The impact up in space is more dramatic - a singularity opens up by the Aratrum and a golden Ghidorah head and endlessly long neck emerge, evidently made of pure gravitational energy and wrapping around the ship, causing chaos and distorting time (the bridge crew gets a message from the engine room 40 seconds after it was destroyed and reads their own life signs as ceased several moments before it happens), ending in an impressively rendered explosion that creates auroras in the Earth’s atmosphere below. In perhaps the film’s most effectively chilling sequence, the soup drinkers are devoured one by one as the shadow of one of Ghidorah’s heads/necks intersects their own shadows, with the focus of the camera ending up more on the horrified reaction of the last one to go. (Somehow I don’t think “But we are not soup” is going to go down in history as one of the great philosophical statements.) The collective prayer of the converts, combined with Exif crystal techmagicology, draws the Exif’s extradimensional god, Ghidorah, to this plane. But there is real soup, which Metphy serves to his converts with a sermon about how the soup ceases to exist but lives on as part of something greater. Her corpse is literally still warm, though that’s admittedly because of the nanotech.) That frees up Miana to confront Metphies and discover through her telepathy that he also has telepathy and is planning devious things with his priest buddy on the ship, so Metphies captures her, and Haruo has a fortunately symbolic dream about Metphy cooking her as soup. (Pretty short grieving period for Yuko there, champ. It’s all implausibly easy for these soldiers to be turned into religious fanatics, even given their fear and despair about Godzilla.Īnyway, the twin pseudo-Mothra-heralds Miana and Maina both consecutively get naked for Haruo, your conventional “My natural role as a primitive tribal babe is to be sexually available for the hero” cliche, although for unclear reasons he rejects the former twin and sleeps with the latter. Meanwhile, the Exif priest Metphies (still pronounced “Metophius”) is convincing the surviving soldiers that Haruo was saved from the nanometal by a miracle (though Martin quickly figures out what was obvious from Part 2, that it was the Houtua natives’ healing sparkle-dust that immunized him), and the soldiers both on Earth and on the Aratrum are implausibly quick to be converted to the Exif’s cult, with Metphies and his priest counterpart on the ship using Haruo as his Messiah figure but controlling the narrative so Haruo can’t actually get a word in to refute it - and Martin’s too afraid of being burned as a heretic to point out the simple truth. It’s a rather ignominious way to drop her from the story. But that won’t amount to much, since the Bilsards’ role in this narrative is all but over.ĭown below, Professor Martin tells Haruo that Yuko, his love interest from Part 2 who was infected by Bilsard nanometal, is brain-dead, her body only kept alive by the nanotech. The human crew argue he probably did the right thing, and it leads to a schism with the Bilsards seizing the engine room and trapping the ship in orbit. The Bilusaludo/Bilsards are outraged that Captain Sakaki Haruo, our protagonist, passed up his chance to kill Godzilla in order to instead stop the Bilsards’ Mechagodzilla City from becoming an even worse threat. The film opens with the crew aboard the Aratrum in orbit arguing over the events of the previous film’s climax, conveniently providing a recap. While it’s the culmination of what was set up in the first two films, in many ways it’s a very different story, less action-packed and more philosophical - and not all that much about Godzilla. Netflix has now released the conclusion of its Godzilla anime trilogy ( Part 1, Part 2), under the English title Godzilla: The Planet Eater ( Gojira Hoshi o Kū Mono, which is more literally “The One Who Harvests Planets/Stars”).
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