S.H. MonsterArts Heisei Mothra Review and Gallery

Even though I'm a big fan of Bandai's S.H. Figuarts and Ultra-Act sub-line, I haven't gotten too excited about their MonsterArts line that focuses on kaiju mainly from the Godzilla movies.  Part of it is the price tag on these suckers, and the other is that currently most of the figures are from the Heisei era of Godzilla films, including this one.

Mothra ("Mosura") was introduced to Japanese audiences in 1961 in the eponymous Toho movie.  When King Kong Vs Godzilla became a huge success, Toho decided to face Godzilla off against one of their own creations, spawning 1964's Mothra Vs Godzilla, a personal favorite of mine. Since then, Mothra has been in many of Godzilla's films, including a brief nod in the newest American one.

This figure is based off the design from 1992's Godzilla Vs Mothra, apparently my sister's favorite Mothra movie. The detailing on this figure is nothing short of breathtaking.  Bandai did a very good job with capturing the color and look of Mothra's body and wings.



The main thing I tried to capture in my photos was the immense size of the figure, even comparing it to the 2011 Revoltech Mothra, which was based on the original 1961 design.  I suppose I was expecting the figure to be closer in size to the Revoltech figure, but its wingspan matches the length of the box it comes in. In other words, it's huge!


On the plus side, there is a lot of articulation.  Mothra's head has a lot of movement. The wings have hinges for you to move them up and down.  Almost everything on Mothra's face is poseable to a certain extent, including the antenna and mandibles.  The legs have multiple joints, and you can even curl Mothra's abdomen, i.e. its butt.  Unfortunately, all of it feels very fragile, and you should handle the figure with utmost care.  The figure does come with a stand.



I had seen pictures of the figure online, but it was only when I broke down and got it, did I realize how great this figure is. Part of me wished I held out in case they make one based on an older design, but it's probably the best representation of Heisei Mothra you'll find available.

Hey! Where's Mothra? I'm supposed to get my picture with her!

To further give you an idea of scale, here are some pictures of the queens of Japanese tokusatsu: Mothra and Mother of Ultra!

Sayonara, Mosura-chan!

My Letter to Mr. Del Toro

Dear Mr Guillermo del Toro,

First of all, I wanted to say that even I have not watched many of your films, for horror is not my favorite genre, those that I have watched are both visually and emotional vibrant.

Second, and the reason I'm writing this, is to apologize for not having more faith in your film, Pacific Rim.  Being a nod to kaiju and mecha shows from my youth, I was interested in seeing the film, but seemingly endless negative reviews dulled my interest.

Now, a year later, I have finally seen it and throughly enjoyed it. I daresay even more than the recent Garth Edwards Godzilla reboot/remake/whatever. That is because of the human element.  Whether it's because of your direction or the exceptional cast put together for Pacific Rim, the characters were much more relatable than the cardboard stand-ins from Godzilla 2014.

My one objection is that there is not much time with Charlie Day's and Burn Gorman's characters together. They have a great Ham/Monk relationship, and don't worry if you don't know what I'm talking about. I'd be happy to introduce you to the Doc Savage series as well.

In the DVD extras, you said that kaiju fights were a lot like wrestling matches, and wrestling matches aren't anything without personality. Pacific Rim, in my opinion, has personality to spare.

Thank you for your time and good luck in your future endeavors.

Sincerely,

John M Emmons

Natalie Merchant: Better Late Than Never

In many ways, it's like Natalie Merchant never took a seven year absence.  In her new album, she still produces intelligent lyrics with lush instrumentation coupled with her elegant voice that just seems to get better with time. Her new album feels like the natural successor to 2001's "Motherland" despite the long gulf of years between the two albums.

The self-titled album's main theme shares much in common with her old song "Life Is Sweet."  Many of the songs point to the hardships of life and the importance of enjoying what little happiness we can find and ignoring the bitterness. As things stand now, our hardships seem evident and increasing, and there is nothing that will alleviate it anytime soon.  "It's A-Coming" promises change but only after much suffering and upheaval.

Among my favorites are the glorious "Go Down Moses" and the bold "Giving Up Everything."  This album is very dense, layers upon layers, and it will not likely win you over at first listen, but it is a very rewarding experience for repeat listenings.  It will at least lend you some comfort and, perhaps, a little hope.

Natalie Merchant's New "Natalie Merchant" Album: Now With More Natalie Merchant Music

Silly title aside, I've been meaning to dust off the old blog for some random writing exercises, and what better way than to celebrate Natalie's Merchant's newest album. I'm going to avoid a few superficial disagreements I have with the album and not even mention the whole gap between albums thing.

Point of fact, Natalie's back, and her voluptuous voice is as stunning as ever. The fusion of orchestra and more traditional band sounds makes for a heady combination, but make no mistake. This is not another "Leave Your Sleep."  Its tone and themes are much more sombre this time around.

These songs were cultivated during that long interim, her first foray into motherhood.

Natalie, promise us it won't be another four years until you grace us with your lyrical genius.