75-596: (Redirected from Ohashi ) For the district in Japan, see Ōhashi, Meguro, Tokyo . Ōhashi , Ohashi or Oohashi (written: 大橋 lit. "large bridge") is a Japanese surname. Notable people with the surname include: Akira Ohashi (born 1968), Japanese actor Ayaka Ohashi (born 1994), Japanese voice actress Kyosen Ōhashi (born 1934), Japanese TV host and writer Hideyuki Ohashi (born 1965), former Japanese professional boxer Hiroyoshi Ohashi (born 1936), botanist formerly at
150-586: A rip-off of Godzilla by some authors, Godzilla films including later Showa films, later Heisei continuity, "Millennium" films including Godzilla 2000 (1999), Godzilla vs. Megaguirus (2000), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (GMK) (2001), Shin Godzilla (2016), Godzilla Minus One (2023), and MonsterVerse series by Legendary Pictures have been pointed out to be influenced by Showa Gamera films and Shusuke Kaneko 's Heisei Gamera Trilogy and GMK . Gamera
225-406: A "Capsule Monster", presumably based on characters of the same title from Ultra Seven which later inspired Pokémon . Noriaki Yuasa directed a related 1996 video Cosplay Warrior Cutie Knight , and Hurricane Ryu , who was also working for the 1994 manga Giant Monster Gamera , played Gamera for it. In the 2015 short film for the 50th anniversary of the franchise, Gamera saved a boy from
300-695: A "giant, monstrous turtle which flies by emitting flames from its retracted limbs" for STOP Series , a cancelled tokusatsu television program series in 1962. Gamera's turtle-like design may have been inspired by the Black Tortoise , one of the Four Symbols of the Chinese constellations in East Asian mythology . The Black Tortoise is known as Genbu in Japanese , and is usually depicted as
375-447: A bond with the boy and develops the ability to breathe fire and fly. After consuming the glowing rock found with his egg, Toto fully transforms into the next incarnation of Gamera, gaining the power to defeat a lizard-like monster known as Zedus, which was once a normal reptile turned into a kaiju by feeding on Gyaos' corpse, and was presumably controlled by the vengeful spirits of the villainous flying creatures. Gamera Rebirth ,
450-623: A bridge in Kyoto [REDACTED] Surname list This page lists people with the surname Ohashi . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Ōhashi&oldid=1243388449 " Categories : Surnames Japanese-language surnames Hidden categories: Articles containing Japanese-language text Articles with short description Short description
525-559: A child-friendly son of Godzilla, was also possibly influenced by the Gamera franchise while Toto in the 2006 film Gamera the Brave in return bears physical and conceptual similarities to Minilla and Godzilla Junior in the 1994 film Godzilla vs. SpaceGodzilla . While Gamera the Brave re-used the original script of Gamera: Guardian of the Universe , its plot was also influenced by
600-514: A large number of requests from players of the mobile game Godzilla Battle Line , and an official collaboration between the Netflix series and the mobile game was made where Seshita's incarnation of Godzilla was chosen for the key art, and Gamera and Gyaos and Guiron appeared in the game as playable characters, followed by Showa incarnations of Gamera and Gyaos. Additionally, Masaaki Tezuka once suggested using Gamera instead of Kamoebas for
675-759: A number of staffs involved in Gamera productions, later participated in Godzilla and Ultraman productions. Due to the Six-Company Agreement , other companies, including Daiei Film itself, could not "openly" use tokusatsu techniques and staffs and actors of Toho . However, according to Keizō Murase , Eiji Tsuburaya 's teams were secretly appointed for Gappa: The Triphibian Monster by Nikkatsu (1967), The X from Outer Space by Shochiku (1967), and other subsequent productions, and Toho's techniques were secretly used in these films. For Gamera,
750-406: A power to sense presences of other kaiju on certain children, and his name itself contains a power to somehow encourages a specific children and makes humans to feel that the name "Gamera" is the correct one. Gamera appeared to protect protagonist children from other monsters trying to feed on the children and other civilians. Through battles, Gamera was severely damaged and almost died, and during
825-565: A swarm of Gyaos attacking Tokyo and incinerated them with a powerful fire blast. A decade later, another monster appeared to cause a havoc, and the boy again witnessed Gamera to return to fight against it. Both Gamera and Godzilla franchises have played significant roles in expanding modern cultures in Japan, and influenced various other productions, and the two franchises have also influenced each other on various occasions. Both along with other tokusatsu productions most notably Daimajin and Ultra Q and Ultraman franchises, formed
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#1732782751426900-523: A turtle entwined together with a snake . Each of the Four Symbols are said to act as guardians over each of the four cardinal directions , with the dragon Seiryu in the east ; the tiger Byakko in the west ; the bird Suzaku in the south ; and the tortoise Genbu in the north . In Gamera, the Giant Monster , the first film in the franchise, Gamera is depicted as awakening in
975-1285: Is a Japanese actor known in the west for his performances in tokusatsu media. Filmography [ edit ] Film [ edit ] Year Title Role Ref(s) 1991 Zeiram Iria 1994 Zeiram 2 Iria 1996 Gamera 2: Attack of Legion Gamera 1999 Gamera 3: Revenge of Iris Iris 2001 Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack King Ghidorah 2005 Kamen Rider The First Spider 2006 Kamen Rider The Next 2013 Garo Gaiden: Tōgen no Fue Director 2015 Bikû Director 2019 VAMP Action Director 2021 Nezura 1964 Mammoth Nezura (motion capture) Television [ edit ] Year Title Role Ref(s) 2006 Garo References [ edit ] ^ Clarke, Frederick S. (1996). "Cinefantastique Volume 28" . Cinefantastique . Google Books. pp. 3–4 . Retrieved 25 July 2019 . ^ Galbraith IV 2008 , p. 395. ^ Galbraith IV 2008 , p. 421. ^ Seibold, Witney (30 May 2019). "Meet
1050-559: Is a fictional monster, or kaiju , originating from a series of Japanese films. Debuting in the 1965 film Gamera, the Giant Monster , the character and the first film were intended to compete with the success of Toho 's Godzilla film series . Since then, Gamera has become a Japanese icon in his own right, appearing in a total of 12 films produced by Daiei Film and later by Tokuma Shoten and Kadokawa Daiei Studio ( Kadokawa Corporation ) respectively, and various other media such as novelizations, manga , video games, and so on. Gamera
1125-628: Is depicted as a giant, flying, fire-breathing , prehistoric turtle . In the first film, Gamera is portrayed as aggressive and destructive, though he also saves a child. As the films progressed, Gamera took on a more benevolent role, becoming a protector of humanity especially children, nature, and the Earth from extraterrestrial races and other giant monsters. Despite its popularity and extensive social influences such as references in numerous media globally and naming of two species of prehistoric turtles, Sinemys gamera and Gamerabaena , expansion of
1200-411: Is different from Wikidata All set index articles Akira Ohashi Japanese actor [REDACTED] This biography of a living person needs additional citations for verification . Please help by adding reliable sources . Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from
1275-473: Is shown, suggesting that Gamera was not the only one of his kind. One character in the film refers to these fossils as "beta versions" of Gamera, possibly failures in Atlantis' attempts to create the final version. This Gamera has retractable claws protruding from his elbows, and is shown to be able to shoot plasma fireballs from his mouth. Gamera has also been portrayed as being able to absorb mana from
1350-599: Is their first encounter with her. She in spirit-like form appeared from the Mount Ooe and surrounding mountains in north of the Heian-kyō , a presumed reference to the 1960 yokai film The Demon of Mount Oe by Daiei Film, and manifested a physical form and battled Nue , a gigantic yokai being empowered by vengeful Abe no Seimei , to save the world from antagonistic humans and yokais . Gamera overwhelmed and severely weakened Nue with her fireballs and spinning jet, and left
1425-411: Is unclear, and governmental officials and scientists try to use him as a weapon against villainous kaiju while protagonists try to save him. Gamera and Gyaos were designed to be much smaller yet heavier than previous incarnations, corresponding with the original scripts of Gamera: Guardian of the Universe which became the basis for the 2006 film. The opening scene of the film, set in 1973, depicts
1500-546: The Arctic , the northernmost region on Earth. Gamera 3: Revenge of Iris , the 11th film in the franchise, contains a scene featuring a book describing the Four Symbols, including Genbu . Before the character was officially referenced to the Black Tortoise in the 1999 film, designs and background stories of Gamera and Gyaos were also inspired by ancient Chinese aspects during the production of Gamera: Guardian of
1575-535: The " First Kaiju Boom ", which became the basis for the " Second Kaiju Boom " and the " Yōkai Boom". Daiei Film 's objective was not to surpass the Godzilla franchise, but to coexist with it, and the Gamera franchise achieved to differentiate from the Toho productions to appeal to its audiences, and gained popularity notably among children and rivaled the Toho productions. While Gamera has been described as being
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#17327827514261650-417: The "Vanishing Fist". The continuity of the franchise was rebooted a second time with the 2006 film Gamera the Brave , the 12th entry in the series. This incarnation was designed after African spurred tortoise , and also possesses supernatural traits such as instant growth, telepathy , comprehending human speeches, sensing and foreseeing emergences of evil monsters from afar, and so on. Gamera's origin
1725-731: The "jet-flying turtle appeared on Fukuoka " and the "80 meters tall, fire-breathing, bipedal, carnivorous dinosaur-like lizard appeared on the port of Tokyo Bay ", clearly referencing Gamera in Gamera: Guardian of the Universe and Godzilla in The Return of Godzilla where several casts from the Heisei Gamera Trilogy such as Hirotarō Honda and Tomorowo Taguchi appeared in the film. Daiei Film produced and distributed films that played major roles in forming tokusatsu and kaiju genre. The company produced
1800-744: The 1948 purge due to his involvements in war propagandas , and Arikawa and Araki's voluntary resignations after Toho strikes . However, Tsuburaya was rather dissatisfied with the tokusatsu production (or effects) in The Invisible Man Appears (or their attempts to join the company didn't materialize), and eventually didn't join Daiei Film. Tsuburaya and Arikawa and Araki later participated in Godzilla and various other Toho tokusatsu productions. Daiei Film, along with its own productions of various tokusatsu films, also distributed
1875-874: The 1958 Daiei film Nichiren and the Great Mongol Invasion . In this novelization, Barugon and Jiger directly appeared as the Azure Dragon and the White Tiger respectively. Each monsters are spiritual and sacred entities, being regarded as actual deities with supernatural powers such as telepathy , weaponizing weathers, destructive energy beam, levitation , and time manipulation. These monsters choose specific humans as summoners and forms supernatural links with them through magatamas , and bestow them superhuman prowess. The chosen ones can summon materialized monsters to perform tremendous feats, however, if summoners use monsters for destructive deeds,
1950-452: The 1962 demo reel, which he believed as the original idea of Daiei's Gamera, to both Daiei Film and Eiji Tsuburaya (and Toho), while Yonesaburo Tsukiji , Tsuburaya's student and participated in both Nezura and Gamera , didn't agree with Sagisu's claim. Later, Tsuburaya's coworkers and students, who had participated in Godzilla and various other Toho productions, participated in Gamera and Daimajin and other Daiei productions, and
2025-892: The 2003 film Godzilla: Tokyo S.O.S. , and Gamera was at one point considered to appear in the 2007 video game Godzilla: Unleashed . The 1999 video game Gamera Dream Battle was able to connect to Mothra Dream Battle in which Mothra and King Ghidorah appeared as playable characters. Gamera and Godzilla and other monsters from respective franchises co-appeared in several exoteric productions and events such as stage shows, television show , Dr. Slump and Dragon Ball , The Simpsons , Daicon III and IV Opening Animations , MegaTokyo , City Shrouded in Shadow , The Slammie Brothers vs. Godzilla and Gamera , and USO MAKOTO Yōkai Hyaku Monogatari . Several franchises such as Dr. Slump , Detective Conan , Sailor Moon SuperS , and Jumbo Monster GOMERA have characters with
2100-553: The Atlanteans and inherited memories of their ancestors to mistake him as a threat. The incarnation of the character appeared in the 1980 film Gamera: Super Monster was depicted to be potentially a different individual from the previous films where a normal Pond slider was magically turned into a kaiju by the Spacewomen, a group of supernatural female aliens. In the end of the film, Gamera sacrificed himself to destroy
2175-453: The Earth, to fire a plasma beam from his chest, and to manipulate the energy to create a pseudo arm composed of fire to destroy a foe. Within the first and the third films of the trilogy, Gamera magically healed harmed humans including reviving temporary deceased or half-dead individuals although he was unable to revive nearby humans whose corpses were physically destroyed. In the 2003 comic, he
2250-521: The Giant Monster and Gamera vs. Barugon resulted in sudden increases of non-Toho kaiju productions. Film makers were suspicious of Tsuburaya's involvements to these non-Daiei productions{{refn|Aside from Tsuburaya, Fuminori Ohashi ( jp ) and Shinichi Sekizawa participated in Giant Phantom Monster Agon by Nippon Television , and Toho withdrew a complaint against the tv series regarding close resemblances of Godzilla and Agon
2325-479: The Giant Monster , some filmmakers who had previously participated in Godzilla and other Toho kaiju films joined its production despite the agreement. However, Daiei Film intentionally avoided receiving any technological assistances from Tsuburaya for the Gamera franchise to differentiate their productions from Toho, and produced Gamera and other tokusatsu films without Toho-based techniques, choices of materials, direction, and so on. Successes of Gamera,
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2400-540: The Giant Monster and Gamera vs. Barugon , cold temperatures are shown to weaken Gamera although he is capable of acting in outer space and deep sea . Gamera is also presumably capable of performing supernatural feats such as telepathy and remote sensing. Additionally, he has a high intelligence to outsmart antagonists, to tactically utilize artificial objects, cautiously behave to secure humans, and to repair an alien spaceship. Gamera's intention behind bizarre displays including acrobatic and musical acts in later films
2475-646: The Heisei Mothra trilogy. Ishiro Honda highly praised the 1967 film Gamera vs. Gyaos , pleasing Niisan Takahashi greatly and freeing him from his feeling of inferiority towards the Godzilla franchise. There was a failed attempt to produce a Daimajin film involving Honda in 1980s, and Takahashi later sent his script for the cancelled 1994 film, which later became the basis of the novelization Gamera vs. Phoenix , to several tokusatsu film makers including Honda; however, despite Honda's encouragement, Takahashi's attempt failed to materialize. During
2550-787: The Heisei trilogy and its cancelled sequel(s). Eiji Tsuburaya depicted Godzilla to be more heroic and to bleed in later Showa films despite disliking bleeding kaiju , and having avoided this in previous Showa films due to his belief in Christianity . Later Showa films featured more child-friendly aspects, depicting kaiju as characters than monsters, increasing the number of scenes involving kaiju, and adding more fancifully designed kaiju. Yoshimitsu Banno , who later planned to direct Gamera 3D , made Godzilla to fly in his Godzilla vs. Hedorah . These later Showa Godzilla films were presumably influenced by Gamera. The creation of Minilla ,
2625-478: The Invincible , the re-titled American release of the first film in the franchise, Gamera, the Giant Monster . The original idea for Gamera was developed by Yonejiro Saito , Masaichi Nagata , Hidemasa Nagata , Niisan Takahashi , and Noriaki Yuasa . The character was created as a property of the production company Daiei Film , and was intended to compete with the Godzilla film series (which features
2700-1295: The Monsters: Getting to Know Ghidorah Before He Rears His Ugly Heads in 'King of the Monsters' " . Bloody Disgusting . Retrieved 25 July 2019 . ^ "大橋明インタビュー" . 映画『ネズラ1964』公式サイト (in Japanese). Archived from the original on 2021-05-09 . Retrieved 2021-05-09 . Sources [ edit ] Galbraith IV, Stuart (2008). The Toho Studios Story: A History and Complete Filmography . Scarecrow Press . ISBN 978-0810860049 . Retrieved from " https://en.wikipedia.org/w/index.php?title=Akira_Ohashi&oldid=1227012241 " Categories : 1968 births Japanese male film actors Living people Male motion capture actors Hidden categories: CS1 Japanese-language sources (ja) Articles with short description Short description matches Wikidata BLP articles lacking sources from July 2019 All BLP articles lacking sources Articles with hCards Articles containing Japanese-language text Place of birth missing (living people) Gamera Gamera ( Japanese : ガメラ , Hepburn : Gamera )
2775-627: The Toho productions. Plots of Showa Gamera films intentionally avoided to focus on "standards" of kaiju films by Toho, such as the JSDF and other military forces, weapons, scientific explanations, and so on. Instead, subsequent films since Gamera vs. Viras featured simple, childish, and eccentric plots for young audiences. In the films, children play significant roles with the eccentric ideas presented, and children, unlike adults, always believe in Gamera, partially due to Noriaki Yuasa 's antithesis against war and political propagandas . This direction
2850-635: The Universe while the original script of the film focused more on ancient India . Gamera resembles an enormous prehistoric turtle , and is capable of both bipedal movement and flight . He occasionally walks on all four legs in Showa films and Gamera the Brave in 2006. He possesses a pronounced crest on his head, his mouth contains rows of teeth, and two tusks protrude upward from each side of his lower jaw. He can fly by means of "jets" which can be ignited out of his limb holes when he retracts his legs into his shell. The jets allow Gamera to rise into
2925-1046: The University of Tokyo and Tohoku University Katelyn Ohashi (born 1997), American artistic gymnast Kenichirō Ōhashi (born 1982), Japanese voice actor, and singer Kenzo Ohashi (born 1934), former Japanese football player Kyosen Ōhashi (born 1934), Japanese TV host and writer Masaharu Ōhashi (born 1947), Justice of the Supreme Court of Japan Masahiro Ohashi (born 1981), Japanese football player Mayumi Ōhashi (born 1966), Japanese manga artist Nozomi Ohashi (born 1999), retired Japanese child actress and singer Rene Ohashi , Canadian cinematographer Takahiro Ōhashi , Japanese shogi player Tsutomu Ōhashi (born 1933), Japanese artist and scientist Tsuyoshi Ōhashi (born 1972), Japanese manga artist Yui Ohashi ( 大橋 悠依 , born 1995) , Japanese swimmer Yuki Ohashi (born 1996), Japanese football player See also [ edit ] Sanjō Ōhashi ,
3000-514: The Zanon, a gigantic spaceship of antagonists, while the 1994 manga Giant Monster Gamera depicted this Gamera's fate; Gamera was artificially resurrected by the descendants of Atlanteans with ancient technologies of the Atlantis , gaining characteristics of the Heisei trilogy Gamera, and was sent back to the ancient period to change the history to avoid a demise, to save and monitor humanity. In
3075-487: The air and spin, propelling him forward. In later films, he is shown to be able to fly with only his rear legs drawn inside his shell, allowing his front limbs more freedom. Gamera's shell is presented as being incredibly resilient and strong (only ever being damaged by Guiron, Legion, Iris, and Zedus), and can deflect missiles and other projectiles. His plastron (lower shell) is more vulnerable than his carapace (upper shell), however, and he has been wounded in his plastron to
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3150-633: The article and its talk page, especially if potentially libelous . Find sources: "Akira Ohashi" – news · newspapers · books · scholar · JSTOR ( July 2019 ) ( Learn how and when to remove this message ) Akira Ohashi 大橋明 Born ( 1968-06-06 ) June 6, 1968 (age 56) Japan Nationality Japanese Occupation Actor Years active 1991-present Known for Gamera Height 1.63 m (5 ft 4 in) Akira Ohashi ( 大橋明 , Ōhashi Akira ) (born June 6, 1968)
3225-477: The attack. Human researchers find Gamera floating in the Pacific Ocean , encased in rock, and mistake him for an atoll . Within the rock, they discover a large monolith explaining Gamera's origins, along with dozens of magatama made from orichalcum , which allow for a psychic link between Gamera and humans. In Gamera 3: Revenge of Iris , an undersea graveyard containing numerous Gamera-like fossils
3300-560: The battle against S-Gyaos, an enormous Gyaos mutant who fed on Viras' corpse, Gamera was injected with specific RNA viruses to reprogram him for the original usage. However, Gamera managed to regain his consciousness by willpower and a telepathic link with a boy. To prevent himself from being enslaved for carnage, Gamera sacrificed himself to destroy the Moonbase of final antagonists, the descendants of nobles of an ancient civilization who were using kaijus. Using all of his remaining power for
3375-576: The character possess several supernatural abilities most notably telepathy , and others such as healing humans, understanding human speeches, and potential reincarnation , and some of book-only incarnations have been depicted to be actual deities with further abilities. During the franchise's Shōwa period , Gamera is depicted as feeding on flammable substances, such as oil and fire. According to notes by frequent series director Noriaki Yuasa , Gamera's internal anatomy includes sacs which allow him to store oil, lava, coal, and uranium . In Gamera,
3450-490: The entrapment by the Atlanteans, and Gamera's rampage against humanity was only to feed on thermal energy and electricity; he learned modern technologies of humanity through the atomic bomb explosion, and his attacks on cities was also to lure military operations so that he could feed more on thermal energy of weapons. The protagonist boy (Toshio) in the 1965 film kept claiming that Gamera is not villainous but has been misunderstood by humanity, and Gamera's uncontrollable appetite
3525-480: The first installation in the Reiwa era introduced monsters' characteristics to represent not only homages to previous films but also some of unused ideas of previous films and scrapped projects. All kaiju in this series are artificial life forms created by ancient civilizations for warfare and to control the overpopulation of humanity. This incarnation of Gamera was also originally created for mass-massacres, however he
3600-446: The first post-war science fiction tokusatsu films in Japan; Rainbow Man and The Invisible Man Appears in 1949 under Masaichi Nagata , one of creators of Gamera. Eiji Tsuburaya and Sadamasa Arikawa and Shuzaburo Araki participated in these and other Daiei productions before the signing of Six-Company Agreement in 1953, and they intended to join Daiei Film with the 1949 films after Tsuburaya's exile from Toho because of
3675-457: The franchise and public recognition of the character were severely hindered by financial obstacles. The name Gamera ( ガメラ ) derives from the Japanese kame ("turtle"), and the suffix -ra , a suffix shared by such other kaiju characters as Godzilla ( Gojira ) and Mothra . Gamera's name was spelled Gamela on a French newspaper in the 1965 film, and Gammera in the title of Gammera
3750-399: The franchise's Heisei period , which began with the 1995 reboot film Gamera: Guardian of the Universe , Gamera's in-universe origins were changed. In the Heisei films, Gamera is portrayed as an ancient, bio-engineered creature from Atlantis , created for the purpose of defending the people of Atlantis from Gyaos , a bat-like creature which breathes a destructive supersonic beam when on
3825-400: The giant monster character of the same name ), owned by rival studio Toho . Prior to the idea of the flying turtle monster, there existed preceding concepts of an octopus kaiju called Dagora ( Japanese : ダゴラ ) and Nezura ( Japanese : ネズラ ) the rat monsters. There had been contradicting testimonies regarding the original conceptor and models of Gamera. Noriaki Yuasa believed it
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#17327827514263900-401: The ice. Meanwhile, a Japanese research team stumbles upon an Inuit tribe in possession of an ancient stone etching that depicts a giant turtle, which the tribe refers to as "Gamera". His incongruous ferocity in Gamera, the Giant Monster and the beginning of Gamera vs. Barugon was presumably due to an uncontrollable starvation and confusion after 8,000 years of hibernation caused by
3975-528: The main antagonist of the 2006 film was intentionally designed to resemble Toho monsters such as Varan and Gorosaurus , and it notably resembles Jirahs , the Godzilla-based kaiju from Ultraman . In 2023, the Netflix series Gamera Rebirth was directed by Hiroyuki Seshita who previously directed the anime Godzilla trilogy . This time, Toho instead proposed an offer for a crossover due to
4050-494: The names "Gamera" and "Godzilla". In 2005, Shusuke Kaneko directed the 11th episode on Ultraman Max , choosing to include a scene of children playing with toys of Gamera and Godzilla as a reference to the films he had directed in both franchises. Ayako Fujitani also made an appearance as a guest in the episode. The 1998 Shochiku film Giant Monsters Appear in Tokyo represented off-screen appearances of two battling kaiju,
4125-456: The original Gamera, so called "Avant Gamera", sacrificing himself by means of self-destruction to save a coastal village from four Gyaos. 33 years later, a young boy named Toru Aizawa finds a glowing, heart-shaped rock near his home, with a small egg lying on top of it. A baby turtle hatches from the egg, and begins to grow in size at an alarming rate. The turtle, dubbed "Toto" by Toru after his own nickname by his deceased mother, quickly forms
4200-468: The planet-penetrating Charged Baryon Cannon, the "Moon Buster", Gamera was literally dissolved into ashes, leaving behind an egg for the new incarnation of Gamera who strongly resembles Toto from the 2006 film. There have been multiple other incarnations of the character appeared in various other media from novelizations to manga and video games . The origin of the Gamera appeared in the 1995 novelization Gamera vs. Phoenix by Niisan Takahashi , which
4275-446: The plot of Gamera 3: Revenge of Iris and the planned plot of the scrapped sequel. In 2002, Kadokawa acquired the copyrights of Daiei Film properties from Tokuma Shoten and approached Toho to achieve a crossover between Gamera and Godzilla, however the latter turned down the offer and Kadokawa therefore produced Gamera the Brave instead as Toho temporary ceased Godzilla productions after Godzilla: Final Wars . Zedus,
4350-625: The point of bleeding. In canonical films, Gamera has never been depicted to feed on any faunal or plant organisms, and exclusively relies on thermal energy , electricity , radiation , and other energy sources. Using conventional weapons even including nuclear weapons against Gamera may also empower him instead. All incarnations of the character have an affinity for humans (especially children) and nature, and protect them at all costs even by sacrificing themselves. They may also save animals , wildlife , and innocent kaiju even if they are offspring of antagonists. All incarnations of
4425-436: The production of Gamera: Guardian of the Universe in 1995, Yasuyoshi Tokuma , the founder of Tokuma Shoten , expressed his interest in producing Godzilla vs. Gamera and proposed a crossover to Toho, however this attempt failed to materialize, and Yasuyoshi's death in 2000 and financial situation of Tokuma Shoten eventually resulted in the disposal of Daiei Film properties, along with the cancellation of "Gamera 4" due to
4500-495: The re-released edition of King Kong in 1952, making it the first post-war release of monster movies in Japan, and also distributed The Beast from 20,000 Fathoms in Japan in 1954, and these presumably influenced the productions of the 1954 film Godzilla by Toho and Daiei Film's own Gamera, the Giant Monster in 1965. The Six-Company Agreement led by the above-mentioned Masaichi Nagata , who later produced Gamera, prevented other companies from easily chasing after
4575-531: The rest to yokai and humans so that they can fulfill their destiny, and secretly disappeared (dematerialized). The presence of the " Black Tortoise " was also confirmed in the 2015 novelization Holy Beast War Chronicle: White Shadow ( 聖獣戦記 白い影 , Seijū Senki - Shiroi Kage ) , which was written by Shinichiro Inoue who was trying to reboot the franchise in early 2010s (and has also participated in Daimajin Kanon ), bears several plot similarities with
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#17327827514264650-457: The sake of the planet which was damaged by the humanity. The incarnation of the character, the " Black Tortoise ", appeared in the spin-off novelization of the 2021 film The Great Yokai War: Guardians was uniquely portrayed to be an actual goddess , being capable of various supernatural abilities such as materialization , speaking human speeches, and making yokai and humans to feel that they somehow know her since their childhoods even if it
4725-585: The success of Toho, and the Godzilla franchise didn't have notable competitors until the Gamera franchise; the agreement ironically made Daiei Film's own Dagora and Nezura to fail by using live animals ( octopuses and rats ) to avoid the Toho-style, and Daiei Film changed the direction for Gamera, the Giant Monster . Tomio Sagisu , who had previously participated in Daiei productions including The Whale God and Buddha , claimed that he showed
4800-454: The titular monster, due to the involvements of the two. } despite the Six-Company Agreement because of sudden increases in non-Toho kaiju productions after Gamera films, despite the only non-Toho tokusatsu film of that time before the 1965 Gamera film to feature gigantic creature was Daiei Film 's The Whale God ( Killer Whale ) in 1962. Showa Gamera films, especially since Gamera vs. Gyaos , were intended to appeal to children. This
4875-482: The world would be spiritually poisoned, only being cured by other chosen ones by the Four Symbols ; Nichiren , the current summoner of the Black Tortoise who was also bestowed abilities including time manipulation, tries to restore the world after the battle of Barugon and Jiger during the Mongol invasions of Japan . Gamera made several appearances in the tokusatsu program series Sailor Fight in 1995 and 1996 as
4950-508: Was Niisan Takahashi 's idea, while Takahashi noted that he heard Masaichi Nagata came up with the idea of a "giant, flying turtle". There had also been rumors of "lewd turtles" as the model(s) of Gamera, either true stories or jokes, among Daiei staffs including Yonejiro Saito . On the other hand, Tomio Sagisu , the founder of P Productions who had previously participated in productions of Daiei works such as The Whale God and Buddha , claimed that Gamera originates in his demo reel of
5025-450: Was depicted to be (supernaturally) capable of triggering eruptions among nearby lands and volcanoes . Within the comicalized adaptaion of the 1999 film by Kazunori Ito and Moo. Nenpei , who had also published another Gamera manga Gamera vs. Morphos in 1999, Gamera performed extreme regeneration to restore his head from mimicked Plasma Fireballs by Iris, and defeated the antagnoist with either an empowered fire blast or fireball instead of
5100-405: Was gradually satisfied, and he regained his natural calmness as the films progressed, and began to save humanity voluntary. His exact origin was not verified aside from his association with the ancient civilization of the Atlantis . Inuit 's fear of Gamera and his confinement in the Arctic , contrary to his heroic personality and favor of thermal energy, was presumably due to his entrapment by
5175-416: Was initially decided because a number of children watching Gamera vs. Barugon got bored with the plot and left their seats, and also to deal with drastically decreased budgets due to the financial situation of Daiei Film; the budget of Gamera vs. Viras was ¥24 million compared to budgets of Gamera vs. Barugon (¥80 million) and Gamera vs. Gyaos (¥60 million). Global distributions of videos of
5250-483: Was originally a script for a cancelled film in 1994, is unclear; Showa Gamera defeated villainous monsters like in the previous films while the "new" Gamera who emerged from underneath the Nazca Lines possessed characteristics of the 1995 film Gamera: Guardian of the Universe . This "new" Gamera initially attacked chemical plants all over the world, resulting in hostility from the humanity, however his intention
5325-493: Was presumably to calm and entertain onlooking children. The original 1965 film, Gamera, the Giant Monster , depicts Gamera's origins as being a result of United States military fighters launching an attack on enemy bombers (presumably belonging to the Soviet Union ), which causes the detonation of an atomic bomb on board one of the aircraft. The nuclear blast releases Gamera from a state of suspended animation in
5400-745: Was re-programmed by a rebellious figure to become the protector of civilians from other kaiju. During the downfalls of ancient civilizations, Gamera presumably stood against 24 different kaiju to protect the humanity. While previous incarnations of the character possessed affinities to elements most notably fire , electricity , and plasma energy , Gamera in Gamera Rebirth further expanded combat attributes to include electromagnetic pulse , jamming , gravitation , energy shield , and baryon . This incarnation also possesses several supernatural traits such as telepathy , psychic link with humans, interfering mental contacts by other kaiju on humans, bestowing
5475-637: Was represented within a concept art of Godzilla: King of the Monsters , and Kaneko himself acknowledges similarities between his films and MonsterVerse films where the scrapped 2011 project Gamera 3D by Yoshimitsu Banno served as one of predecessors of the 2014 film Godzilla . According to Jared Krichevsky, "Shimo" appeared in Godzilla x Kong: The New Empire was partially inspired by Barugon. Shusuke Kaneko utilized some aspects of Showa Gamera and his Heisei Gamera trilogy for GMK such as " submarine within kaiju's body" from Gamera vs. Jiger , and Kaneko reused ideas which he originally wanted for
5550-499: Was to deal with budgetary problems and the Six-Company Agreement to differentiate from the Godzilla franchise. Due to the agreement and the direction to differentiate from Toho, Gamera's characteristics such as to breathe traditional non-atomic fire , occasional quadrupedalism , his personality as both a friendly creature and a hero rather than Godzilla 's theme to represent a " god of destruction ", Material choices for suits and miniature models were devised to avoid duplicates with
5625-484: Was to prevent an oncoming catastrophe caused by environmental degradations and to warn the humanity. After sealing the Phoenix, an immortal but suicidal, fiery entity constantly suffering due to its immortality, the new Gamera sacrificed himself to save the Earth from further destruction caused by harmful sunlight triggered by air pollutions , following a similar fate with the Phoenix where both monsters cannot die for
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