >> Hardcover:::: 336 pages+++Publisher:::: Wesleyan University Press (October 3, 2017)+++Language:::: English+++ISBN-10:::: 0819570877+++ISBN-13:::: 978-0819570871+++Product Dimensions::::7.5 x 1.2 x 10.5 inches++++++ ISBN10 0819570877 ISBN13 978-0819570871 Download here >> Description: Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career.
  • Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, Bnoonan@Lsu.Edu

    Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman.
  • Let's Go to the Movies!

    Let's Go to the Movies!

    JAP130728/3 Let’s go to the movies! Visit some of the spectacular locations used for filmmaking in Japan Lights! Camera! Action! Japan has a long and proud history of filmmaking Not only from local directors such as Yasujirō Ozu; Akira Kurosawa; and Ishirō Honda (who have produced classic movies such as Tokyo Story; Seven Samurai; and Godzilla), but Japan has also been the dramatic setting for Hollywood blockbusters such as The Last Samurai (with Tom Cruise); The Wolverine (with Hugh Jackman); and the soon to be released 47 Ronin (starring Keanu Reeves). Using the silver screen as our inspiration, on this trip we immerse ourselves into the diverse scenery, cultures and traditions of this fascinating land. Trip Duration: 14 Days Grade: Basic Level Accommodation: Traditional Inns (13 nights) Price: TBC Welcome to www.ventureea.com: Venture specialises in small group travel ­ designing activities and itineraries tailored to ensure that you get the most out of your Adventure, Expedition, or Event. Day 1: Australia to Tokyo Having arrived at Narita International Airport, we check­in to our accommodation Shigetsu Ryokan, a comfortable traditional Japanese inn located in Tokyo’s old downtown area. We will get to experience how a typical family lives in the ryokan, sleeping in the traditional style of a futon which the staff will prepare for you each night. Slippers and a yukata (Japanese bathrobe) are provided as is traditional, with the addition of modern conveniences in all the rooms including wifi, air­conditioning, private bathroom facilities, minibar, TV and telephone, as well as complimentary Japanese tea.
  • Mcwilliams Ku 0099D 16650

    Mcwilliams Ku 0099D 16650

    ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.
  • Creature Double Feature: America’S Encounter with Godzilla, the King of Monsters

    Creature Double Feature: America’S Encounter with Godzilla, the King of Monsters

    Creature Double Feature: America’s Encounter with Godzilla, the King of Monsters Gus Huiskamp Senior Division Historical Paper Paper Length: 2,020 Words The Godzilla film franchise has long been cherished as a comically odd if not ludicrous ​ ​ cultural icon in the realm of science fiction; however, this representation misses the deep-rooted significance of the original film and reduces the series from high grade, culturally aware cinema to trivial “monster movies.” In the words of William Tsutsui, both an Ivy League scholar and a lifelong Godzilla fan, the original and powerfully meaningful Gojira film1 watched as many of ​ ​ its successors “degenerated into big-time wrestling in seedy latex suits.”2 In spite of its legacy’s deterioration, however, the initial film retains its integrity and significance. Although the altered version of the film had significant financial success in the United States, Toho Company’s Gojira is not widely recognized for its philosophical and cultural significance in this foreign ​ sphere. To a considerable extent, the American encounter with the film has failed due to nativism and prejudice, and in the intercultural exchange the film has lost some of its literary depth, as well as the poignancy in its protest against nuclear proliferation and destructive science in general. When Gojira was released in 1954, the Japanese audience whom it met was still ​ ​ traumatized by the brutal incendiary and atomic attacks of World War II, post-war economic distress, and continuing off-shore nuclear experimentation by the United States. All of these factors contributed to a national “victim” identity as well as a general sense of crisis among the struggling citizens.3 What is also significant of these cultural surroundings is that they were largely caused by an American hand, either directly or indirectly.
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser

    American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser

    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
  • Godzilla and the Japanese After World War II: from a Scapegoat of the Americans to a Saviour of the Japanese

    Godzilla and the Japanese After World War II: from a Scapegoat of the Americans to a Saviour of the Japanese

    Godzilla and the Japanese after World War II: From a scapegoat of the Americans to a saviour of the Japanese Yoshiko Ikeda Ritsumeikan University Abstract. This paper examines how five Godzilla films illuminate the complicated relationship between Japan and the United States over the use of nuclear weapons. The United States dropped the first atomic bombs on Japan and created the first nuclear monster film, The Beast from 20,000 Fathoms (1953), which inspired the Godzilla series. The popularity of these Godzilla films derives from skilfully grappling with the political, social and cultural problems created by the use of nuclear weapons and science/technology, both inside Japan and in relations between Japan and the United States. This paper takes a historical perspective and shows how the Godzilla characters reflect these attitudes across time, moving from a scapegoat for the Americans to a saviour of the Japanese. Gojira (Godzilla) series An ancient monster, deformed by a series of nuclear bomb tests and expelled from his natural habitat, lands in Tokyo and starts destroying Japanese cities. Given the name Godzilla, he destroys these symbols of civilisation as if seeking revenge on humankind for creating such technology. Gojira,1 produced and released by Toho Studio, was a breakthrough hit in Japan in 1954.2 It was followed by 29 Japanese sequels and two American versions of the Japanese films, Godzilla, King of the Monsters (1956) and Godzilla 1985: The Legend is Reborn (1984). Gojira was Japan’s first export film and the series appealed to both Japanese and foreign audiences. Over the past 50 years, Godzilla has transformed in shape and character, playing various roles in the stories.
  • Japanese Science Fiction, Fantasy and Horror Films

    Japanese Science Fiction, Fantasy and Horror Films

    Japanese Science Fiction, Fantasy and Horror Films A Critical Analysis of 103 Features Released in the United States, 1950-1992 STUART GALBRAITH IV Research Associate R. M. HAYES with a foreword by BILL WARREN •if McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London Contents Acknowledgments xi Preface xiii A Note About the Text xxi "A Wind from the East" by Bill Warren xxiii The Fifties Rashomon (1950) 2 Throne of Blood (1957) 32 Tales of Ugetsu (1953) 4 Attack from Space (1958) 34 Godzilla, King of the Monsters! Evil Brain from Outer Space (1954/1956) 7 (1958) 35 Gigantis the Fire Monster (1955) 14 The H-Man (1958) 37 Half Human: The Story of the Invaders from Space (1958) 39 Abominable Snowman (1955/ Varan the Unbelievable (1958/ 1957) 18 1962) 41 The Mysterious Satellite (1956) 21 Battle in Outer Space (1959) 44 Rodan (1956) 23 The Ghost of Yotsuya (1959) 47 Atomic Rulers (1957) 26 Prince of Space (1959) 49 The Mvsterians (1957) 28 The Three Treasures (1959) 51 The Sixties The Final War (1960) 54 Gorath (1962) 72 The Human Vapor (1960) 55 King Kong vs. Godzilla (1962/ The Secret of the Telegian (1960)1 57 1963) 76 Invasion of the Neptune Men Atragon (1963) 81 (1961) 60 Attack of the Mushroom People The Last War (1961) 63 (1963) 84 The Manster (1961) 66 The Lost World of Sinbad Mothra (1961) 68 (1963) 87 Contents Dagora, the Space Monster War of the Monsters (1966) 138 (1964) 90 King Kong Escapes (1967) 141 Godzilla vs. the Thing (1964) 92 Monster from a Prehistoric Ghidrah: The Three-Headed Planet (1967) 145
  • WEAPONS LOCKER by Jerry Epperson and Jeff Grubb

    WEAPONS LOCKER by Jerry Epperson and Jeff Grubb

    MHAC-8 From the Producers of the DUNGEONS & DRAGONS™ Game 6668 OFFICIAL GAME ACCESSORY WEAPONS LOCKER By Jerry Epperson and Jeff Grubb TM All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Comics Group. MARVEL not refer to any person living or dead. Any descriptions SUPER HEROES and MARVEL SUPER VILLAINS are trade- including similarities to persons living or dead are merely marks of the Marvel Comics Group. Copyright ©1985 Marvel TSR, Inc. coincidental. DUNGEONS & DRAGONS, PRODUCTS OF Comics Group, a division of Cadence Industries Corpora- PRODUCTS OF YOUR IMAGINATION™ YOUR IMAGINATION, and the TSR logo are trademarks tion. All Rights Reserved. Printed in U.S.A. owned by TSR, Inc. Game Design ©1985 TSR, Inc. All Rights Reserved IRON MAN’S™ ARMOR DESIGN BY ANTHONY STARK BUILT BY STARK INTERNATIONAL UPPER SURFACE HIGH EFFICIENCY ACTIVATED CESIUM SOLAR ENERGY COLLECTORS MAJOR SUIT MOVEMENT AVERAGE ROUTINE COMPUTER MAGNETIC ASSEMBLY EFFECTOR BEAM PATTERN OXYGEN SUPPLY POWER PODS (STORE LARGE AMOUNTS OF ENERGY) PALM SATELLITE REPULSOR TRANSCEIVING ANTENNA MICRO-SCALE SUIT TILES FABRICATED BY GENETICALLY SATELLITE ENGINEERED METAL AFFINITY TRANSCEIVER BACTERIA WHICH ASSEMBLE COMPUTER THEMSELVES IN SPECIFIC READOUT NAVIGATION ORDERLY ARRAYS, THEN DISPLAY COMPUTER EXPIRE, LEAVING BEHIND VARIOUS METALLIC DEPOSITS WHICH FORM ALL THE METAL HATCH SHAPES AND MICRO- ELECTRONIC CIRCUITS REPULSOR PLASMA GENERATOR PLASMA TIMING COMPUTER AND POWER GENERATORS
  • Marvel Comics Avengers Chronological Appearances by Bob Wolniak

    Marvel Comics Avengers Chronological Appearances by Bob Wolniak

    Marvel Comics Avengers Chronological Appearances By Bob Wolniak ased initially on the Bob Fronczak list from Avengers Assemble and Avengers Forever websites. But unlike Mr. B Fronczak’s list (that stops about the time of Heroes Reborn) this is NOT an attempt at a Marvel continuity (harmony of Marvel titles in time within the fictional universe), but Avengers appearances in order in approx. real world release order . I define Avengers appearances as team appearances, not individual Avengers or even in some cases where several individual Avengers are together (but eventually a judgment call has to be made on some of those instances). I have included some non-Avengers appearances since they are important to a key storyline that does tie to the Avengers, but noted if they did not have a team appearance. Blue (purple for WCA & Ultimates) indicates an Avengers title , whether ongoing or limited series. I have decided that Force Works is not strictly an Avengers title, nor is Thunderbolts, Defenders or even Vision/Scarlet Witch mini- series, although each book correlates, crosses over and frequently contains guest appearances of the Avengers as a team. In those cases, the individual issues are listed. I have also decided that individual Avengers’ ongoing or limited series books are not Avengers team appearances, so I have no interest in the tedious tracking of every Captain America, Thor, Iron Man, or Hank Pym title unless they contain a team appearance or x-over . The same applies to Avengers Spotlight (largely a Hawkeye series, with other individual appearances), Captain Marvel, Ms. Marvel, Vision, Wonder Man, Hulk, She-Hulk, Black Panther, Quicksilver, Thunderstrike, War Machine, Black Widow, Sub-Mariner, Hercules, and other such books or limited series.