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zekecosmicrejects.bsky.social
🛸The new boss, worse than the old boss.🛸

🛸CHECK OUT, ZEKE_RAMBLES: ULTRAMAN OMEGA!🛸

WATCH HERE: youtu.be/LYp1tC98JjY

#ultraman #ultramanomega #tokusatsu #scifi #lovecraftian #superhero #kaiju #practicaleffects #suitmation #foreignmedia #japanesecinema #gebora #ep21 #episode21 #review
December 11, 2025 at 5:01 AM
fanfsl.bsky.social
He Du Nasenbär,
I be fai in Dibenga gebora! 😜
November 27, 2025 at 9:01 AM
wikipedia-otd-bot.bsky.social
📅 #OnThisDay, February 19 in 1811:
Peninsular War: Outnumbered French forces under Édouard Mortier routed and nearly destroyed Spanish troops at the Battle of the Gebora near Badajoz, Spain.
February 19, 2025 at 8:00 AM
claudia-roxy.bsky.social
Also ich bi Dütschi, bi aber do geborä und cha eigentlich gar kei Sproch richtig 🤣
December 24, 2024 at 11:54 AM
anguirus.bsky.social
Several passages fromWRITING JAPANESE MONSTERS by John LeMay that may be of interest to @inflatabledalek.bsky.social et al.
a made whether Danese texts is difficult for the layman). To the plural and the singular in Japanese texts is difficult for the layman). Toho Special Effects All Kaju Illustrated Encyclopedia compares Ogawa's original idea as having similarities to the 1959 TV special effects movie called Giant Water Monster Gebora as well. In early-to-mid 1970, Tomoyuki Tanaka would dust off Giant Monster Assaultto produce Space Amoeba (see Chapter 23). It seemed that the next Godzilla movie being considered was Batman vs. Godzilla by Shinichi Sekizawa-or rather that was the only Godzilla storyline being played with at the time. Nothing much is known of Sekizawa's draft aside from the fact that it was completed in November of 1965 (when they planned on producing it was a mystery). Presumably, this story was given to UPA and it eventually wound up in the hands of William Dozier, producer of TV's Batman, a few years later. 20 By 1966, Toho had their sights set on bringing King Kong back to the silver screen. Their deal with RKO allowed them the use of King Kong for live years, an agreement that would be over in 1967. Why Toho waited so long to produce another Kong film is anyone's guess. The planned movie, Operation Robinson Crusoe: King Kong vs. Ebirah, was a co-production with Rankin/Bass, who was aboundo debut their animated program The King hile Toho was occupied With Frankenstein, Daiei Motion Picture Coma. Was busy oking uptheiron monster to com Picturth Godzilla. Ironically, the inception of Godzilla's soon-to-be competitor was not unlike his own birth in the mind of Tomoyuki Tanao-aa decade prior. Just as Toho used Godzillato replace in the Shadow of Glory. Daii had recently suffered a loss in unsuccessfully trying to film a story titled Giant Horde Beast Nezura! The script, which had begun filming, was about giant rats running amok in Tokyo. It was cancelled due to the difficulty of using live rats (not to mention the fleas that had subsequently infested the studio). The studio was left with miniature sets and no monsters to destroy them. On a flight to Tokyo, Masaichi Nagata, then president of Daiei, looked out the window and saw a cloud formation that reminded him of a flying turtle. Seeing Toho's success with Godzilla, Nagata insisted his screenwriters cook up a story about a flying turtle monster, which Daiei resident writer Niisan Takahashi did in record time. 2 Takahashi says in the Gamera DVD Box booklet that, "Yojiro Saito, who was working at Daiei at that time called me and said, 'Are you interested in monster movies and instant movies? Will you just send me an idea?'' Takahashi's first treatment, entitled Giant Fire-Breathing Turtle Attacks Tokyo,3 was written very quickly. This version is similar to the finished story but was said to focus on an engaged couple as the two main characters. Director Noriaki Yuasa said, "I remember that the first planning meeting I attended ended around 10 a.m. and Mr. Takahashi had a synopsis written by noon."4 Rather than coming up with the plot first, Takahashi first put serious thought into how this turtle monster would fly and came up with the idea of jets shooting out of the leg holes in the turtle shell. Quite a few designs for the monster — eventually named Gamera-were considered as Noriaki Yuasa recounted, "[Akira] Inoue drew about 500 pre-producti… in January of 1966, Tsuburaya Production's first television series Ultra Q premiered of ase monster on meet te ne atc introduction of kaiju to TV would change the game for cinematic monsters altogether. The origins of Ultra Q date back to 1962 when Eiji Tsuburaya's son, Noboru, caught wind of a TV show pitch by producer Tomio Sagisu focusing around giant monsters. Eiji had similar ideas so Noboru urged him to begin work on their own series. Tetsuo Kinjo, Ken Kumagi, Shigeru Komatsuzaki, and a panel of sci-fi writers met in December of 1962 to discuss ideas for the potential series. Next, Sakyo Komatsu (future writer of Submersion of Japan) and Shinichi Hoshi came up with a concept that served not only as the springboard for Ultra Q but the roots of Ultraman as well. Titled Woo, the story focused on a cloud-like benevolent alien named Woo who is displeased with his own race's disinterest in other species. When the comet his race lives on is destroyed, he sets out to explore the universe and comes across earth where he meets Art Graphic Center photographer Joji Akita, his assistant Taro Dan (the comic relief character), and beautiful model Dorothy (hopefully to be played seventeen-year-old model Yoshimi Ukisu). Akita learns to communicate with Woo through his transistor radio after projec's name change came aese athlete Yukio Endo. Ultra C. manev the 1964 Olympics used by lapanese ahhot er Undo. Consequently the erm "ultra" caught on in lapan after announter Bunya Suzuki shouted it very time a lapanese athlete got high marks, oBs bret " Ultra" should be wat of the title and Biji suburaya decided it should be Ultra Q- for question "As Ultra @ was about to finish its run, a new series was created to take its lace called Scientific Investigation Agency Bemular. This series focused on a heroic monster named Bemular —a name later given to Ultraman's first enemy monster. The series, created by Tetsuo Kinjo and Biji suburaya, would have followed the Scientific Investigation Agency as they investigated strange occurrences and received aid from the heroic giant Bemular who could grow to 164 feet tall when needed (alternating sources argue as to whether or not Bemular was an alien or an earth-based monster). The SIA would have been located in Paris, though the series would focus on the Japanese branch—headed by Captain Muramatsu. The captain was the only one who knew that tough 28-year-old Officer Sakomizu was the man who secretly transformed into the reptilian Bemular. Masahiro Yamada completed a teleplay for the pilot entitled "The Birth of Bemular." Fans will notice that Bemular's design is rather evocative of Nikkatsu's monster Gappa. In the interest of being thorough, the design for Bemular was based upon a legendary crow creature called Karasu Tengu crossed with Garuda, a legendary bird-like creature of Hindu and Buddhist mythology. 2 After receiving the pitch for Scientific Investigation Agency Bemular, TBS producer Takashi Kakoi felt that a heroic monster fighting evil monsters was potentially confusing and asked for the heroic giant to be more discernable from his opponents. Tsuburaya and Kinjo created the humanoid, armored hero Redman. The first draft is basically similar to Ultraman,
November 18, 2024 at 5:03 PM