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47-408: This series is noted for introducing new themes and styles yet unseen in other shows. The catchphrase for the series is: " To us, there are heroes. " ( ぼくたちには、ヒーローがいる , Bokutachi ni wa, hīrō ga iru ) . Kamen Rider Hibiki is the first Kamen Rider Series to be broadcast in a high-definition format. The Kamen Riders, known as Oni , battle man-eating beasts called Makamou with "pure sound". One of

94-545: A fictional dinosaur (animated by Ray Harryhausen ), which is released from its frozen, hibernating state by an atomic bomb test within the Arctic Circle . The American movie was released in Japan in 1954 under the title The Atomic Kaiju Appears , marking the first use of the genre's name in a film title. However, Godzilla , released in 1954, is commonly regarded as the first Japanese kaiju film. Tomoyuki Tanaka ,

141-400: A human ( suit actor ) to wear and act in. This was combined with the use of miniature models and scaled-down city sets to create the illusion of a giant creature in a city. Due to the extreme stiffness of the latex or rubber suits, filming would often be done at double speed, so that when the film was shown, the monster was smoother and slower than in the original shot. Kaiju films also used

188-523: A lasting impact and solidifying the figure of the giant monster as an essential component in genre cinematography. RKO Pictures later licensed the King Kong character to the Japanese studio Toho , resulting in the co-productions King Kong vs. Godzilla (1962) and King Kong Escapes (1967), both directed by Ishirō Honda . Yoshirō Edamasa directed The Great Buddha Arrival in 1934. Although

235-473: A metaphor for nuclear weapons , reflecting the fears of post-war Japan following the atomic bombings of Hiroshima and Nagasaki and the Lucky Dragon 5 incident. Other notable examples of kaiju characters include King Kong , Rodan , Mothra , King Ghidorah , and Gamera . The Japanese word kaijū originally referred to monsters and creatures from ancient Japanese legends; it earlier appeared in

282-672: A mysterious giant animal starts destroying the city, until it is countered by a massive airstrike . It was based on a 1905 episode of McCay's comic strip series Dreams of the Rarebit Fiend . The 1925 film The Lost World (adapted from Arthur Conan Doyle 's 1912 novel of the same name ), featured many dinosaurs, including a brontosaurus that breaks loose in London and destroys Tower Bridge . The dinosaurs of The Lost World were animated by pioneering stop motion techniques by Willis H. O'Brien , who would some years later animate

329-701: A neutral force of nature , but are more specifically preternatural creatures of divine power. They are not merely "big animals". Godzilla , for example, from its first appearance in the initial 1954 entry in the Godzilla franchise , has manifested all of these aspects. Other examples of kaiju include Rodan , Mothra , King Ghidorah , Anguirus , King Kong , Gamera , Gappa , Guilala , and Yonggary . There are also subcategories including Mecha Kaiju (Meka-Kaijū), featuring mechanical or cybernetic characters, including Moguera , Mechani-Kong , Mechagodzilla , and Gigan , which are an offshoot of kaiju . Likewise,

376-514: A new splinter of the term, which quickly propagated through the popularity of superhero programs produced from the 1970s, forward. These kaijin possess rational thought and the power of speech, as do human beings. A successive kaijin menagerie, in diverse iterations, appeared over numerous series, most notably the Super Sentai programs premiering in 1975 (later carried over into Super Sentai ' s English iteration as Power Rangers in

423-528: A pair of homunculi servants that aid a Makamou, revealed to be clones created by a couple known as the "Man and Woman of the Western-Style House" ( 洋館の男女 , Yōkan no Danjo ) , who are the antagonists of most of the series despite preferring to act from behind the scenes. It is assumed they were humans who achieved a means of immortality long ago and have been modifying the Makamou to wipe out

470-564: A prelude to an upcoming calamity. Takeshi ( 猛士 ) is a secret organization based in Yoshino , Nara , having been established two centuries ago as a partnership between the Oni and a select group of humans to defend Japan from the Makamou. In the present day, Takeshi has offices across Japan composed of Oni and a backup team that provided intelligence and support. The combatant agents of Takeshi are known as Oni, who have long protected humans from

517-520: A producer for Toho Studios in Tokyo, needed a film to release after his previous project was halted. Seeing how well the Hollywood giant monster movie genre films King Kong and The Beast from 20,000 Fathoms had done in Japanese box offices, and himself a fan of these films, he set out to make a new movie based on them and created Godzilla . Tanaka aimed to combine Hollywood giant monster movies with

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564-456: A seasoned television and movie critic; and many others published severe criticisms in their personal blogs because of this. Even the show's star, Shigeki Hosokawa , who portrayed Hibiki, stated in his personal website that Inoue's scripts "needed adjustments" and that this whole staff change was "fraudulent". With the first production staff, Hosokawa would join the writers' meetings and give suggestions, however Hosokawa could not give his opinion in

611-523: A series to be handled in such a manner. There has never been any official statement from Toei, but many critics point out several facts might have caused it, the main reason being the low toy sales. It is not usual for a Toei production to have two different producers for the TV series and the movie. It is likely that a different producer was appointed for the movie because Toei was suffering from schedule problems with Takatera. Changes The movie spin-off of

658-446: Is a Japanese term that is commonly associated with media involving giant monsters. The kaiju film genre is credited to tokusatsu director Eiji Tsuburaya and filmmaker Ishirō Honda , who popularized it by creating the Godzilla franchise and its spin-offs. The term can also refer to the monsters themselves, which are usually depicted attacking major cities and battling either the military or other creatures. Godzilla (1954)

705-505: Is destroyed by Armed Hibiki. The Kamen Rider Hibiki trademark was registered by Toei on October 21, 2004. Kamen Rider Hibiki began with Shigenori Takatera as the Toei producer, however, Shinichiro Shirakura, who though having participated in other Heisei Kamen Rider series, had no involvement whatsoever in the Hibiki production, was appointed producer of the film Kamen Rider Hibiki &

752-559: Is often regarded as the first kaiju movie. When developing it, Honda and Tsuburaya drew inspiration from the character of King Kong , both in its influential 1933 film and in the conception of a giant monster, establishing it as a pivotal precursor in the evolution of the genre. During its formative years, kaiju movies were generally neglected by Japanese critics, who regarded them as "juvenile gimmick", according to authors Steve Ryfle and Ed Godziszewski. Kaiju are often somewhat metaphorical in nature; Godzilla , for example, serves as

799-666: The Kamen Rider Hibiki TV show ("Kagayaki" and "Shōnen yo"). A release for the GameCube was planned, but ultimately scrapped. The S.I.C. Hero Saga side story for Hibiki is titled Masked Rider Hibiki: Seven Ogres ( MASKED RIDER HIBIKI -SEVEN OGRES- ) , which is an alternate telling of the film Hibiki & The Seven Senki . It features the original character Kamen Rider Armed Hibiki ( Sengoku Period ver.) ( 仮面ライダー装甲響鬼（戦国時代ver.） , Kamen Raidā Āmudo Hibiki (Sengoku Jidai ver.) ) . The Seven Ogres storyline ran in

846-462: The 1990s). This created yet another splinter, as the kaijin of Super Sentai have since evolved to feature unique forms and attributes (e.g., gigantism ), existing somewhere between kaijin and kaiju . Daikaijū ( 大怪獣 ) literally translates as "giant kaiju " or "great kaiju ". This hyperbolic term was used to denote greatness of the subject kaiju , the prefix dai- emphasizing great size, power, and/or status. The first known appearance of

893-1061: The 2005 Kamen Rider series, entitled Kamen Rider Hibiki & The Seven Senki the Movie ( 劇場版 仮面ライダー響鬼と7人の戦鬼 , Gekijōban Kamen Raidā Hibiki to Shichinin no Senki ) was released on September 3, double-billed with Mahō Sentai Magiranger the Movie: Bride of Infershia . The film takes place in the Warring States Period , serves as a prequel to the Makamou war, and features five movie-only Oni known as Kabuki, Kirameki, Habataki, Nishiki, and Touki. In Kamen Rider Hibiki: Asumu Transform! You Can Be an Oni, too!! ( 仮面ライダー響鬼 明日夢変身！キミも鬼になれる！！ , Kamen Raidā Hibiki Asumu Henshin! Kimi mo Oni ni Nareru!! ) , Asumu Adachi imagines if he could be like Kamen Rider Hibiki, and are approached by talking Disc Animals who teach him how to be like Hibiki, eventually allowing Asumu to transform into Kamen Rider Armed Hibiki. Kamen Rider Sabaki also appears in

940-525: The Chinese Classic of Mountains and Seas . There are no traditional depictions of kaijū or kaijū -like creatures among the yōkai of Japanese folklore , although it is possible to find megafauna in their mythology (e.g., Japanese dragons ). After sakoku ended and Japan was opened to foreign relations in the mid-19th century, the term kaijū came to be used to express concepts from paleontology and legendary creatures from around

987-662: The DVD. Kamen Rider Hibiki was released by Bandai for the PlayStation 2 on December 1, 2005. It featured a unique cross compatibility with the Taiko no Tatsujin Tatacon controller, where the taiko-like controller could be used in the rhythm game-like sections of Hibiki . It was also released alongside a special edition of the Taiko no Tatsujin series which included the theme songs of

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1034-718: The June through September 2006 issues of Monthly Hobby Japan magazine. High-definition television Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.226 via cp1108 cp1108, Varnish XID 249614589 Upstream caches: cp1108 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 10:44:27 GMT Kaiju Kaiju ( Japanese : 怪獣 （ かいじゅう ） , Hepburn : kaijū , lit.   ' strange beast ' ; Japanese pronunciation: [ka̠iʑɨː] )

1081-603: The Kamen Rider Super Live, Hosokawa stated that the series was "essentially an incomplete process" and that "it should not have ended that way". Mitsu Murata , who portrayed the Douji characters, declared on his blog: "I cannot forgive them, I want to continue his idea", complaining about the removal of Takatera as producer. These declarations caused an unprecedented storm within the professional tokusatsu market and many of Toei's executives were berated for allowing

1128-476: The Makamou Satori to abduct an ideal human (Hitomi) so they can use her to create more stable clones. At the end of the series, they are revealed to be the clones of the "Mysterious Man and Woman" ( 謎の男女 , Nazo no Danjo ) , who still need them to carry on their work. The regular antagonists of the series; the Makamou ( 魔化魍 , Makamō ) are an assortment of monstrous creatures that usually dwell in

1175-430: The Makamou for centuries. The title of every Oni bears the -ki suffix (鬼), which is semantically identical to "Oni" in Japanese language. It also has some resemblance with the real name of the Oni. While transformed, each Oni equips with three types of respective Ongekitai ( 音撃帯 ) utility belt to be compatible with their personal Ongeki Weapons ( 音撃兵器 , Ongeki Heiki ) for the finishing moves: The term used for

1222-687: The Oni and destroy humanity. The Douji ( 童子 , Dōji ) are the clones of the Man while the Hime ( 姫 ) are clones of the Woman, the Parent clones who care for the Makamou having swapped voices and the ability to transform into humanoid versions of their "children". The Parents are created by Kugutsu ( クグツ ) clones, the ones in black trench coats creating the Giant-Type Makamou Parents with

1269-520: The Oni's attacks. In the final arc, a chain of events called the Orochi Phenomenon ( オロチ現象 , Orochi Genshō ) occurs. Marked by the appearance of Kodama's Forest, every known Makamou appears at the same time, increasing in massive numbers to the point where not even the Man and Woman can control them. By the climax, the Makamou start to dissolve into a purple miasma and killing by the hundreds. Hibiki eventually stopped Orochi by performing

1316-438: The Oni, a man named Hibiki, ends up having a "teacher-and-apprentice"-like relationship with Asumu Adachi, a young boy unsure of himself and is at a crossroads in his life as he transitions to high school. Asumu learns to be an adult through watching Hibiki and the other Oni as they all train together to hone their skills in fighting the Makamou and the homunculi aiding them. However, the sudden rise of Makamou numbers proves to be

1363-479: The Seven Senki , eventually replacing Takatera in the TV production from episode 30. The writing staff also changed; Tsuyoshi Kida and Shinji Ōishi were replaced by Toshiki Inoue and Shōji Yonemura , who had worked with Shirakura on Sh15uya and other Heisei Kamen Rider series. In addition, personalities such as Sensha Yoshida, a renowned manga artist; Hiroshi Yamamoto, a video game designer; Masao Higashi,

1410-538: The best known Seijin in the genre can be found in the Ultra Series , such as Alien Baltan from Ultraman , a race of cicada-like aliens who have gone on to become one of the franchise's most enduring and recurring characters other than the Ultras themselves. Toho has produced a variety of kaiju films over the years (many of which feature Godzilla, Rodan, and Mothra), but other Japanese studios contributed to

1457-480: The black Kugutsu Hime providing them with armor modification, while the ones in white robes create the Summer-Type Makamou Parents. The Kugutsu were executed by Super Douji and Super Hime. Eventually, the Man and Woman are forced into a ceasefire with the Oni as the Makamou were becoming too uncontrollable during the Orochi Phenomenon. A year after the Orochi Phenomenon was stopped, they created

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1504-447: The collective subcategory Ultra-Kaiju (Urutora-Kaijū) is a separate strata of kaijū that specifically originates in the long-running Ultra Series franchise but can also be referred to simply by kaijū . As a noun , kaijū is an invariant , as both the singular and the plural expressions are identical. ( 怪人 lit. "Strange person") refers to distorted human beings or humanoid-like creatures. The origin of kaijin goes back to

1551-484: The early 20th Century Japanese literature, starting with Edogawa Rampo 's 1936 novel, The Fiend with Twenty Faces . The story introduced Edogawa's master detective, Kogoro Akechi 's arch-nemesis, the eponymous "Fiend", a mysterious master of disguise, whose real face was unknown; the Moriarty to Akechi's Sherlock . Catching the public's imagination, many such literary and movie (and later television) villains took on

1598-482: The genre by producing films and shows of their own: Daiei Film ( Kadokawa Pictures ), Tsuburaya Productions , and Shochiku and Nikkatsu Studios. Eiji Tsuburaya , who was in charge of the special effects for Godzilla , developed a technique to animate the kaiju that became known colloquially as " suitmation ". Where Western monster movies often used stop motion to animate the monsters, Tsubaraya decided to attempt to create suits, called " creature suits ", for

1645-468: The giant gorilla-like creature breaking loose in New York City in the 1933 film King Kong . The enormous success of King Kong can be seen as the definitive breakthrough of monster movies . This influential achievement of King Kong paved the way for the emergence of the giant monster genre, serving as a blueprint for future kaiju productions. Its success reverberated in the film industry, leaving

1692-536: The mantle of kaijin . To be clear, kaijin is not an offshoot of kaiju . The first-ever kaijin that appeared on film was The Great Buddha Arrival a lost film, made in 1934. After the Pacific War , the term was modernized when it was adopted to describe the bizarre, genetically engineered and cybernetically enhanced evil humanoid spawn conceived for the Kamen Rider Series in 1971. This created

1739-467: The most efficient way of destroying them. The Experimental-Type Makamou are Makamou developed by the Man and Woman to suppress the other two types, modified to be resistant to Oni attacks after the Man and Woman analyzed the Armed Saber. The Kodama ( コダマ ) is a tree-like Makamou whose appearance marks the beginning of an Orochi event, able to traps its victims within a forest it spawns. Todoroki

1786-566: The original film is now lost, stills of the film have survived, and it is one of the earliest examples of a kaiju film in Japanese cinematic history. The 1934 film presumably influenced the production of the Ultraman franchise. Ray Bradbury 's short story published in the Saturday Evening Post, June 23, 1951 " The Beast from 20,000 Fathoms " served as the basis for the film The Beast from 20,000 Fathoms (1953), featuring

1833-549: The re-emerged Japanese fears of atomic weapons that arose from the Daigo Fukuryū Maru fishing boat incident; and so he put a team together and created the concept of a giant radioactive creature emerging from the depths of the ocean, a creature that would become the monster Godzilla. Godzilla initially had commercial success in Japan, inspiring other kaiju movies. The term kaijū translates literally as "strange beast". Kaiju can be antagonistic , protagonistic , or

1880-461: The rural areas and consume human beings as food. Chimerical in appearance with their size and shape depending on the environment they are born in, and serving as the basis of the yōkai myths, the Makamo are a naturally created phenomena though some have been modified by the Man and Woman to be stronger and unpredictable. But the Makamou can destabilize and explode when exposed to pure sound produced by

1927-564: The sealing ritual, dealing with a massive army of Makamou bent on stopping him from ending their era before it could begin. In the end, the Orochi was halted and Makamou numbers dwindled back to normal. The Giant-Type Makamou are most common type of Makamou, essentially daikaiju with heights that vary from 22 ft. to 75 ft. Makamou that fall under this listing include Tsuchigumo ( ツチグモ ) and Bakegani ( バケガニ ) . The Summer-Type Makamou are human-sized Makamou that normally appear during

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1974-400: The second production staff meetings due to time restraints. In an interview published on TV Asahi's main website, Hosokawa stated that the script for the final episode was rewritten on the final day of filming. He later said that the script was sent in so late that it arrived on set as the final battle was being filmed. This finale was scrapped and then a new ending that, according to Hosokawa,

2021-472: The summer, apparently starting the Japanese legend of ghosts and yōkai appearing on Earth during the summer. While the Summer-Type Makamou lack in size, they make it up in their ability to replicate themselves in large numbers and when one is destroyed they can easily be replaced. The key to destroying them is to destroy the original so no more replicates can be created. The Ongekida finishers are

2068-774: The term daikaiju in the 20th Century was in the publicity materials for the original 1954 release of Godzilla . Specifically, in the subtitle on the original movie poster, Suibaku Daikaiju Eiga ( 水爆大怪獣映画 ), lit. "H-Bomb Giant Monster Movie". Gamera, the Giant Monster , the first film of the Gamera franchise in 1965, also utilized the term where the Japanese title of the film is Daikaijū Gamera ( 大怪獣ガメラ ). Seijin ( 星人 lit. "star people"), appears within Japanese words for extraterrestrial aliens, such as Kaseijin ( 火星人 ), which means " Martian ". Aliens can also be called uchūjin ( 宇宙人 ) which means "spacemen". Among

2115-541: The world. For example, the extinct Ceratosaurus -like cryptid featured in The Monster of "Partridge Creek" (1908) by French writer Georges Dupuy was referred to as kaijū . It is worthy to note that in the Meiji era , Jules Verne ’s works were introduced to the Japanese public, achieving great success around 1890. Genre elements were present at the end of Winsor McCay 's 1921 animated short The Pet in which

2162-456: Was dispatched to investigate, only to be ambushed by a wooden puppet Kodama created. The puppet managed to overpower Armed Hibiki and drive the Oni out of its forest. The Kodama later reappeared, trapping Ibuki and Kasumi, whom the monster intended to eat. While Ibuki and Todoroki battle the medium, Asumu and Kyosuke find Kodama and manage to free Kasumi from it, the medium feeling its master's pain before being quickly destroyed by Ibuki while Kodama

2209-435: Was nothing like the intended ending, was filmed. Later in the interview, Hosokawa said that the Oni suit used by Kyosuke was a kitbash of two new suits made especially for the characters of Asumu and Kyosuke. Hosokawa said that this was the most upsetting change to him as the final script had been rewritten six times at that point and all but the filmed version contained both Asumu and Kyosuke becoming Oni. In January 2006, at

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