By Kael Childers
The Godzilla franchise includes 38 movies and counting, plus multiple TV series, anime, and video-game spinoffs. As an enormous franchise that has run for 71 years, it makes sense that it has drifted from its roots. Indeed, Godzilla has drifted from a poetic metaphor to a friendly space-traveling creature, with Hollywood reducing him to a big lizard that hangs out with King Kong. While many considered Godzilla (Gareth Edwards, 2014) a more faithful rendition of the character, it failed to capture Godzilla's symbolism and the hope, unity, and ingenuity needed to defeat him. However, Godzilla has returned to form in Shin Godzilla (Hideaki Anno, 2016) and Godzilla Minus One (Takashi Yamazaki, 2023). They will be compared as contemporaries despite being released seven years apart, as they both accomplish a similar task: the spiritual rebirth of Godzilla.
But let’s take it back to the beginning: Godzilla (Ishirō Honda, 1954) created what would become the template for the kaiju (monster) movie. Godzilla awakens after humans harm the environment, attacks the mainland, and is unsuccessfully fought by military resistance. Only a unique scientific plan, enacted with great courage, can take him down. It's more than a monster movie; Godzilla serves as a metaphor for nuclear destruction in the aftermath of World War Two, fueled by nature's anger. Godzilla is terrifying and ruins countless lives, and though ultimately defeated by a weapon of human invention, the consequences of the battle change the lives of everyone involved. Shin and Minus One follow a similar structure, but they introduce unique changes while remaining faithful to the terrifying spirit of the original Godzilla.
But let’s take it back to the beginning: Godzilla (Ishirō Honda, 1954) created what would become the template for the kaiju (monster) movie. Godzilla awakens after humans harm the environment, attacks the mainland, and is unsuccessfully fought by military resistance. Only a unique scientific plan, enacted with great courage, can take him down. It's more than a monster movie; Godzilla serves as a metaphor for nuclear destruction in the aftermath of World War Two, fueled by nature's anger. Godzilla is terrifying and ruins countless lives, and though ultimately defeated by a weapon of human invention, the consequences of the battle change the lives of everyone involved. Shin and Minus One follow a similar structure, but they introduce unique changes while remaining faithful to the terrifying spirit of the original Godzilla.
First, let’s look at the films' exposition. The beginning of Minus One, directed by Takashi Yamazaki, closely resembles the original. Amid an ongoing war, Japanese soldiers disturb an ancient creature known as Godzilla. The theme of Godzilla’s wrath being humanity’s responsibility is central to Minus One. The title literally reflects this: Japan was at absolute zero after WW2, and now Godzilla brings it down to minus one. In Shin, Godzilla is less our fault than our punishment. The title Shin Godzilla cleverly represents a triple entendre:
The three Japanese meanings of Shin:
新 - New
真 - True
神 - God
Shin Godzilla is not just our responsibility to defeat; it is humanity’s burden of destruction to bear. While a bit more intense than the original 1954 theme, it keeps the central idea of Godzilla as a force of destruction rather than pure evil. Until this modern return to form, Godzilla has spent most of the last five decades on humanity's side, more grumpy lizard than force of nature.
The three Japanese meanings of Shin:
新 - New
真 - True
神 - God
Shin Godzilla is not just our responsibility to defeat; it is humanity’s burden of destruction to bear. While a bit more intense than the original 1954 theme, it keeps the central idea of Godzilla as a force of destruction rather than pure evil. Until this modern return to form, Godzilla has spent most of the last five decades on humanity's side, more grumpy lizard than force of nature.
Shin slowly and satirically builds up as Shin Godzilla becomes increasingly dangerous. Constantly switching meeting rooms, endlessly trading off paperwork responsibility, and assigning a ridiculous number of status titles to every character and space, director Hideaki Anno (Neon Genesis Evangelion) cleverly critiques the Japanese government’s inflated ego and inability to act. Shin still has a main protagonist, but his role isn’t as defined until much later in the movie. Minus One, meanwhile, focuses less on institutional action and more on a central protagonist, Kōichi Shikishima (Ryuunosuke Kamiki). Minus One is much more faithful to Godzilla (1954) in this way, as both take a deeply personal look at characters forced to share a world with and survive against Godzilla.
What both films have in common with the original, one of the few things Hollywood hasn’t changed, is the massive and epic destruction caused by Godzilla. Godzilla is still angry at humanity, and his destructive force doesn't come from a place of wanting to help people. Like Godzilla (1954), both films portray Godzilla as a horrifying creature, tangibly representing the trauma of war and the atomic bombings of Japan. Minus One makes Godzilla a more direct metaphor for the atomic bomb by having his infamous lightning breath literally release an explosion like an atomic blast. Shin paints him more as a metaphor for the horror and catastrophe of warfare, as he evolves into increasingly alien and devastatingly powerful forms. But what about the attitude of Godzilla?
What both films have in common with the original, one of the few things Hollywood hasn’t changed, is the massive and epic destruction caused by Godzilla. Godzilla is still angry at humanity, and his destructive force doesn't come from a place of wanting to help people. Like Godzilla (1954), both films portray Godzilla as a horrifying creature, tangibly representing the trauma of war and the atomic bombings of Japan. Minus One makes Godzilla a more direct metaphor for the atomic bomb by having his infamous lightning breath literally release an explosion like an atomic blast. Shin paints him more as a metaphor for the horror and catastrophe of warfare, as he evolves into increasingly alien and devastatingly powerful forms. But what about the attitude of Godzilla?
In recent years, Godzilla often helps Japan defeat an evil monster, then peacefully returns to the ocean, often walking toward the sunset with his friends waving goodbye as an original song fades with the credits. Godzilla 1954 ends with a defeated military mustering one last shred of courage and placing it in the hands of an old scientist. Knowing humanity cannot be trusted with any new form of weaponry, he kills himself alongside the mechanism that defeats Godzilla by evaporating the creature at the bottom of a trench in the ocean.
Shin and Minus One end in similar tones, with both governments giving up hope on brute force and traditional firepower. Those fighting Godzilla, on behalf of the whole country, must hold together and be courageous, placing their hope in one last scientific plan to defeat the monster. Minus One mirrors the original with an underwater device, but Shikishima survives his suicide mission due to his supporting friends. Shin takes a unique approach, using a liquid coolant attack that is just as creative and effective. Both endings, despite differences, display the same idea: Humanity must rely on courage, cooperation, and creativity.
Shin and Minus One end in similar tones, with both governments giving up hope on brute force and traditional firepower. Those fighting Godzilla, on behalf of the whole country, must hold together and be courageous, placing their hope in one last scientific plan to defeat the monster. Minus One mirrors the original with an underwater device, but Shikishima survives his suicide mission due to his supporting friends. Shin takes a unique approach, using a liquid coolant attack that is just as creative and effective. Both endings, despite differences, display the same idea: Humanity must rely on courage, cooperation, and creativity.
While they take Godzilla back to its roots so effectively, neither Shin nor Minus One is a remake. They are not Ishirō Honda’s Godzilla. Shin Godzilla is not just a force of nature; it is an incarnation of what could be god itself. The plot delves deeper into the foolish paralysis and ego of the government, and treats Godzilla as more than just our fault- he is our punishment. Shin Godzilla is Hideaki Anno’s Godzilla. Minus One spends so much time world-building and exploring its characters’ lives, elevating a narrative of unity, guilt, and perseverance. Godzilla is not just a chunk of lizard flesh; he is our responsibility to overcome tragedy and find the courage to move forward. Godzilla Minus One is Takashi Yamazaki’s Godzilla.
While Hollywood continues to drift further from the franchise’s roots and into a more broadly appealing direction (see: Godzilla X Kong: The New Empire (2024)), Japanese filmmakers are staying confident in this new wave of Godzilla culture. Godzilla: Minus Zero is set to release in November 2026 and looks like a promising continuation for many fans. Minus One was an inspiration and a gift to many Godzilla fans. It likely wouldn’t exist without Shin paving the way years earlier, showing that people around the world still understand and appreciate Godzilla's true culture. Both films, ultimately, are more than just a remake of Godzilla (1954); they are the rebirth of Godzilla.
