04.12.2021 TOKUSATSU: THE ART OF JAPANESE SPECIAL EFFECTS!!! With AUGUST RAGONE!

Written By Stephanie Morgan

MONSTER PARTY WANTS TO SHOW YOU THE EFFECTS JAPAN HAS ON US!

JAMES GONIS, SHAWN SHERIDAN, LARRY STROTHE, and MATT WEINHOLD, celebrate a subject that is near and dear to their cyborg enhanced hearts. Prepare to take a journey through blue-tinted space, to discover the secrets of... TOKUSATSU: THE ART OF JAPANESE SPECIAL EFFECTS!!!

TOKUSATSU is a broad term that basically covers any Japanese film or TV show that relies heavily on special effects. Which pretty much means everything in our DVD libraries! But don't expect just another podcast about the GODZILLA, GAMERA, and ULTRAMAN. This time, we dig deep into the history of TOKUSATSU, and honor the pioneers who helped make it the beloved sub-genre that it is.

Not only do we go behind the scenes of such long-running shows as ULTRAMAN and KAMEN RIDER we also shine our Beta Capsules on many of the more obscure offerings from Japan! We're talkin' secret agents, super ninjas, black and white space heroes, crazy kaiju, kids who like to hang out with Satan, a fly with TV sets for eyes, and sooooooooooo much more!

To do justice to such a gargantuan topic, we tracked down someone who is definitely a superhero in our eyes. He's a celebrated author, journalist, blogger, commentator, event promoter, and a TOKUSATSU historian who has been an inspiration to us for many years. MONSTER PARTY is Ultra-proud to welcome... AUGUST RAGONE! (EIJI TSUBURAYA: MASTER OF MONSTERS; THE GOOD, THE BAD, AND GODZILLA; FAMOUS MONSTERS OF FILMLAND; SHOUT FACTORY; CREATURE FEATURES)

NOTE: YOU MAY NOTICE THAT IS KAIJU-SIZED EPISODE OCCASIONALLY SUFFERS FROM SOME MINOR SOUND DISTORTION. WE OFFER OUR APOLOGIES, BUT BLAME IT ON TV FLY!

Guest(s)

August Ragone:

Follow August: August Ragone | The Good, the Bad, and Godzilla 続・夕陽の呉爾羅 | August Ragone (@RagoneAugust) on X

Key Topics Discussed

  • Defining Tokusatsu: August Ragone explains that the term is a portmanteau of the Japanese words for "special shooting" or "trick photography." He clarifies that it refers to a medium involving a heavy use of special effects and miniature photography rather than being a specific genre.

  • The Resourcefulness of Eiji Tsuburaya: The discussion details Tsuburaya’s technical genius, including his use of an Oxberry 1200 optical printer, a tool so advanced that Disney was the only other studio that owned one at the time. Ragone also explains how Tsuburaya managed budgets by recycling armatures and monster suits from Godzilla films to create new creatures for series like Ultra Q and Ultraman.

  • The "Monster Boom" of 1966: August describes the massive cultural explosion in Japan known as the "monster boom," sparked by the success of Ultra Q and Ultraman. This era included "what-if" battle illustrations in magazines that stoked children's imaginations across the country.

  • Intense Production Realities: The episode provides insight into the grueling schedules of the 1960s and 70s, where production teams often shot six days a week to produce 52 consecutive episodes a year without seasonal breaks. August also notes the common practice of "after-recording," where all dialogue was dubbed in post-production rather than using sync sound on set.

  • Global Distribution and "Lost" Media: Ragone recounts the history of Ultra Q being dubbed in Canada for a U.S. release that was ultimately shelved because the industry shifted to color broadcasting while the show was in black and white. He also highlights the massive popularity of Japanese series like The Samurai in Australia during the 1960s.

  • Suit Acting and Fan Adulation: The panel honors legendary suit actors like Haruo Nakajima and Satoshi Furuya, noting that they were recognized in Japanese media as "Kaiju stars" during their peak years. August describes the deep emotional experience of these actors discovering their immense international following later in life at Western conventions.

  • The Evolution of Fandom: The discussion traces how tokusatsu fandom moved from rare book imports in San Francisco’s Japantown to the digital age. August explains how the internet and the success of Power Rangers introduced younger generations to the original Japanese source material and a vast back catalog of 1970s superhero shows.

Timestamps

  • 00:00:18 - Introduction of the "Monster Party" tokusatsu edition and the four hosts.

  • 00:01:50 - Formal introduction of the episode topic: tokusatsu and the art of Japanese special effects.

  • 00:02:30 - Introduction of guest August Ragone, author of Eiji Tsuburaya: Master of Monsters.

  • 00:04:09 - August Ragone discusses his childhood origins as a "monster kid" and his early interest in Japanese films.

  • 00:07:00 - Analysis of Ultraman’s cinematography and "guerrilla" 16mm filming techniques.

  • 00:11:00 - Discussion of Ultraman’s optical animation and the use of the Oxberry 1200 optical printer.

  • 00:14:54 - Overview of grueling six-day-a-week production schedules and post-sync dubbing.

  • 00:20:10 - The history of the "lost" Canadian-dubbed Ultra Q episodes and why the show was shelved in the U.S.

  • 00:27:36 - Explaining the "Monster Boom" of 1966 and the influence of boys' manga and "what-if" battle art.

  • 00:36:26 - Origins of early Japanese heroes like Moonlight Mask and Starman (Super Giant).

  • 01:01:29 - The "Ninja Boom" and the creation of Red Shadow and Phantom Agents.

  • 01:10:56 - Historical context of Eiji Tsuburaya’s wartime miniature work and his post-war blacklisting.

  • 01:14:31 - The relationship between directors Ishiro Honda and Akira Kurosawa.

  • 01:23:34 - Debunking myths regarding the ending of King Kong vs. Godzilla and the naming of "Minila".

  • 01:39:59 - The 1971 resurgence of the genre with Spectreman, Return of Ultraman, and Kamen Rider.

  • 01:55:17 - The legacy of suit actor Haruo Nakajima and the emotional experience of his first U.S. convention appearances.

  • 02:27:37 - The future of the medium and the influence of Power Rangers and fan-subbing on modern fandom.

  • 02:55:50 - Closing remarks, guest website information, and Patreon listener shout-outs.

Resources/Links Mentioned

Films

  • Mothra: One of the Toho films watched on local San Francisco Bay Area channels by one host during childhood.

  • Gorath: A Toho movie specifically recalled from early television viewing by one host.

  • Gamera (1965): Discussed in relation to the high cost of its special effects shots, specifically the "sonic scalpel" beam.

  • King Kong vs. Godzilla: Described as a satire of over-commercialization and advertising that became a massive ticket-selling hit in Japan.

  • Rashomon: Mentioned in a joke about viewing the film's events from the perspective of King Ghidorah.

  • Son of Godzilla: Discussed for the scene where characters name the giant mantis monsters and for the birth of Minila.

  • Atragon: A straight-laced film featuring lead actors who also appeared in office comedies and served as the basis for the series Mighty Jack.

  • Godzilla (1954): The original landmark film that resonated with Japanese audiences despite initially being panned by critics as "garbage".

  • Rodan: A 1957 film that was the highest-grossing science fiction movie in the U.S. that year, noted for its exceptional color miniatures.

  • The Mysterians: Mentioned as part of the prominent Honda and Tsuburaya collaboration era.

  • The Giant Claw: A U.S. release that Rodan successfully competed against at the box office in 1957.

  • Forbidden Planet: A 1956 landmark science fiction film mentioned in the context of the era.

  • House of Frankenstein: Referenced because its music was repurposed for the American version of King Kong vs. Godzilla.

  • The War of the Gargantuas: Mentioned for its creature designs by Tohl Narita and its inclusion in the 2004 San Francisco Godzilla film festival.

  • Matango: Cited as a notable film starring actor Akira Kubo.

  • Destroy All Monsters: Discussed for starring Akira Kubo and for its detailed, non-off-the-rack costume designs.

  • Godzilla 2000: Noted as another production featuring the suit acting of Kitagawa.

  • The Human Condition: A seven-hour film epic mentioned because an actor in the film appeared in it speaking Russian.

  • Dreams: A fantasy film by Akira Kurosawa where the "The Tunnel" sequence was directed based on personal war experiences.

  • Kagemusha: Mentioned regarding the long-term co-directing collaboration between Ishiro Honda and Akira Kurosawa.

  • Madadayo: The final film that Ishiro Honda and Akira Kurosawa worked on together.

  • What's Up, Tiger Lily?: Discussed for redubbing Japanese spy movies for comedic effect, a technique later used on the series Dynaman.

  • Godzilla (2014): The Gareth Edwards production mentioned as the reason for the release of the second edition of the Eiji Tsuburaya book.

  • The Laughing Policeman: Mentioned because an acquaintance's father appeared in the film as a police officer extra.

  • The Andromeda Strain: A film remembered for being watched as a young child at the Golden Gate Theater.

Television

  • Creature Features: A local Bay Area horror hosted show where the guest was first seen in the early 1970s.

  • Captain Cosmic: A KTVU television show mentioned in relation to early exposure to Japanese programming.

  • Ultraman: A series broadcast Monday through Friday that significantly influenced the childhood of the hosts and guest.

  • Outer Limits: A monster-themed show watched by the guest before they were able to read well.

  • Tobor, The 8th Man: An early Japanese animated import mentioned as being similar in tone to superhero shows.

  • Gigantor: Another Japanese import discussed alongside other early animated superhero programs.

  • Star Trek: The original series mentioned for comparison regarding optical animation and production value.

  • Kikaider: A 1970s show noted for its rigorous six-day-a-week shooting schedule.

  • Key Hunters: A popular spy show and star vehicle for Tetsuro Tama that was a takeoff on Mission Impossible.

  • Mission Impossible: Referenced as the stylistic inspiration for the Japanese spy show Key Hunters.

  • Ultra Q: A black-and-white series produced by Tsuburaya that was dubbed in Canada but never aired in the U.S. due to the industry shift to color.

  • Twilight Zone: Mentioned because its production company, CBS Films, was initially interested in Ultra Q.

  • Astro Boy: An animated series sold in the United States before 1965.

  • Ultraman Taro: A 1973 show that was the subject of a CBS News report regarding its perceived violence.

  • Submariner 8823: A show based on a manga about a submariner making peace with surface dwellers.

  • Space G-Men: An action series described as a Japanese version of Rocky Jones involving an organization fighting to protect Earth.

  • Prince of Space: A popular program that was later adapted into a movie.

  • UltraSeven: A follow-up to Ultraman noted for its high production quality and perfect execution.

  • Captain Ultra: A space-themed show produced by Toei to fill the gap between Ultraman and UltraSeven.

  • Batman: The 1966 series used as a comparison for the tone and style of Red Shadow.

  • Wild Wild West: Mentioned for its anachronistic and steampunk elements similar to those in Red Shadow.

  • The Samurai: A series that became a massive hit in Australia, greeted with crowds larger than the Beatles.

  • Doctor Who: Cited as one of the shows that The Samurai surpassed in Australian ratings.

  • Kamen Rider: A groundbreaking Henshin series that started the 1971 superhero boom and featured a protagonist fighting a cybernetic organization.

  • Operation Mystery: A Tsuburaya production described as a cross between Kolchak: The Night Stalker and Mission Impossible.

  • Mighty Jack: An espionage and spy series that began as a spinoff of the film Atragon.

  • Spectrum Mask: A masked hero show that experienced a revival among a new generation.

  • Spectreman: A giant monster-themed show that premiered in January 1971.

  • Cyborg 009: An anime series based on the work of Shotaro Ishimori that served as the prototype for Kamen Rider.

  • Kamen Rider V3: Known for bizarre monsters like Turtle Bazooka and TV Fly.

  • Kamen Rider X: A series featuring outrageous villains like Frankenbat, Starfish Hitler, and Ant Capone.

  • Space 1999: Mentioned during a discussion about avoiding the decline in quality seen in later seasons of certain sci-fi shows.

  • Buck Rogers: Another science fiction show cited in the context of seasonal quality shifts.

  • Dynaman: A Super Sentai series that was famously redubbed into a comedy for USA Network’s Night Flight.

  • Mazinger Z: Mentioned as part of the guest's interest in old school anime and super robots.

  • Devilman: Another super robot era anime mentioned as a point of interest.

  • GeGeGe no Kitaro: A long-running series about yokai that has been revived approximately every decade since the 1960s.

  • Akuma-kun: A 1966 black-and-white live-action series based on Shigeru Mizuki's manga about a boy who controls a devil named Mephisto.

  • Bewitched: Used to describe some of the lighthearted or supernatural elements found in Akuma-kun.

  • Kamen Rider Black RX: The follow-up to Black that shifted toward more kiddie themes and heavy toy product placement.

  • Kamen Rider ZI-O: Identified as the first Kamen Rider series seen by one of the hosts.

  • Kamen Rider J: Mentioned as part of the recent official streaming uploads for the 50th anniversary of the franchise.

Books, Comics, etc.

  • Eiji Tsuburaya: Master of Monsters: The definitive biography written by the guest, August Ragone, which serves as a primary touchstone for the historical discussion.

  • Famous Monsters of Filmland: A seminal monster movie magazine mentioned as a major influence on the hosts and guest during their youth.

  • The Making of Godzilla: A specific book or resource cited for its behind-the-scenes details on the production of the 1954 classic.

  • Manga Shonen: A Japanese magazine that was home to early series like Submariner 8823 and other foundational genre works.

  • Weekly Shonen Magazine: A prominent publication mentioned for its role in the "Monster Boom" and for serialized stories like Gegege no Kitaro.

  • Weekly Shonen Sunday: Another major manga magazine cited for hosting popular genre series and battle-themed illustrations.

  • Boken-O (Adventure King): A magazine known for its vibrant and imaginative "what-if" monster battle artwork that fueled the imaginations of Japanese children.

  • Japanese Giants: A long-running fanzine dedicated to Japanese fantasy films and special effects shows.

  • G-Fan: A magazine focused on Godzilla and the kaiju genre, noted for its longevity and dedicated community.

  • The Encyclopedia of Japanese Pop Culture: A book by Mark Schilling mentioned as an important English-language resource for understanding the genre's cultural impact.

  • Kamen Rider (Manga): The original manga created by Shotaro Ishimori, which served as the blueprint for the television franchise.

  • Cyborg 009 (Manga): Another Shotaro Ishimori creation mentioned as a precursor to the superhero themes found in later tokusatsu.

  • Akuma-kun (Manga): The Shigeru Mizuki manga about a boy and his demon companion, which was the basis for the 1966 live-action series.

  • GeGeGe no Kitaro (Manga): The iconic series about traditional Japanese spirits (yokai) that has been adapted into numerous media formats.

  • The Art of Tohl Narita: A book or collection of designs by the legendary artist behind the looks of Ultraman and various kaiju.

Stephanie Morgan
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