It has been 22 years (or something closer to 20,000 years,
due to the quirks of faster-than-light travel) since humanity left his home.
After numerous kaiju attacks ravaged the Earth, and Godzilla finished the job
by razing human and monster alike, mankind has had to find a new home. But
after years of traversing stars, finding nothing close to a habitable world
they can use to start over, the situation is looking grim. Like “we’re running
out of resources and have to cull the small population we have” kind of grim.
Left with no other choice, they return to Earth to find a world utterly unlike
the one they had to escape so long ago. One that the monsters have officially
declared their own.
I’m using that word specifically, not just because of the
obvious nomenclature, but also because Gen Urobuchi’s writing directly makes
that point. Taking his knack for tragedy that made Madoka Magica the outright
work of genius that it is, he taps into the origins of Japan’s greatest monster
in a way that shows understanding of the cerebral threat it poses. More than
anything else, Godzilla is an avatar of retribution, an agent of hubris meant
to punish humanity for its own arrogance, its belief in its own supremacy. The original
famously built on the societal landscape of the time, when humanity was only
starting to see the destruction of nuclear power, and here, that is
extrapolated to its unfortunately logical conclusion: We lose.
And yet, even in the face of extinction, humanity
perseveres… for better or for worse, both represented by lead character Captain
Haruo Sakaki. Having seen the destruction of the initial kaiju attacks for
himself as a child, he has grown into a bitter and stubborn person. One who
knows better than most want to admit about their chances in space, and who
holds a sizeable grudge against the monster that put them there. He is the
embodiment of mankind’s capacity to adapt and survive, but also their inability
to learn from their own hubris. He is willing to lead the charge and take back
his home, but doesn’t see that his actions are driven by the same conceit that
led them into this corner in the first place. Building on the script’s musings
about God and divine retribution, it raises a rather unsettling idea that this
situation, regardless of however it turns out, is one that we brought on
ourselves. Rather than the giant monsters, we only have ourselves to blame.
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