About MosuGoji


P 18

Godzilla Anatomical File

Showa Godzilla Series



His whitish eyebrows create a powerful expression and his sanpaku [eyes with visible white between the iris and the lower eyelid​] eyes make her look like a villain, but her side eyes are unexpectedly cute.


Tightening the armpits and facing the palm forward is the basic pose when advancing.


While the face has become rounder than before, the unevenness has become clearer.


The shape of the dorsal fin is similar to KinGoji, but it is thinner and the trick is longer.


A strong and dynamic tail, but it is also a source of disaster, such as being caught in a tower, grabbed by an adult Mothra and dragged around, or bitten by a larva Mothra.


The sharpness of the thick thighs and thin ankles of Godzilla has been suppressed, and the legs have a uniform thickness like a log, emphasizing ease of movement.


From this work, the teeth and claws have changed to resin and become sharper.

P 19

解説 Explanation


Following KinGoji, who changed the image greatly from the original Godzilla, Godzilla renewed its appearance again with MosuGoji. Despite its slim and gentle form, the highly complete suit with a certain flesh and sharp details became the prototype of the style of Showa Godzilla after that.


The Godzilla of this work is also called “villain = beaten role,” and compared to the past, it is quite bad.


In the scene where he appears and when he attacks Nagoya, when he shakes his body, the meat on his cheeks trembles, leaving a strong impression of MosuGoji’s individuality, but it seems that this was not what the production team intended, and was corrected in the second half so he no longer trembled.


Speaking of the representative of Showa Godzilla, “MosuGoji”


MosuGoji has a unique personality, such as the standard that became the basic shape of Godzilla after that, whitish eyebrows, three white eyes, trembling cheeks, and a V-shaped flow of the folds on the lower abdomen. It was a suit for Its charm lies not only in the perfection of its appearance, but also in the maturity of Haruo Nakajima’s performance, the sense of unity that fits the body, and the presence that makes you feel the “creature” of Godzilla when it moves.

Source: 西川伸司 The ultimate book illustrated by Godzilla, p 18-19