Somewhere, long ago, I read someone note the distinction between American and Japanese giant monster movies: American giant monsters climb on buildings whereas Japanese ones walk through them.

I was just exposed, via Mastodon, to this article about the current wave of popularity kaiju are receiving (kaiju is the Japanese term for “monsters,” often used to denote daikaiju, or “giant monsters,” those specifically cut from a similar cloth to Godzilla). Which got me thinking about the genre itself and why I think it’s managed to become mainstream in the US. And which brought the above quote to mind.

A little background: I’ve been a Godzilla fan since I was maybe four. I had an obsession with dinosaurs and my mom grabbed a bunch of discount VHS from a bin at K-Mart that included 1962’s King Kong vs. Godzilla and 1975’s The Terror of Mechagodzilla. My first memory of a film moving me to tears is from the former, where I openly wept to my mother that Godzilla lost to Kong (and established a life-long disdain for the giant monkey). The latter film remains one of my favorites. Tomoko Ai’s Katsura Mifune still makes me swoon and Titanosaurus remains my favorite non-Godzilla monster—I have an almost Mel-Gibson-in-Conspiracy-Theory compulsion to purchase Titanosaurus toys whenever I see one, likely owing to my disappointment over not being able to find one at Toys-R-Us as a child.

Which sort of leads me to my next point: Godzilla faltered in popularity in the US until 2014. I rediscovered Godzilla by accident while at an enormous toy show in Orlando in 1995 when I found myself face to face with a GIANT poster for Godzilla vs. Space Godzilla and, slack-jawed, I asked the dude selling the merch “they still make Godzilla movies?”

I came across G-Fan magazine shortly thereafter, sitting on a shelf at Sci-Fi World, a collectibles shop on International Drive in Orlando (it happened to be the first glossy cover issue). From those two moments I became a die-hard Godzilla fan. My middle-school friend Paul was the only other person I knew who liked Godzilla. My best-friend, Josh, did not share in my interest (one of the only interests we did not share). Godzilla was truly “mine”—but this also made me feel kind of weird. No one else knew about it and so I kind of had to keep it low-key.

Being a Godzilla fan in those days involved a degree of piracy. Toho, the company who produced Godzilla films, refused to distribute to the US. So, in order to see any of the films after Godzilla 1985 I had to track down bootleg VHS. My first viewing of Godzilla vs. Destroyer (see NOTE at end) was on a VHS made by a straight up Sony Handicam held in the theater. It wasn’t until the 2000s that I ever saw Godzilla vs. Space Godzilla or Godzilla vs. Destroyer with English subtitles (G-Fan always ran plot synopses of new releases for just the reason). Godzilla toys had to be imported—Central Florida was not a hot-spot of Godzilla collectibles at the time and so I made an annual pilgrimage to Sideshow Collectibles outside of Atlanta, Georgia when we’d visit family (I still have their Godzilla collectibles guide, which I had Sean Linkenbeck, the author and shop owner, sign). It was a small miracle that the Trendmasters toy company released a line of US-made Godzilla toys at the time (but they never got around to making a Titanosaurus, natch).

This is all to say that being a Godzilla fan in those days was super niche and super nerdy. Then 1998 happened.

This was the year that Godzilla was getting an official, big-budget Hollywood adaptation. It was, pretty famously, terrible. But the film’s terribleness inspired Toho to make “real” Godzilla films again, starting a new series (the Millennium series), including a US theatrical release of Godzilla 2000. It did not do well. But thanks to the agreement with Sony over the 1998 film, the 1990s and 2000s Godzilla films did get DVD releases, finally.

But Godzilla remained a kind of joke. “Dude in a rubber suit.” Kids stuff. No one in the US was making actual giant monster films, even though the technology existed to do so and even though “nerd” properties were making bank at the box-office. It wouldn’t be until 2014 that we’d get a “proper” US-made Godzilla film, one that treated the monster with respect and awe.

What changed?

Here’s my theory: the US could not appreciate Godzilla—or kaiju in general—until we’d experienced the destruction of one of our iconic cities.

See, Godzilla was born out of the rubble and fires of postwar Japan. Godzilla is punishment for war. In some ways he embodies the guilt that some in Japan feel over their involvement in WWII, in others he is an incarnation of the US’ use of nuclear weapons, in others he is a kind of kami (a sort of god) awakened to punish humanity. Godzilla has a few different origin stories, but the most common is that he is some kind of dormant prehistoric creature awakened by the use of nuclear weapons. He’s only here because of the kinds of weapons we’ve built, an embodiment of our capacity to destroy.

Japan is a place that knows destruction well. The place is geologically active and also prone to typhoons. Traditional Japanese construction techniques are rooted in things falling apart and being rebuilt. My personal theory is that Japanese religion embraced zen the way it did because it spoke powerfully to the Japanese experience: all things are temporary.

The United States, on the other hand, is rooted in triumphalist attitudes. We’ve long employed the language of Rome (“the eternal city”) in our rhetoric, filtering it through (Protestant) Christian imagery. During the economic booms of the 1980s, Ronald Reagan referred to the United States in eschatological terms, calling us the “shining city on a hill”—heaven adjacent language that would have caused Saint Augustine’s eye to twitch. As a result, we tend to fetishize our cities and treat them as eternal.

King Kong climbs the Chrysler building. Godzilla destroys Tokyo Tower.

In the 1998 American film, Godzilla climbs the Empire State building. The only previous example of Godzilla being in the US was in 1966’s Destroy All Monsters (a Japanese-made film), where he destroys the UN building.

So, America depicts its buildings as eternal, resilient. Japan understands better.

We wouldn’t learn this lesson until the morning of September 11, 2001. I watched the North and South towers of the World Trade Center collapse on live television and, I have to confess, I immediately made Godzilla comparisons in my mind.

It took us a few years, but the United States got its first proper kaiju in 2008, with the film Cloverfield. In the same way that 1954’s Gojira (which would be re-branded a year later in the US as Godzilla: King of the Monsters) employed the imagery of Hiroshima, Nagasaki, and the burning of Tokyo in order to help process the horrors of what had happened, Cloverfield would do the same with the terrorist attacks. Clover is as close to a true “American” equivalent to Godzilla that we’re likely to get.

It’s telling that only six years later we’d finally get a US Godzilla film that sees Godzilla destroy a US city (even if he’s kinda sorta the hero—I personally love the ambivalence that Gareth Edwards gives Godzilla in that film). And this after Pacific Rim primed the pump.

It’s only now that US audiences can appreciate Godzilla because Godzilla exposes something that we intrinsically know, but tend to not articulate: our cities are not buildings, but people. The resilience of places like New York come about as a result of New Yorkers themselves, not the quality of the buildings that make up the skyline.

While Godzilla is connected to nuclear war, at heart Godzilla is a force of nature. 2016’s Shin Godzilla employed the imagery of the Fukushima earthquake and tsunami (while also satirizing the government’s response to these things), which helps us recall this fact. 2014’s Godzilla captured the sense of hopelessness a triumphalist West feels when confronted with the fact that there are forces beyond our ability to control. Both it and its sequel, 2018’s Godzilla: King of the Monsters, use the imagery and backdrop of climate change (resulting from governmental and corporate meddling) to express how many of us feel in the face of such drastic change. The resulting “Monsterverse” films and shows are about humanity adapting to a new normal, a radically changed world where we are more subjects to nature than its dominants.

I was reminded of this kind of resilience just the other day. We here in Hawai’i experienced a strong storm system, what we know as a Kona Low. It knocked out power across much of O’ahu. As a result, in the midst of wind and rain, I had to acquire food for my family and so I drove on dark streets. I was not the only one. And I was struck by the general sense of togetherness we all felt. Folks were courteous at traffic stops. At the grocery store (which was running on generators), people were orderly and helpful. We were resilient.

We in the West now know that our buildings will tumble, that nature will reclaim her home. We are not masters of creation—we are stewards, at best; mostly we are subjects. There are monstrous forces at work and at battle all around us. But we are at our best when we confront these realities together, survive them together.

We can appreciate Godzilla now because we understand Godzilla now.

***

POST SCRIPT

2016’s Shin Godzilla ends on a much-discussed shot: the camera pans closer and closer to Godzilla, rendered inert through a complicated chemical process. The final shot is of the tip of Godzilla’s tail, where humanoid/Godzilla skeletons are frozen in the midst of emergence. For folks who know the work of Hideaki Anno (of Evangelion fame, who wrote and co-directed the film), this is the kind of thought-provoking teaser that will bug fans for years to come.

Somewhere along the way I read a theory about this that I love. Throughout the film, Godzilla is seen as adapting to whatever humans throw at it. What defeats Godzilla in the end is the co-operative work of a group of people. The theory is that Godzilla recognizes this and was about to evolve into a group himself.

And therein lies the theme: our resilience, our resistance, comes about from us working together. Despite the grand things we’ve built, in the end we will only survive by working together.

***

The Rev. Charles Browning II is the rector of Saint Mary’s Episcopal Church in Honolulu, Hawai’i. He is a husband, father, surfer, and frequent over-thinker. Follow him on Mastodon and Pixelfed.

(NOTE: yes, I know that, due to trademarking issues, the technical name of the movie is Godzilla vs. Destoroyah but I’ve long considered that silly)

#Godzilla #Film #Philosophy #Culture #Monsters

We are in the midst of a wave of what is now known as enshittification, which is a term coined by Canadian author Cory Doctorow on his blog, Pluaralistic. It’s a phrase that has taken parts of the internet by storm, a perfect word to describe how seemingly everything has gotten worse. (Apologies to anyone who is bothered by a priest using the word “shit,” by the way. I get that some Christians are offended by swearing, but Saint Paul pretty much uses the word “shit” in Philippians 3:8 when he considers his life before Christ as skybala, so make of that what you will.)

“Enshittification” is marked by four things, according to Doctorow:

first, [platforms] are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die.

Notice that those four markers are not exclusive to technology, where the term “platform” could be used for just about any institution.

Including the Church.

Just think back to the 15th and 16th Centuries. The Church had been good. It managed to change the direction of the Roman Empire and even managed to preserve elements of culture and society after the fall of that empire. It was nimble and adaptive to the needs of people in the agrarian days of the early Medieval period and managed to counterbalance the worst impulses of kings and lords (for the most part) because kings and lords were seen as subservient to the lordship of Christ Jesus and His Church, which wielded the power of excommunication as a way to keep things in check. But then, kings and lords wanted more from the Church, an institution they were largely funding. Further, many of the bishops had been welcomed into the halls of wealth and power and now saw themselves largely in political terms rather than spiritual. So the laity began to be exploited through practices like the selling of indulgences (used to fund wars and, later, the construction of Saint Peter’s at the Vatican). Then, the bishops began to exploit the lords and kings to get what they wanted (just consider the story of Henry IV traveling in the snow to get the pope to reverse an excommunication). Then, we get the Reformation Era (which gave birth to my branch of the Church, known as Anglicanism).

Now, we see the same things happening in regards to Protestant Christianity, particularly the Evangelical side of things. Pro Publica is running an article about one of the several Evangelical pastors that are leveraging their spiritual influence in the service of political power. And the question is why? Why would any organization that calls itself Christian engage in this sort of thing?

Why would the Church ever return, like “a dog to its vomit,” to the well of enshittification?

It’s because Christians seem to forget what their religion is all about, largely because Christianity is a pretty inconvenient thing. We want to change the world, we rightly recognize that Jesus calls us to change the world. But the lure of doing such things quickly and conveniently is very very strong. Which I feel like we’ve heard something similar before...

Oh. Right.

I’m beginning to think more and more that “inconvenience” is a Christian virtue, a thing we need to embrace, cultivate, and value (I’ve plans to write more on this in the future). When we consider that the ancient rabbinical interpretation of the Fall was the result of the serpent telling Eve and Adam that they could short-cut their way to god-like-ness that the Holy One was moving them toward by eating that piece of fruit, we see that “convenience” or “expedience” becomes a very alluring temptation. Further, in a prophecy about Jesus found in the Apocryphal/Deuterocanonical Book of Wisdom (frequently called The Wisdom of Solomon) we read:

Let us lie in wait for the righteous man, because he is inconvenient to us and opposes our actions; he reproaches us for sins against the law, and accuses us of sins against our training. He professes to have knowledge of God, and calls himself a child of the Lord. He became to us a reproof of our thoughts; the very sight of him is a burden to us, because his manner of life is unlike that of others, and his ways are strange. (Wisdom 2:12-15, NRSV)

So, even the Bible itself acknowledges that the ways of Jesus are inconvenient, while also exposing the short-comings and even wickedness that come from a life of convenience. And those things result in Jesus being crucified. Which is all to say that convenience is powerful and can come with a dark side if we’re not attentive to it.

Christians, as with anyone else, are sinners. We know this, we confess this, we (are supposed to) try and overcome this. But, nevertheless, we live in a sinful world and it is very hard to successfully resist every day. (But this is why we also believe in grace—which is another topic for another time!) The allure of a short-cut to what we think we want is too strong. And so we make a concession here, another there, and then in time we have Rube-Goldberg-machined our way into abandoning our faith and/or calling a heresy or idolatry “Christian.”

Christians have an uneasy relationship with the so-called “separation of church and state.” Our faith demands that we be public and call on the public to repent and follow Jesus. This fact was not lost on some of our most ancient thinkers, most notable being Saint Augustine of Hippo, the great sage of Western (scholastic) Christianity. His mountainous masterpiece, The City of God, deals with the questions of Christians in political leadership. What he effectively argues is that Christians are baptized into a world affected by sin and so all things we humans develop are going to be marked by that fact in some way. But because we confess that sin and confess that Jesus has freed us from sin having lasting, defining power over us, we are able to see past the marks of sin and into a new way of being. So Augustine argues that the Church must make use of the systems of this world, but in such a way to move past the sin-defined flaws of those systems. Judicial punishment, for instance, is supposed to be understood by Christians as a tool that leads to people being restored into the community and not a means of punishment for the sake of punishment. Augustine understood that the guilt of the knowledge of the sin itself is more punishment than the law could ever apply, and so mechanisms of “punishment” are only to help an offender realize the sinfulness of their actions, so that they could come to a place of confession—which is the catalyst for repentance and restoration to the community.

In short, Saint Augustine argues that the Church make use of governmental systems in order to persuade people of what they ought to do, rather than coerce them. In effect, this subverts the systems of government, sinful as they are, in the aims of hopefully working them out of a job.

But, as we all know, persuasion is inconvenient. It takes time. Think of how hard it is to convince people to leave Facebook or Instagram in favor of the far superior experience of decentralized social media like Mastodon and Pixelfed. Wouldn’t it be easier, more convenient, to just force people to leave?

Wouldn’t it be easier if we could just vote the right people into office and get them to make people behave the way we think they should?

Such a view is deeply heretical, from a Christian perspective, because it attempts to supplant the work of God and put it into the hands of us people. Like the Marvel villain, The High Evolutionary, we convince ourselves that we can do it all faster and better because God is not behaving the way we think He ought.

The only way out of the cycle of enshittification is to properly repent and then continue to resist the lure of convenience.

The Rev. Charles Browning II is the rector of Saint Mary’s Episcopal Church in Honolulu, Hawai’i. He is a husband, father, surfer, and frequent over-thinker. Follow him on Mastodon and Pixelfed.

header image by J Dean, via unsplash.com. The image of the Temptation of Christ is courtesy of Wikimedia Commons and is in the public domain

#christianity #church #enshittification #technology #culture #politics