First a dope Godzilla poster today, and now this? Aww yiggity yeah, fuck faces! It’s less than a month until Lizard-King featuring Scarlet Witch, Walter White and more drops on these shores. There may be no better way to continue to perpetuate the MUCH EXCITE than to bask in another trailer for the flick. This one! In Japanese!
Okay, so everything coming out of the Godzilla camp fucking owns. Even this trailer, despite the fact that it uses the cheap “animal running to safety” and “people climbing on cars away from Dangerous Element X” tropes. All the rest of it more than compensates.
Godzilla got himself a set of fucking pipes. And uh, he’s also really good at thrashing the living shit out of densely populated urban areas. Marketable skills in the kaiju field. Here’s more of a look at him doin’ his thang.
Good God (of Lizards) with a side of fuck creme! Am I really going to dig this movie? If the cryptic and vague tea leaves that constitute an official trailer are to be believed (perhaps foolishly), the answer is an emphatic yes.
Holy fuck. After Amazing Spider-Garfield 2’s righteous trailer last week, I’m now o-2 when it comes to predicting how much I’ll enjoy a movie’s cinematic cock tease. Didn’t expect to like the trailer for Godzilla, but here I am. Digging the visuals. Loving the tone. Appreciating what I believe is a cut for 2001’s OST.
Here at OL we’re pretty, pretty, pretty fucking jazzed on James Stokoe. The dude’s comic Orc Stain is unadulterated talent ripping through the veins and capsules of the comic page. The level of energy and detail on every page literally makes my taint sing. I’m serious. My taint opens up, and it sings. This weekend IDW announced that Stokoe would be writing and drawing Godzilla: Half-Century War for them. That taint that sings? It wailed.
Details and previews after the jump.
[face of a franchise presents two individuals that’ve fulfilled the same role. your task — choose the better of the two and defend your choice in the rancor pit that is the comments section]
Monsters kick ass.
Since the dawn of narrative itself, we have been absolutely obsessed with monsters. These grotesque aberrations of death and doom have served as metaphors, representations of the tests of will that the human spirit must endure. The talking snake in the garden paradise is actually the ever-present temptation to do wrong. The giant fire-breathing dragon is a warning against the dangers of hubris. The reanimated corpse-man is the reminder that, for better or worse, we will be remembered by our work.
Once again, monsters kick ass.
So when cinema came around, blessing us with the awe-inspiring combination of moving-pictures and sounds, it was only natural that monsters followed suit. This new medium enabled the monster-metaphors to be pushed even further, inducing more fear and provoking more thought than previously possible. The horrors were no longer confined to the breathy whispers of epic poems or the staid declarations of prose, but could now run as free as the imagination itself.
Unfettered, movies figured out the exact type of behemoth that horrifies, thrills, inspires, excites, and shocks more than any other. Ghosts and wolfmen and vampires and trolls might be scary, but they pale in comparison to the champion. `Cause at the end of the day, ain’t nothin’ better at conjuring up cold sweats and death-screams than this juggernaut:
The city-rockin’ monster.
In the nearly hundred years of cinema history we’ve accumulated, there’s been no scarcity of city-razin’ beasts. Truthfully, most of ’em turned out to be more sizzle than steak, and a select few terrified us beyond the capacity for rational thought. But two of these metropolitan menaces have stood the test of time, and as such now must battle for the title of most formidable city-rockin’ monster!
The combatants are, of course, Godzilla and King Kong.