The design of Shin Gojira revealed

@Huge-Ben:

It may well be that we are entering another 'classic' period of Godzilla films. The talent and artistry is certainly there. It also helps that these artists are fans, not only of Godzilla, but of tokusatsu as a whole. This may well be the Godzilla film many of us have been waiting to see in terms of look, style and overall feel. Shin Gojira has the potential to be something that has not been experienced for sometime, a kaiju film akin to the 1954 original masterpiece. It would be rewarding to experience what it is like to be confronted by the specter of something whose reality is apparent, standing in front of you, but, incomprehensible at the same time. That was my immediate feeling when seeing Gozilla, King of the Monsters for the first timem in the mid-1960's. Of course I didn't know about the original Gojira, so the Terry Morse edit was the definitive origin film for me. And it worked! I had not seen or heard anything like it. To see, hear and feel something similar to that again, but updated with the latest in VFX/SPX, and integrated into a powerful, moving narrative, would be a dream come true.

So, we'll see, God willing. Looking forward to what is next in terms of images and information.

@GorillaGodzilla: yeah, you're definitely 'OG.'

These are great, exciting times,and we're right in the middle of them.

It can only get better.

^True. Do you include Godzilla 2014 in this new era?

Hey guys. I just posted my artwork for Shin-Godzilla. Here is the link incase you all want to check it out. :)

http://www.scified.com/topic/41339

 "Do you include Godzilla 2014 in this new era?"

Yes. I loved Gareth Edwards' take on Godzilla. It was made with care and skill.

I, too, like Godzilla as an anti-hero, a territorial defender-inspite of us, not because of us-as well.

Personally, I hope it's nothing like G'14. As far from it as can be. I went into that film full of excitement, and yet came out, "Eh... it was okay." It was a functional film, but ultimately disappointing and rather unoriginal. I'm hoping not to have that reaction with this film.

^Well, whether one prefers the 2014 film or the upcoming movie, I think it's wise that both series avoid what the other is doing from marketing and selling perspective.

The 2014 film was a fairly standard type of Godzilla flick. It some ways it plays it safe and it fits very well with much of the 90s and 00s in terms of quality and characterization.

The 2016 film could be considered a little more of a risk, considering there are so few Godzilla films that characterize the monster in such a way. And it does seem like this will be a solo feature (with the tagline saying "Nippon vs. Gojira" or "Japan vs. Godzilla") and we don't have many of those.

But all of this works for both series. People who want the hero/anti-hero that's largely dominated the franchise since the 90s get to keep that characterization with the Legendary movies and those who want a return to a much, much early idea of the monster get Toho's new take. And those who enjoy both (which should be close to everyone) win the most. Those who don't like either are out of luck, because there's not many more bases that can be covered...

In any case the variety is welcomed and I'm glad Toho's aim isn't to simply copy Legendary's success, but go the other direction. Wise move, even if mostly on an artistic level.

I think we'll see, in Shin Gojira, something very different from the Legendary film. Otherwise, what would really be the point? I expect the stylish flair and look and feel of a tokusatsu film, with effects enhanced by CGI, but very Japanese in the way it looks, feels and moves. We already have the statements of the filmmakers regarding what they're aiming for.

So, I believe the contrast will be there and Shin Gojira will feel like 1954.

And, at the end of the day, Godzilla is Japanese.

Honestly I HATE everyones explanation of this design lol seriously, Godzilla's a walking cancer victim? He's a burn victim? He's Godzilla! He doesn't get cancer or get burned.

You guys are overthinking it. The title of the movie is True Godzilla and Godzilla Resurgence, both titles seem to strongly suggest that the orignal 1954 Godzilla somehow returns to the present day. Based on that, this design is clearly an older 1954 Godzilla...which is what he looks like imo.

^And that 'Original Godzilla' was exposed to the blast of Operation Castle Bravo in the Pacific Ocean in 1954. It had a yield of around 15 megatons. So, with such a release of thermal energy, something is going to get burned and scarred. Tremendously. 

This, would burn:

https://www.youtube.com/watch?v=yEje927dygM

MECHANI-KONG - That is a rather uncouth statement. I do not expect everyone to agree with the statements of others - nor should I. Disagreement fuels intellectual discourse. However, your rather abrasive assertion and feeling of "hate" precludes civil conversation by virtue of of its uncompromising stance. As such, I feel inclined to point out that you are in a vastly small minority when it comes to the consensus of Shin-Gojira's appearance. Does this mean that the many individuals whom agree with one-another's speculations and observations are incorrect after many days of conversation? I suggest you ameliorate your stance after taking a closer look at how this dialogue has progressed and drawn to the explanations you find so very objectionable.

"Godzilla's a walking cancer victim?"

No one said that.

"He's a burn victim?"

Closer I guess? But no one said that either. The phrasing has been "bomb victim".

"He's Godzilla! He doesn't get cancer or get burned."

He doesn't get cancer, but he's always been burned. The filmmakers of the original 1954 film made a concious decision not to give Godzilla scales, but instead keloid scars reminescent of bomb victim burns.

Godzilla has always been a victim of the bomb. Making him look that way is in line with the perception from the original film.

This thread has more replies than that whole "gill" debate. And I'm afraid that's not a good thing. >.<

Nothing wrong with discussion as long as people are being civil. The amount of replies may have to do with the subject matter: how Godzilla will look in his first Japanese-produced film in what will be 12 years.

"The title of the movie is true Godzilla." Actually, "shin" is representing for "true, new, and God." 

Over thinking it? Negative. Godzilla has been a "victim" of the atomic bomb like everyone who was exposed to it but, in this case, Godzilla is the main "victim."

As you should be fully aware of@Mechani-Kong, radiation causes cancer, burns, mutations, scars, etc to all who has been exposed to it. Godzilla is no different. As Gman2887 pointed out, keloid scars in 54' and seemingly stayed that way from 54'-95'. Gmk 2001 even. 

"He doesn't get cancer or burns." Again, radiation can and will do that. Please, look up "radiation victims "under Google images. I guarantee you will not like what you see. Just imagine how those people felt having to die eventually in the process. Add that pain and suffering to Godzilla. That's what Shinji Higuchi and Hideaki Anno have done. 

I honestly don't know how I feel about the design yet. I feel like I got so attached to the newer designs that this feels like a step backwards to me. I'm not sure how I feel about it yet. I guess I'll just have to wait and see. 

I can understand the concern that some people may have about the design revealed last week. It's something very different from the Heisei and Millennium designs.

I would suggest waiting to see more of it-the full body, other angles, etc., and then wait and see. Upon seeing the new design last week, it did get my attention. I also saw in it what reminded of not only the 1954 Design, but also the atmosphere and 'feel'  of that film. (Within the context and atmosphere of the film, you may find the Shin-Goji 'works.') And what permeates that classic, genre-starting movie and story is dread. The inital ship being destroyed, the subsequent shipping disasters, inexplicable, one after the other, the panic of the crewmembers' families looking for answers at the shipping office that the officials plainly don't have, the latter's confusion-all of this and more made me feel like what I was seeing was really happening. But, through it all, there was this dread. What would he look like? What would he do? Could he be stopped?

Then, the Reveal over the hill on Odo Island.

I hope that Shin Gojira will have tips-of-the-hat, so to speak, to first film, ones that longtime fans will recognize.

For these and other reasons, the released design gives me hope for a remarkable film that will be evocative of that great film, the one that started it all.

What's funny is that this design looks almost exactly like the concept art of the original 54' Godzilla. 

I'm loving the design more and more every time I look at it and draw it. It says exactly what happened to him and made him look this way. For the first time in a long time, this Godzilla is something to feel sympathy for. All due to the arrogance of mankind using the atomic bomb. 15 or 20 megatons of pure Hell on earth equipped into this horrible bomb that not only took out Hiroshima but Nagasaki as well. Such a devastating bomb that not only killed thousands to millions but still haunted and plagued Japan for years. That is what Godzilla has always been. A warning to mankind to drop this power and never use it again. 

As Ishiro Honda once said, "if we can't look past the rubber suits and miniatures sets and look the monster dead in his eye and extinguish that fire, we are all naive."

Battra,
An entire thread dedicated to Godzilla's new design having more replies than an entire thread dedicated to a single, tiny aspect of another design sounds a lot more level headed to me.

Huge-Ben said:

"What's funny is that this design looks almost exactly like the concept art of the original 54' Godzilla." 

And this, I believe, is the whole point. That the design for Shin Gojira is based upon and looks alot like the concept art of 1954 original is telling. To me it means that the filmmakers are bringing Godzilla back to his roots. And this is a great thing: that another generation will have the chance to experience that feeling of the that original horror, that unstoppable monster, but in a story and narrative that addresses the times we live in and their perils.