Kimmel (2000) stated, in relation to the Gojira film series, that they no longer are a “serious attempt to focus on the horrors of the atomic age”. Contemporary Japanese monster movies have shifted from portraying a message to the audience regarding the post-war effects on Japan, towards these 'monsters' fighting other forms of evil that pose danger towards the nation. In fact, these contemporary films also begin to take place in a more fantasised version of Japan – just as seen in the Pokémon series.


Initially based on a game-series, the Pokémon franchise has now expanded to a TV series, films, toys, and collectible merchandise. In her book, Allison (2006) states that "while the Japanese view the success of the Pokémon series as a sign of Japan’s new cultural power and the growing potency of Japanese creativity in leading global designs, American marketers saw its success in the States – just as they did with the Power Rangers series– the result of their own sophisticated efforts to sell it to American children".

We can also explore the symbolic importance of the ga (moth), yochu, and mayu. As I suggested earlier, Gojira represents a violent, yet sympathetic, force in nature. This force has been set loose by an imbalance in the relationship between men and women, because men and their weapons have become too strong. This force can only be subdued when the feminine aspect is empowered. Thus it is two silkworm-like larvae that finally subdue Gojira and return him to his ocean cradle to sleep. - Shapiro 1998, pg.184.

All-in-all, we can see that the Japanese producers of the film has once again made references to the H-Bomb incident, and at the same time discreetly send across the message that Western modernisation may pose danger to the Japanese society. Trans-nationally, on the other hand, Mosura is most probably just viewed as one of Gojira's "all-star cast of mean foes" (Know Your World Extra 2004).

In Anisfield's (1995) article, the evolution of Gojira was nicely presented, in a way which shows that Gojira has indeed 'evolved' from a 'prehistoric monster' to a more sophisticated national hero through the decades of sequels after the original film. Although Gojira has always been seen as a heroic figure in Japan, it's first appearance in the original 1954 film shows a massive monster tearing through the city without much of a personality attached. Anisfield points out how Gojira was presented with a more “anthropomorphic personality” in the third film, as a precaution to “survive through any number of sequels” (1995, pg.1). Gojira became less 'scary', and the target audience shifted from general history-conscious adults to franchise-loving children. Also as noted by Anisfield, Gojira, by the tenth film, is a superhero to children – having evolved from a “horrifying beast who instilled nothing but panic and terror to a friend and a buddy” (1995, pg.2). This statement is supported by Kimmel (2000) who believes that the Gojira film series in the 1960s were targeted to a much younger – or “kiddie” – audience in both Japan and America.
Here comes the big question - is Gojira a hero or a comic icon? Perhaps it is both. As previously mentioned, Japan has always viewed Gojira more as a national protector, a symbol of the Japanese society post-war, a figure to be sympathised with (Noriega 1987, pg.64). America, however, views Gojira - in the words of Noriega - as nothing more than a comic icon. Noriega believes that the reason leading to this is probably because, "unlike the Americans... the Japanese have a strong consciousness of history. They see themselves in historical perspective. They will delve a thousand years and more into their past in analyzing their contemporary traits" (1987, pg.65). Another way to view Gojira, according to American teen magazine, Know Your World Extra, is as a 'big bully' who makes a mess as 'he' rampages through Tokyo (2004, pg.5). What intrigues me, though, is that this very same magazine uses terms which its readers can empathise with, whereby terms used to describe Gojira and 'his' rival kaijūs are relatable to modern-day American classroom situations and reminiscent of American hero-vs-foe movies. It is as though the author of the article has tried his/her best to make Gojira more 'local' or less foreign, and familiar to American children.