The BatMan Who Laughs (Explained)

As a disquieting amalgamation of Batman and his most notorious foe, The Joker, The Batman Who Laughs has arguably been the creepiest and most disturbing of the seven Dark Knights featured – at least so far – in Dark Nights: Metal. Having served as Barbatos’ Dark Multiverse lieutenant and gathering the remaining nightmarish incarnations of Batman for their incursion into the known multiverse, the origin of the eeriest of these personifications is the final one to be told, courtesy of James Tynion IV and Riley Rossmo’s The Batman Who Laughs #1.

There is Joker toxin involved, but the issue shows that the character’s beginnings have a much farther reach than just another encounter between two longstanding foes – beginnings that are drenched in the kind of darkness that readers have come to expect from any world in the Dark Multiverse.

The Joker’s Last Laugh

 

That’s not to say Batman and The Joker don’t have a deadly encounter – in a decidedly high-stakes showdown along the same magnitude of Snyder and Greg Capullo’s climactic “Endgame” arc in Batman, The Clown Prince of Earth -22 has Batman at his mercy as he launches a different kind of endgame. Having slain both the Gotham police force as well as the rest of Batman’s foes, Joker embarks on a murder spree of Gotham’s parents before proceeding to infect their orphaned children with his deadly toxin, engaging in a repeated perversion of Batman’s own origin. When an enraged Batman breaks free, he commits an act atypical of the character in most worlds of the multiverse – whether intentionally or otherwise, he ends The Joker’s killing spree by snapping the villain’s neck during the course of their battle.

That’s not the end of The Joker’s impact on Batman’s life, though, or on the rest of this world. Upon killing his foe in such close proximity, Batman is exposed to the very toxins that not only created The Joker in the first place but continued to drive him into an increasingly downward spiral of insanity. These chemicals are shown to have the same adverse and slow-acting effects on Batman in the aftermath of The Joker’s demise. Knowing that at some point that he will succumb to the nano toxins and must be taken down, Batman establishes a rigid training protocol for Batgirl, Nightwing, Red Hood, and Red Robin to secretly prepare them for this eventual encounter. Upon revealing to them the reasons for this training, though, his mind snaps, and with The Joker’s toxins now dominant, he fatally ambushes his four most trusted allies. Notably, Robin – aka his son Damian Wayne – is absent from this sequence.

Kratos (Origins)

Kratos is the son of Zeus and Callisto. Kratos also has a younger brother named Deimos, Deimos was scarred by his broken house and was captured by Ares. Kratos got a red mark symbolizing Deimos’ scar. When the rumors about his sire’s identity grew so strong, his mother took Kratos to Sparta and receive training. He quickly become a Spartan general and although his tactics were brutal, they were efficient. But soon he learned that despite all his military power he was no match for Eastern Barbarians, numbered in the thousands, and his men fell one by one. As he was ready to be finished by the Barbarian King, Kratos pledged Ares the God of War and the Furies to save him,and kill his enemies. Kratos exchanged his soul for a victory. There are three blood oaths: the death of his enemy, the death of his enemies and the death of his brethren. Kratos became a living weapon, his swords attached to chains and burned to his forearms. He continued in the ways of war and death for Ares. But Ares deceived Kratos, and in his bloodlust Kratos killed Lysandra and Calliope. He was then cursed by a woman of the village, the ashes of his family forever turning his skin pale.

God of War: Ascension

The Furies were sent by Ares to find Kratos who broke his oath. 6 months later, Kratos met a Fury/Demigod named Orkos who helped Kratos break his connection with Ares. Orkos told Kratos to go to Delphi to meet Aletheia. Kratos was encountered by Pollux and Castor who took Aletheia’s rule. Aletheia was blind since her eyes were ripped out by the Furies. Kratos used the Amulet of Uroborus to destroy and construct surfaces. When Kratos came to Delos, Orkos gave Kratos an Oath Stone in which Kratos can use a decoy to get out of the Furies’ traps. After finishing the Trials of Archimedes, Kratos and Orkos were sent to Aegaeon the Hecatonchires. The Hecatonchires was a titan who broke his oath and became a prison for oath breakers. Kratos escaped from the insect infested prison and killed Megaera. He later killed Tisiphone, her pet Daimon and Alecto who can transform into a sea monster. Before the Furies died, they made their son, Orkos their oath keeper. Kratos regretfully killed Orkos which broke his oath and made him remember the tragedy made on Calliope and Lysandra. He put Orkos’ corpse where Calliope and Lysandra’s were.

God of War: Chains of Olympus

Kratos did various tasks for the gods for 10 years. One task included that Kratos must help Helios defeat Morpheus, Atlas and Persephone. The death of Persephone led to Atlas carrying the world on his shoulders. Atlas stated that both he and Kratos will meet again.

God of War

Kratos’ last task from Poseidon was to kill the Hydra. The torment of what he had done to his family still haunted him. He wished for forgiveness and sought out Athena.

Athena and the other gods have become troubled by Ares and she offers Kratos forgiveness if he kills the God of War. Eventually, Kratos finds Pandora’s Box and with it’s power he is able to kill a god. However, the Box contained the evils of the Great War and infected the other gods. Athena put hope to help Kratos kill Ares. But when he goes to claim his prize, Athena forgives him, but this does not make him forget his past. Kratos attempts suicide, but is saved by Athena. Without Ares, the gods have decided that Kratos will be the new God of War.

God of War: Ghost of Sparta

Before Kratos actually became a god, he had to find Deimos. Kratos sunk Atlantis which made Poseidon upset. Kratos found Deimos at the Domain of Death. Kratos and Deimos killed the owner of the land named Thanatos. Deimos later died. He was dug to his grave by the Grave Digger (Zeus). The Grave Digger said “Only one remains”. Kratos is now a God of War.

God of War II

As a god, Kratos assists the Spartan army and does not associate himself with the other gods, which angers them. Finally, while trying to destroy Rhodes, Zeus intervenes. Zeus gives life to the Colossus of Rhodes and tricks Kratos, telling him how to defeat the giant. Kratos puts all his godly energy in the Blade of Olympus, but it is taken from him by Zeus, who kills him. The titan Gaia helps Kratos escape from Hades and tells him to find the Fates to change his destiny. When he finds them, they cannot do as Gaia says and Kratos slays them. Using the Loom of Fate, Kratos travels back to when Zeus killed him. He battles with the king of the gods and defeats him, but Athena intervenes, at the cost of her own life.

Athena tells Kratos that Zeus was trying to break the cycle of the son killing the father and that Kratos is the son of Zeus. This does not deter Kratos from seeking his revenge on Zeus. He uses the Loom once more to go further back in time to the Great War between the Titans and the Olympians. He rallies the Titans to fight with him in the future and kill the gods of Olympus.

God of War III

Kratos and his Titan allies were attacked by the Gods. After brutally killing Poseidon, he confronts Zeus but is blasted from Mt. Olympus along with Gaia. With his grip slipping, Gaia refuses to help Kratos, stating he to be nothing more than a pawn to serve the Titans, having now brought them to fight Zeus, he outlived his usefulness.

Kratos fell into Hades Realm, where he is greeted by Athena, who had become some sort of Angel and agrees to help Kratos, so can mankind be freed from Zeus’s grasp, and told he should extinguish Olympus’ source of power, the Flame of Olympus. In the Underworld, Kratos meets Hephaestus, the God of Smith, who warn him the Flame of Olympus is deadly to all who touches it. Kratos also kill Hades and finds the tombs of Ares and Persephone. He learn Hephaestus had created Pandora, a child-like construct, who is the key to extinguish the Flame of Olympus and had been hidden by Zeus, so Kratos cannot find her.

He resumes his quest back to Olympia, killing Hermes and taking his boots; curb stomp Hercules to death, snaps Hera’s neck with his bare hands after she called Pandora a whore. Back above, he finds Gaia, now loosing against the Gods and ask his help again, but having been already betrayed by the Titans he refuses and sever her hand. Kratos also find the goddess of love

Aphrodite and makes love with her, much to Hephaestus’s dismay, but when he learn Kratos intend to sacrifice Pandora to the Flame of Olympus so he can retrieve the Pandora Box, Hephaestus send him to the Underworld to retrieve the Omphalus Stone inside their grandfather’s belly, the Titan Cronus.

Cronus and Kratos fight, and after Cronus made the foolish mistake of swallowing Kratos like he did with his sons, Kratos cut his way from the Titan, finding the Stone and use the Blade of Olympus to finish off Cronus. Hephaestus make a new weapon with the Stone an give to Kratos, but he tried to kill him so he cannot reach Pandora, and Kratos kill him in turn.

He finds Pandora, but Kratos grew fond of her because he reminds her of his daughter and is at first, unwilling to let her sacrifice herself, as he realized that if he lost Pandora he would be throwing away another loved one because of the manifestation of his daughter in Pandora’s form. But Zeus appears and they end up fighting, but Pandora tries to jump in the flame only to Kratos hold her, but Zeus kept reminding him of “do not fail her like you fail with your family”making Kratos exploding in anger and attacking Zeus in a overwhelming rage, but letting Pandora fell into the Flame.

After he open the Pandora’s Box and find it empty, the guilt of a loved one sacrifice in vain lies heavily in his shoulder and he pursues Zeus into a last stand, which is interrupted by Gaia herself, having survived the attempt against her, Zeus and Kratos fell into her heart and after one last battle, Kratos kills both Zeus and Gaia by stabbing them with the Blade of Olympus in the heart.

After removing the Blade from Zeus’ chest, he emerges a spirit moved by his overwhelming hatred for Kratos and imprisons him in his own mind. However Pandora appear to him and remind him of hope and her sacrifice. Kratos manage to get hold in to himself, overwhelm Zeus and beat the tar out of him to death.

However, after the gods have been killed, calamity after another befell over mankind, leaving a calamitous world behind, and Athena appear to Kratos and demands she return her power to him. She explain the Box was not empty, after Kratos opened it to fight Ares, all the evils rested inside the Box sought out the strongest and end up corrupting the Gods, but the Hope, the last remnant was inside the box sought Kratos, and he still has the power of Hope inside him. Rather than let himself be manipulated by another, he impale himself with the Blade of Olympus and release the power of Hope into the world. After he falls dead in the ground, in a post-credit scene, a trail of blood into the sea is seen, indicating he might still be alive…

Violence in comic books

Today’s Era In Comics

We have been told that children’s games are no joke “Well for me that is!” what that means is, children today and adults are acting violently from reading comic books and playing video games. Through out history reports from all over the United States quotes “Comic Books is expanding and the cause of Sex, Drugs, Killings, And Gangs.” So why read comic books? Well during the 1970’s era in comics (Silver Age of Comics) Green Arrow issue #86 and #87 shows Green Arrow previous sidekick (Speedy) taking drugs, having this issue have had the government take action along the media, it expanded drugs all over the nation but drugs have gotten big before comics evolved in a community conflict base.

Was Horror Comics The Cause?

In the 1950’s Horror comics transfer the name from heroism of comics to the faction of Ill-Will of comics. Horror comics was based on the creatures of the myth we all know and love, from Dracula to Wolfman and Zombies to Murders. While there are other precursors to the American horror comic, it’s widely accepted that the first with original content was Avon Publications’ Eerie Comics anthology published in 1947. Horror Comics were refined to the heights of mainstream popularity during a period from 1949-1955 by William M. Gaines’ EC Publications. With their “murderer’s row” of horror titles, anchored by The Haunt of Fear, The Vault of Horror, and the hugely popular Tales From the Crypt, they dominated the market until they were shut down by a growing public backlash against horror and crime comics.

Fueled by Dr. Fredrick Wertham and the Senate subcommittee hearings on juvenile delinquency, the major comics publishers of the time banded together and created a self censorship body that all but ended horror comics in the United States. The Comics Code Authority would hold a hammer-lock on American comics publishing for the next several decades.
Horror comics didn’t altogether disappear, however and in 1957 James Warren filled the void left by the implosion of EC by publishing Famous Monsters of Filmland, edited by Forrest J. Ackerman. Printed as a black and white magazine Famous Monsters was not subject to the CCA oversight, and the format would persist with Warren adding more horror titles like Vampirella, Creepy and Eerie.

In 1969 Joe Orlando took over the editorial reigns of DC’s long running House of Mystery anthology series that had survived the Comics Code Authority by changing its format to more acceptable light mysteries and science fiction stories. Orlando took the series back to its horror roots with the full support of DC and the CCA relaxed its censorship standards. Two years later, using the CCA’s relaxed standards to full advantage, Len Wein and Bernie Wrightson debuted The Swamp Thing in House of Secrets #92.

The character proved popular enough to warrant his own series, and The Swamp Thing #1 debuted in 1972. Swamp Thing was rebooted in 1982 to capitalize on the Wes Craven film released that same year, and it has continued publication in one form or another to this day. In 1984 writer Alan Moore brought out Saga of the Swamp Thing #29 which had the distinction of being the first mainstream comic book published in decades without the CCA seal of approval. This trend continued with DC eventually tying most of their non code approved books into their Vertigo imprint.


Traditionally, The Comics Code Authority had governed the medium for decades with its own strict set of standards of taste and content. Comics that did not achieve the required standard would not be allowed to display the CCA badge on the cover and non-compliance often meant that retailers wouldn’t stock those titles. As time progressed, more and more creators railed against the censorship imposed by the CCA, and during the 1990’s upstart publisher Chaos! Comics openly mocked the CCA badge with their own skull faced “Chaos Approved” symbol to show that their output was deliberately not seeking to meet CCA approval. By 1999 most mainstream companies were publishing routinely without submitting to the CCA board and in 2011 DC, the last holdout finally dropped CCA submissions altogether, officially rendering the CCA defunct. Horror comics were free at last.

Comic Book Code Of Authority

Meanwhile after the violence in comic books, The CBCA (Comic Book Code Of Authority) took the action their hands to contain the violence to effect the minds of young readers. The Seal of Approval, once prominently displayed on comic book covers, quietly disappeared in 2011. For nearly 60 years, however, censors funded by the comic book industry enforced rules about acceptable content. Only comics that passed a pre-publication review carried the seal.


Designed to resemble a stamp, the seal bore the words “Approved by the Comics Code Authority,” which was the regulatory arm of the Comics Magazine Association of America. The trade association’s Comics Code Authority and its Seal of Approval were the publishers’ answer to their critics.

Comic Book Critics

Controversy over comic books surfaced shortly their debut in the 1930s. The first group to object to comics was educators, who saw comics as a bad influence on students’ reading abilities and literary tastes. They filled professional journals with suggestions on how to wean their pupils from superhero tales. Comic books also represented a threat to their authority – for the first time, children could select their own leisure reading material.
Church and civic groups added their members’ voices to protests. They objected to “immoral” content such as scantily clad women in jungle comics and the glorification of villains in crime comics. The Catholic Church’s National Office of Decent Literature added comics to the materials it evaluated.

In postwar America, a new focus on juvenile delinquency drew a third group into the debate over the effects of comics – mental health experts. Among them was Dr. Fredric Wertham, a noted New York City psychiatrist, who campaigned to ban the sales of comics to children. He argued that children imitated the actions of comic book characters and that the content desensitized children to violence.

Seduction of the Innocent

Wertham is often ridiculed as a failed social scientist whose studies of the effects of comics lack credibility, but that is an unfair characterization. His case against comics is actually built on his practice of social psychiatry, which examines social and cultural influences on behavior, including popular culture. However, in articles for popular magazines written by and about Wertham, the underpinnings of his work were left out in favor of anecdotes that Wertham realized would resonate more with the audience.
The best-known of the comic book critics, he advocated for comic book legislation by presenting his work in professional venues, by testifying at legislative hearings, and by publicizing his views in popular media. His efforts focused national attention on comics but resulted in no legislation. Discouraged, he wrote a book he hoped would raise public awareness about comics. He published Seduction of the Innocent in spring 1954.
Wertham’s renewed attack on comic books prompted the U.S. Senate Subcommittee on Juvenile Delinquency to begin its investigation of the effects of mass media with the comic book industry. Senators staged hearings in New York City on April 21-22 and June 4, 1954, calling a number of witnesses to testify.

Comic Book Regulation Today

The impact of the 1989 code eroded as comic books disappeared from the shelves of general retailers. Comic book specialty stores willingly carried comics without the Seal of Approval, and even members of the CMAA created imprints for the direct market, bypassing the review process.
Marvel struck a major blow to the viability of the CMAA’s self-regulatory code in 2001 when it withdrew from the Comics Code Authority in favor of an in-house rating system. By 2011, only two publishers printed the Seal of Approval on the cover of their comics, Archie and DC. DC comics announced in January 2011 it was dropping the Seal of Approval, and Archie soon followed.
Today, publishers regulate the content of their own comics. The demise of the Comics Code Authority and its symbol, the Seal of Approval, marks elimination of industry-wide self-regulation, against which there is little legal recourse. Now, the comic book community can answer its critics by invoking its First Amendment rights, assisted by the Comic Book Legal Defense Fund, whose mission is to protect those rights through legal referrals, representation, advice, assistance, and education.

Resident Evil Final Chapter Review (Spoilers)

Hello everyone welcome to the DZ review slot and to everyone that are resident evil fans be prepared for this epic angry rant…Okay I do not know where to start, but the Resident evil franchise started in the year 1996 with this haunted house of horrors “Which resident evil is my first video game I ever played.” but as a fan I really detest the movies (besides the CG franchise!) Now let me begin “Note spoilers ahead.” okay so in the beginning of the movie we all know where it started out, Alice ID’s herself like every other god loving RE movie, and then we cut to a kid being infected. So now let me say this “WHERE THE HELL IS LEON, JILL, AND ADA!?” Like seriously I thought this movie would go out with a *boom* *boom* *ching* *ching*  but no we get Alice waking up in a desert infested Washington D.C. so on the side line we have the mad scientist (Dr. Alexander) who’s suppose to be the boss of Wesker “Hell no” and he have taken captive Alice into this Umbrella tank looking bogie which looks pretty cool, but not to give this whatever movie this is “which I know it’s my resident evil” this movie reminds me of a kid okay? Who haves homework, but guesses on every question just to get it done and still fails! Like come on man why rush this movie, besides the negatives let’s get to the positive aspect. The movie 3D sucks, the fight scenes was awesome and a major turn of events was Alice being the (Red Queen) was like holy hell, and seeing Alice as an old lady was like “dang who gave you the T?” I mean come on the movie may be bad, but it have a little good sugar on it…kinda, so moving on we find out the Red Queen is the child idealism of Alice, and Alice is really a clone, but the real Alice is this old lady name (Alissa) so I seen all the original infected monsters in the resident evil franchise from RE5 and RE6. Now me getting to this part makes me mad the ending okay so there is an Anti-virus vial the can end the whole infection once it’s released all the zombies around the world are done, so me thinking about lionizing Alice for being the hero why didn’t she do this in the first place? All she have to do is break a Anti-virus vial and (Raccoon City) would still be in peace and yes she goes to the (Hive) and fights Dr. Alexander to end this outbreak and which we found out Dr. Alexander haves clones himself and we get to see him “the real him!” kicking Alice ass once again and all his skills are the same as Alice. So now kicking off the final fight Dr. Alexander gets killed by his clone…like what the hall if he can see every move Alice can make why not his clone and other thing is Wesker haves his foot cut off and died from bleeding out, also begging for help?….WHAT DID I JUST WATCH!?!? okay everyone I cant with this movie.

Resident Evil Final Chapter final score: 4.0/10 comment what you think about the movie!

Godzilla (Origins)

The Godzilla film series is broken into several (different) eras reflecting a characteristic style and corresponding to the same eras used to classify all kaiju eiga (monster movies) in Japan. The first two eras refer to the Japanese emperor during production: the Shōwa era, and the Heisei era. The third is called the Millennium era as the emperor (Heisei) is the same but these films are considered to have a different style and storyline than the Heisei era.

Over the series history, the films have reflected the social and political climate in Japan. In the original film, Godzilla was an allegory for the effects of the hydrogen bomb, and the consequences that such weapons might have on earth. The radioactive contamination of the Japanese fishing boat Daigo Fukuryū Maru through the United States’ Castle Bravo thermonuclear device test on Bikini Atoll, on March 1, 1954 led to much press coverage in Japan preceding the release of the first movie in 1954. The Heisei and Millennium series have largely continued this concept.

The initial series of movies is named for the Shōwa period in Japan (as all of these films were produced before Emperor Hirohito’s death in 1989). This Shōwa timeline spanned from 1954, with Godzilla, to 1975, with Terror of Mechagodzilla. With the exceptions of Godzilla, Godzilla Raids Again, Mothra vs. Godzilla and Terror of Mechagodzilla, much of the Shōwa series is relatively light-hearted. Starting with Ghidorah, the Three-Headed Monster, Godzilla began evolving into a friendlier, more playful antihero (this transition was complete by Son of Godzilla, where it is shown as a good character), and as years went by, it evolved into an anthropomorphic superhero. Ghidorah, the Three-Headed Monster was also significant for introducing Godzilla’s archenemy and the main antagonist of the series, King Ghidorah. The films Son of Godzilla and All Monsters Attack were aimed at youthful audiences, featuring the appearance of Godzilla’s son, Minilla. Godzilla vs. Mechagodzilla was notable for introducing Godzilla’s robotic arch foe and secondary villain of the movie series Mechagodzilla. The Shōwa period tied loosely in to a number of Toho- produced films in which Godzilla himself did not appear and consequently saw the addition of many monsters into the Godzilla continuity, three of which (Mothra, Rodan, and Varan) originated in their own solo movies and another three (Baragon, Manda, and Gorosaurus) appeared in their first films as antagonistic or secondary characters.

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Haruo Nakajima mainly portrayed Godzilla since 1954 until his retirement in 1972. However, other stunt actors portrayed the character in his absence, such as Katsumi Tezuka, Yū Sekida, Ryosaku Takasugi, Seiji Onaka, Shinji Takagi, Isao Zushi, and Toru Kawai. Eiji Tsuburaya directed the special effects for the first six films of the series. His protege Sadamasa Arikawa took over the effects work for the next three films (with Tsuburaya supervising), while Teruyoshi Nakano directed the special effects for the last six films of the series.

Toho rebooted the series in 1984 with The Return of Godzilla, starting the second era of Godzilla films, known as the Heisei series. The Return of Godzilla serves as a direct sequel to the original 1954 film and ignores the afterward events of the Showa era. The Return of Godzilla was released in 1984, five years before the new emperor, but is considered part of this era, as it is a direct predecessor to Godzilla vs. Biollante (1989), which came out in the first year of the new emperor’s reign.

The Heisei films are set in a single timeline, with each film providing continuity to another film, and brings Godzilla back as a destructive force of nature that is feared by humans. The biological nature and science behind Godzilla became a much more discussed issue in the films, showing the increased focus on the moral aspects of genetics. Godzilla vs. King Ghidorah gave the first concrete birth story for Godzilla, featuring a “Godzillasaurus” dinosaur-like creature that was mutated by radiation into Godzilla. Godzilla was portrayed by Kenpachiro Satsuma for the Heisei films while the special effects were directed by Koichi Kawakita, with the exception of The Return of Godzilla, for which the effects were directed by Teruyoshi Nakano.

Toho rebooted the franchise for a second time, with the 1999 film Godzilla 2000, starting the third era of Godzilla films, known as the Millennium series. The Millennium series is treated similarly to an anthology series where each film, with the exception of Godzilla Against Mechagodzilla and Godzilla: Tokyo S.O.S., is set in its own timeline and follows-up the events of the original 1954 Godzilla film, but ignores the events of the Shōwa and Heisei eras.

After the release of 2004’s Godzilla: Final Wars, marking the 50th anniversary of the Godzilla film franchise, Toho declared that it would not produce another Godzilla film for another ten years. Toho also demolished the water stage on its lot used in numerous Godzilla, kaiju and tokusatsu films. Yoshimitsu Banno, who had directed 1971’s Godzilla vs. Hedorah, secured the rights from Toho to make an IMAX 3D short film production, based on a story similar to his Hedorah film. This project eventually led to the development of Legendary’s 2014 film.

Tsutomu Kitagawa portrayed Godzilla for the majority of the Millennium films, with the exception of Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, whom Godzilla was portrayed by Mizuho Yoshida. Unlike the Showa and later Heisei films, the special effects for the Millennium films were directed by multiple effects directors such as Kenji Suzuki (Godzilla 2000, Godzilla vs. Megaguirus), Makoto Kamiya (Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack), Yuichi Kikuchi (Godzilla Against Mechagodzilla), and Eiichi Asada.

Godzilla had his own comic book series in the 1970’s.

Godzilla battled three superhero teams like The Champions (Hercules, Black Widow, Iceman, and Angel), Fantastic Four, and the Avengers (Thor, Vision, Iron Man, Yellowjacket and the Wasp).

When he fought the Avengers, he flicked Thor away like a mere insect, exhibiting an amazing degree of invulnerability.

Godzilla teamed up with Devil Dinosaur, Moon Boy, and Red Ronin. Godzilla’s main enemy was apparently mad scientist Doctor Demonicus.

Image result for godzilla comics

Godzilla comics were also made. After Marvel’s series had long finished, Dark Horse Comics decided to start a Godzilla comic book series, based on the Heisei Godzilla. In 1987, Dark Horse Comics published Godzilla: King Of Monsters! One Shot Special, which was based on Godzilla (1984) rather than the American version. Dark Horse continued to publish Godzilla Comics for the next 12 years, from one shots, to miniseries, etc. Each comic had Godzilla square off against another monster. Dark Horse Comics also published a one shot black and white Godzilla comic (1994). Toy maker Trendmasters published a mini-comic also titled Godzilla: King Of Monsters, based on story elements in their toy series. In 2010 IDW obtained the rights to produce Godzilla comics, and they started with the ongoing Godzilla: Kingdom of Monsters and the miniseries Godzilla: Gangsters and Goliaths. They are also currently publishing the series Godzilla Legends, which focuses on the various monsters he battles.

Within the context of the Japanese films, Godzilla’s exact origins vary, but it is generally depicted as an enormous, violent, prehistoric sea monster awakened and empowered by nuclear radiation. Although the specific details of Godzilla’s appearance have varied slightly over the years, the overall impression has remained consistent. Inspired by the fictional Rhedosaurus created by animator Ray Harryhausen for the film The Beast from 20,000 Fathoms, Godzilla’s iconic character design was conceived as that of an amphibious reptilian monster based around the loose concept of a dinosaur with an erect standing posture, scaly skin, an anthropomorphic torso with muscular arms, spikes on its back and tail, and a furrowed brow. Art director Akira Watanabe combined attributes of a Tyrannosaurus, an Iguanodon, a Stegosaurus and an alligator to form a sort of blended chimera, inspired by illustrations from an issue of Life magazine. To emphasise the monster’s relationship with the atomic bomb, its skin texture was inspired by the keloid scars seen on survivors in Hiroshima. The basic design has a reptilian visage, a robust build, an upright posture, a long tail and rows of serrated fins along the back. In the original film, the fins were added for purely aesthetic purposes, in order to further differentiate Godzilla from any other living or extinct creature. Godzilla is sometimes depicted as green in comics, cartoons and movie posters, but the costumes used in the movies were usually painted charcoal grey with bone-white dorsal fins up until the film.

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Godzilla’s signature weapon is its “atomic breath,” a nuclear blast that it generates inside of its body and unleashes from its jaws in the form of a blue or red radioactive heat ray. Toho’s special effects department has used various techniques to render the breath, from physical gas-powered flames to hand-drawn or computer-generated fire. Godzilla is shown to possess immense physical strength and muscularity. Haruo Nakajima, the actor who played Godzilla in the original films, was a black belt in Judo and used his expertise to choreograph the battle sequences. Godzilla can breathe underwater, and is described in the original film by the character Dr. Yamane as a transitional form between a marine and a terrestrial reptile. Godzilla is shown to have great vitality: it is immune to conventional weaponry thanks to its rugged hide and ability to regenerate, and as a result of surviving a nuclear explosion, it cannot be destroyed by anything less powerful. Various films, television shows, comics and games have depicted Godzilla with additional powers such as an atomic pulse, magnetism, precognition, fireballs, an electric bite, superhuman speed, eye beams and even flight.

Godzilla’s allegiance and motivations have changed from film to film to suit the needs of the story. Although Godzilla does not like humans, it will fight alongside humanity against common threats. However, it makes no special effort to protect human life or property and will turn against its human allies on a whim. It is not motivated to attack by predatory instinct: it doesn’t eat people, and instead sustains itself on radiation and an omnivorous diet. When inquired if Godzilla was “good or bad”, producer Shogo Tomiyama likened it to a Shinto “God of Destruction” which lacks moral agency and cannot be held to human standards of good and evil. “He totally destroys everything and then there is a rebirth. Something new and fresh can begin.”