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* DarkestHour: Even the might of Godzilla is no match for the combined might of Mechagodzilla and Titanosaurus. The Big G is taken down and it looks like all hope is lost, until the humans manage to distract Titansosaurus with the Sonic Wave Oscillator.

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* DarkestHour: Even the might of Godzilla is no match for the combined might of Mechagodzilla and Titanosaurus. The Big G is taken down and it looks like all hope is lost, until the humans manage to distract Titansosaurus Titanosaurus with the Sonic Wave Oscillator.


* BadBoss: Mugal has [[YouHaveFailedMe three of his mooks executed]] when Ichinose and Murosaki managed to escaped unharmed.

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* BadBoss: Mugal has [[YouHaveFailedMe three of his mooks executed]] when Ichinose and Murosaki Murakoshi managed to escaped unharmed.



* YouHaveFailedMe: Mugal sentences three mooks to death for letting Ichinose and Murosaki escape.

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* YouHaveFailedMe: Mugal sentences three mooks to death for letting Ichinose and Murosaki Murakoshi escape.


The final film of the original series, also known as the Showa Era of the ''Franchise/{{Godzilla}}'' series (while ''Film/DestroyAllMonsters'' is the last film chronologically), and directly taking place after the previous year's ''Film/GodzillaVsMechagodzilla''. It is the final Godzilla film directed by the legendary Creator/IshiroHonda, and is called ''Mekagojira no Gyakushū'' (''Mechagodzilla's Counterattack'') in Japan. Also went under the title "The Terror Of Godzilla" in it's initial U.S release.

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The final film of the original series, also known as the Showa Era of the ''Franchise/{{Godzilla}}'' series (while ''Film/DestroyAllMonsters'' is the last film chronologically), and directly taking place after the previous year's ''Film/GodzillaVsMechagodzilla''. It is the final Godzilla film directed by the legendary Creator/IshiroHonda, and is called ''Mekagojira no Gyakushū'' (''Mechagodzilla's Counterattack'') in Japan. Also went under the title "The Terror Of Godzilla" in it's its initial U.S release.


** ''May'' have been justified by the claims he was making didn't just include the fact that he had discovered Titanosaurus. He claimed that the creature was ''benevolent'' and that he had a means to ''control'' the creature. At the time he would have made said claims (1962-3), two Godzillas had attacked, one had fought King Kong, two Rodans had rampaged across Japan, and Mothra had just left Japan in shambles a year before Kong had fought the second Godzilla, and at the time the idea of being able to '''''control''''' these creatures seemed utterly ludicrous. If he had simply claimed to have discovered Titanosaurus and left it at that, he might not have been met with such derision.

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** ''May'' have been justified by the claims he was making didn't just include the fact that he had discovered Titanosaurus. He claimed that the creature was ''benevolent'' and that he had a means to ''control'' the creature. At the time he would have made said claims (1962-3), (1960-1), two Godzillas had attacked, one had fought of which would return and battle King Kong, two Rodans had rampaged across Japan, and Mothra had just left Japan in shambles a shambles. A year before later Kong had fought would fight the second Godzilla, and at the time the idea of being able to '''''control''''' these creatures seemed utterly ludicrous. If he had simply claimed to have discovered Titanosaurus and left it at that, he might not have been met with such derision.

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* SequelEscalation: the previous film had Godzilla facing Mechagodzilla with the help of King Caesar. This movie has Godzilla taking on an even more powerful version of Mechagodzilla ''and'' Titanosaurus at the same time, without any allies to help him.

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** ''May'' have been justified by the claims he was making didn't just include the fact that he had discovered Titanosaurus. He claimed that the creature was ''benevolent'' and that he had a means to ''control'' the creature. At the time he would have made said claims (1962-3), two Godzillas had attacked, one had fought King Kong, two Rodans had rampaged across Japan, and Mothra had just left Japan in shambles a year before Kong had fought the second Godzilla, and at the time the idea of being able to '''''control''''' these creatures seemed utterly ludicrous. If he had simply claimed to have discovered Titanosaurus and left it at that, he might not have been met with such derision.

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* TragicVillain: Doctor Mafune was absolutely right about Titanosaurus's existence, and his machine capable of controlling Titanosaurus might have been a huge help with the '''other''' giant dinosaurs that arose in 1955. Of course that didn't happen, and he's completely misanthropic by the present day.


* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/{{Godzilla}} Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.

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* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]].fights]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/{{Godzilla}} Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.


* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/{{Godzilla}}]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.

to:

* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/{{Godzilla}}]]'' ''[[Franchise/{{Godzilla}} Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.


* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.

to:

* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/Godzilla]]'' ''[[Franchise/{{Godzilla}}]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.


* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.

to:

* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkAndEdgier [[DarkerAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.

Added DiffLines:

* GenreThrowback: ''Terror of Mechagodzilla'' seems more like a ''kaiju'' film from the 1950s and early 1960s. It has a [[DarkAndEdgier serious tone]], a [[WhatMeasureIsANonHuman weighty theme]], a [[SceneryGorn lavish city destruction spectacle]], a new monster antagonist that looks more like a natural animal, significant scenes of evacuation and human fear, and a well-developed human plot. This contrasts it with the ''kaiju'' films of the late Sixties and 1970s, which were [[{{Camp}} campy]], had fights takes place in barren wilderness rather than cities, featured outlandish monsters, and whose human plots were almost [[JustHereForGodzilla exclusively there to set up the monster fights]]]. This was a conscious choice on the part of producer Tomoyuki Tanaka for artistic and monetary reasons, believing that ''[[Franchise/Godzilla]]'' had gotten too wacky and that this was the reason ticket sales were declining. Part of arresting this trend was bringing back Ishiro Honda and Akira Ifukube.


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* UncertainDoom: Titanosaurus gets blasted by Godzilla off a cliff into the ocean at the end of the film. Whether or not the blast kills him is still a mystery.


As this is the last film of the Showa Godzilla storyline, it is followed by ''Film/TheReturnOfGodzilla'' which starts the Heisei Godzilla story arc despite being a Showa film.

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As this is the last film of the Showa Godzilla storyline, it is followed by ''Film/TheReturnOfGodzilla'' which starts the Heisei Godzilla story arc despite being a coming out in the Showa film.era.


* SlidingScaleOfIdealismVsCynicism: Despite being in the late Showa era, this is pretty much a wrestling match with the heroes and villains. Including the monsters. Eventually, the cynical villains lose while the humans will have a (eventual) hopeful future.



* SlidingScaleOfIdealismVsCynicism: Despite being in the late Showa era, this is pretty much a wrestling match with the heroes and villains. Including the monsters. Eventually, the cynical villains lose while the humans will have a (eventual) hopeful future.

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