"ULTRAMAN: NEW GENERATION CHRONICLES" STARTS ON TV TOKYO JANUARY 5TH!

新番組『ウルトラマン ニュージェネレーションクロニクル』2019年1月5日にて放送開始！


The promotional poster for "Ultraman: New Generation Chronicles."

This all-new overview series will run condensations of popular episodes and movies from "Ultraman Ginga" (2013) through "Ultraman R/B" (2018), the latter is currently being broadcast. Each episode will also feature all-new segments, including last March's "Ultraman Geed" feature film, as well as an overview of all 25 episodes of "Ultraman R/B."

Serving as the show's Navigators are the classic character of Booska, the Friendly Beast (who was brought back to appear in "Ultraman R/B"), and Asakura Riku's best bud, Pega the Pegassan, voiced by Miina Tominaga and Megumi Han, respectively. Additionally, there will be guest appearances by actors such as Tatsuomi Hamada, who played the lead of Riku in "Ultraman Geed."

The next all-new feature film, "Ultraman R/B Select! The Kizuna Crystal," will be released nationwide in Japan on March 8th. "Ultraman: New Generation Chronicles" will air every Saturday from 9:00-9:30 am via TV Tokyo starting on January 5th. Produced, as always, by Tsuburaya Productions!

(Translation ©August Ragone, all rights reserved.)

THE FINAL CHAIYO VERDICT: TSUBURAYA WINS! Mr. Sampote's Most Bitter Tea Has Gone Cold...

円谷プロ、米国のウルトラマン海外権利訴訟で勝訴！

Ultraman and Seabozu celebrate Tsuburaya's victory over Chaiyo!

ULTRA SCOOP: Almost as if it were some kind of "Ultra Kismet," after this past weekend's Shout! Factory TV/Twitch marathon of the 1974 ULTRAMAN LEO series, in association with Tsuburaya Productions, whose business manager, Ryota Takahashi, staged a press conference on April 24th, in which the Tokyo-based company announced the final verdict in the recent legal showdown over the on-going "Ultraman" franchise licensing dispute had been rendered by a California Federal Court declaring an alleged contract held by a Thai businessman as null and void (read more from TPC's US attorney, here). Tsuburaya Productions summarily published an English press release on their own website at 10:00 pm PDT:


Corporate attorney Masanobu Hara at the press conference.

NOTICE OF WINNING JUDGEMENT IN U.S. LAWSUIT REGARDING “ULTRAMAN” RIGHTS

In the copyright-related lawsuit that took place in the United States between Tsuburaya Productions Co., Ltd. (“TPC”) and UM Corporation (“UMC”), the United States District Court, Central District of California, entered a final judgment on April 18, 2018 affirming the entire claim of TPC, including that the supposed agreement dated March 4, 1976, claimed by UMC as the basis for its alleged rights in “Ultraman,” was not an authentic contract.

In addition to confirming that TPC possesses all the rights to develop and expand any audio-visual or other creative works or products based on “Ultraman” characters or stories, the judgment required UMC to pay damages for its infringement of TPC’s rights.

1. Court and Date of Judgment Given
U.S. District Court, Central District of California
April 18, 2018 (local time)

2. Developments Thus Far
On May 18, 2015, UMC filed a lawsuit against TPC in the above court, seeking confirmation of its alleged rights to use the “Ultraman” series and characters created by TPC.  On September 11, 2015, TPC filed a countersuit against UMC and its licensees to confirm TPC’s exclusive worldwide rights in “Ultraman” and to recover damages from UMC and its licensees for their infringements.

In support of its assertion of rights, UMC claimed that there was an agreement signed in 1976 (the “Document”) by Noboru Tsuburaya, who was the representative of TPC, which gave Mr. Sompote Saengduenchai, a Thai businessman, rights to use and exploit “Ultraman” worldwide, excluding Japan, and that UMC had succeeded to Mr. Sompote’s alleged rights.

TPC asserted that the Document was a forgery, such that UMC had no rights to use “Ultraman,” and that UMC infringed TPC’s copyrights by doing so. Therefore, the principal point of dispute in this lawsuit was whether the Document was an authentic contract signed and sealed by Noboru Tsuburaya, or whether it was forged.

The dispute between TPC, UMC and Mr. Sompote has continued for more than 20 years.  The background of the dispute is as follows.

In 1996, the year after Noboru Tsuburaya passed away, Mr. Sompote suddenly presented to TPC a copy of the Document that was supposedly signed by Noboru Tsuburaya in 1976, and claimed that he possessed in perpetuity the right to use the “Ultraman” series worldwide excluding Japan. The Document presented by Mr. Sompote was a mere one-page document, and the original was not disclosed.

There were many misstatements in the Document regarding basic matters that would never have been made, had Noboru Tsuburaya actually prepared the Document, such as errors in TPC’s company name and the names and episode numbers of the works of the “Ultraman” series. In addition, specific licensing fees were not provided, and there were no provisions for matters that would certainly be provided in genuine licensing agreements.

Additionally, during the 20-year period between 1976, when the Document was supposedly prepared, and 1996, the year after Noboru Tsuburaya died when it was first presented to TPC, Mr. Sompote had not exercised his alleged rights based on the Document, nor referenced the existence of the Document even once. 

During this 20-year period, Mr. Sompote never developed a global business for the “Ultraman” series, as he later asserted he was entitled to do.

On the other hand, even after 1976, including while Noboru Tsuburaya was the representative of TPC, TPC made considerable investments to produce and globally distribute the “Ultraman” series and build an international brand. In response to those activities, neither Mr. Sompote nor anyone affiliated with him ever claimed the existence of the Document or Mr. Sompote’s alleged rights.

Based on such facts and others, TPC firmly believed that the Document was a forgery, and it has therefore been in dispute with Mr. Sompote and UMC. Whether or not the Document was forged has been disputed in the courts of Japan, Thailand and China in the past.

In Japan, TPC requested a handwriting analysis by the court regarding the Document, but an analysis was not conducted, and a decision that the Document was an authentic document was therefore rendered without a confirmation of the original Document being made.

In Thailand, handwriting analysis procedures were conducted, and, as a result thereof, the TPC’s claim of forgery was recognized and TPC won the lawsuit. In Thailand, the forgery of the Document was not only decided in a civil case, but also became a criminal case, and Mr. Sompote was convicted of forgery.

In China, while TPC won the lawsuit in the first instance, the judgment was reversed at the higher court so it would be consistent with the judgment from Japan.

In the Chinese and Japanese judgments, it was recognized that the Document, even if not a forgery, granted only limited rights to use “Ultraman” works from the early-Showa era series (mid 1960s to mid 1970s).  In the judgments of all of the countries, it has been recognized that, regardless of the outcome of the lawsuits, the copyrights in “Ultraman” belong to TPC.

3. U.S. Judgment
In the lawsuit in the U.S., enormous amounts of documents, materials and communications that both parties had in their possession were disclosed and analyzed over a long period of time through a procedure called “discovery,” which was not available to the parties in any of the other lawsuits.

As a result thereof, new facts and evidence, which had not become apparent in the lawsuits in each of the other countries, were revealed.In addition, depositions (testimonies conducted under oath before trial) and witness examinations of numerous witnesses from both parties and of handwriting analysis expert witnesses were conducted.

Furthermore, Mr. Sompote, who is the alleged recipient of, and the only living alleged witness to the creation of, the Document, refused to accept service of the complaint for the U.S. lawsuit without reason, and refused to appear in court as a witness.

In November 2017, a trial was held before a jury of 8 members of the community.  On November 20, 2017, the jury returned a unanimous verdict in favor of TPC on its claim that the Document was not an authentic or valid contract that had been signed and sealed by Noboru Tsuburaya.

After the jury reached its verdict, UMC filed motions to try to overturn the verdict on the grounds that it had been reached through error and was not supported by evidence.  On March 28, 2018, the district court denied UMC’s motions and maintained the jury’s verdict.

On April 18, 2018, the district court entered a Final Judgment which, consistent with the jury’s verdict, states that the Document is not an authentic agreement that was signed and sealed by Noboru Tsuburaya, and that the Document is invalid, and which prohibits UMC and its licensees from using “Ultraman.”

We believe this victory in the U.S. lawsuit solidifies TPC’s decades-long efforts to fully and finally resolve this dispute and confirm its worldwide rights in “Ultraman.”

4. TPC Comments
The above judgment recognizes TPC’s claim in its entirety.

This complete winning judgment was rendered after numerous witness testimonies and analytical opinions of handwriting analysis experts, in addition to the detailed evidentiary disclosure proceedings that lasted a long period of time and required enormous efforts. We believe that the credibility of such judgment is extremely strong. Based on this judgment, TPC intends to actively proceed with the further overseas expansion of the “Ultraman” works.

We are grateful for the continuous supports of all our customers, stakeholders, and fans of the “Ultraman” series.

-End Quote-

And so, our saga comes to an end... Finally, the first six of Tsuburaya Productions' "Ultra Series," ULTRA Q, ULTRAMAN, ULTRA SEVEN, RETURN OF ULTRAMAN, ULTRAMAN ACE, and ULTRAMAN TARO, are truly free to be distributed in North America and beyond!

So, while we might want to shout from the rooftops, perhaps we should cross our fingers, not hold our collective breath, and hope that we don't hear much from Sampote "Sands" Saengduenchai, TIGA International, or UM Corporation ever again.

TSUBURAYA SPEAKS OUT ON ILLEGAL ULTRAMAN Open Online Letter Unloads on China Knock-off!

中国で「ウルトラマン」無断利用の製作〜円谷プロが抗議声明！


Unauthorized Ultraman "licensed" via Chaiyo's ally UM Corporation.

BREAKING NEWS! BREAKING NEWS! BREAKING NEWS! BREAKING NEWS!

The following is my own translation of an open letter, published on Tsuburaya Productions' official website, from their President Shinichi O'oka, concerning the surprising news issued last week in the Chinese media, concerning the latest feature film in the on-going and popular Chinese-produced CG Animation series, "Dragon Force", now featuring Japan's greatest superhero, Ultraman. The renown character was first created and produced by Tsuburaya Productions in 1966, creating an extremely successful, long-running franchise.

In 1997, a Thai film producer and director, Sompote Saengduenchai, produced a contract stating that he owned the rights to the first six Ultraman Series, allegedly signed by the late Tsuburaya Productions CEO, Noboru Tsuburaya, who passed away - coincidentally - two years earlier. For a decade, battles were fought and won, but Sampote and his agents (including UM Corporation, Golden Media Group Inc., Tiga Entertainment Company, Ltd., and Ultraman USA) persist in breaking Thai and Japanese court decisions (read about this history, here).

Founded by the visual effects master, Eiji Tsuburaya, with financial investment from Toho Co., Ltd., Tsuburaya Productions opened for business on April 12, 1963, and today is under the umbrella of the entertainment giant, Fields Corporation, which owns a 51% share of the company, while toy mega juggernaut, Bandai, owns the remaining 49%. Starting with the company in 1969, as a camera operator, O'oka was elected President in 2008. Now, after years of silence, Tsuburaya Productions has finally spoken out publicly in this open letter posted at 8:00 pm Pacific, US Time):

About Unauthorized Chinese Ultraman Production Announcement

On July 10th, 2017, Guangzhou Bluearc Animation Studio, a Chinese corporation based out of Shanghai, China, issued an announcement for their latest production using "Ultraman Series Characters", and entitled "Dragon Force: So Long Ultraman" [Mandarin title: Gāngtiě fēilóng zhī zàijiàn àotèmàn, scheduled for release this October].

Regarding this announcement, we were completely unaware of their production, and the picture was made without our authorization or supervision. Also, use of various Ultraman characters and footage in this presentation/trailer seriously damages the Ultraman brand, so these actions should be resolutely condemned, and likewise deemed as absolutely unacceptable.

Now, vis-à-vis the handling of usage rights concerning the original Ultraman series productions ("Ultra Q", "Ultraman", "Ultra Seven", "Return of Ultraman", "Ultraman Ace" and "Ultraman Taro"), outside of Japan; these long-term disputes are still being pursued in several territories. Regardless, in each and every judgment, so far, we have been persistently declared the legitimate producers of the Ultraman series, and holders of all respective copyrights, therein.

Furthermore, all associated rights to create new productions, such as this aforementioned [Chinese] production, or any modification or adaptation of the Ultraman Series Characters, new or existing, still belongs solely to our company.

Based on the above, we intend to take decisive measures, including vigorous legal action, against the Chinese companies who willfully participated in and made this presentation trailer, and additionally, all parties involved in the production of the picture, itself.

We are deeply remorseful if this situation has been the cause of any concern and/or inconvenience; we also sincerely apologize from the bottom of our hearts to our valued clients, shareholders, and the fans of the Ultraman Series, as we look forward to your continued patronage and support. Thank you for your consideration.

July 19, 2017

Shinichi O'oka
President and Representative Director
Tsuburaya Productions

View the trailer, here, and stay tuned for more news as it develops.

RAGONE HOSTS "ULTRAMAN" 50TH ANNIVERSARY A 12-Episode Marathon Streaming on July 31st!

「ウルトラマン50周年記念マラソン」ストリーミングイベント！


Shout! Factory TV’s ad for this upcoming 50th marathon event.

Celebrate the 50th Anniversary of ULTRAMAN this Sunday! On July 31st at Noon Pacific, I'll be hosting "The Ultraman 50th Anniversary Marathon" on Shout Factory TV. I've hand-picked 12 of my favorite episodes for this live, streaming tribute for my favorite teleseries of all time. In addition to an informative intro on the series, at the top of each episode, I'll share anecdotes, factoids, on the specific stories, and a whole lot more!

This only happens once every 50 years, so be sure to watch all the Ultra action on Shout Factory TV and on Pluto TV (Channel 515) or get the Pluto TV app for tablet and TV devices (Roku, Amazon Fire, Fire TV Stick, Android, Chromecast, and Apple Airplay), mobile (iOS, Android and Amazon), and on the web via your Desktops or Laptops, Macs and PCs. And don't forget to join us in the Ultra Twitter convo with the hashtag #Ultraman — SHUWATCH!

Schedule of Episodes*
12:00 pm – Ultraman 101 with host August Ragone 
12:15 pm – Episode 01: "Ultra Operation No. 1"
12:45 pm – Episode 03: "Science Patrol, Move Out!"
01:10 pm – Episode 07: "The Blue Stone of Villarge"
01:40 pm – Episode 15: "Terror of the Cosmic Rays"
02:10 pm – Episode 16: "Science Patrol Into Space" 
02:40 pm – Episode 17: "Passport to Infinity" 
03:10 pm – Episode 25: "Cyphon, the Mysterious Comet" 
03:40 pm – Episode 27: "Monster Majesty"
04:00 pm – Episode 28: "Human Specimens 5 & 6"
04:30 pm – Episode 33: "The Forbidden Words"
05:00 pm – Episode 36: "Arashi, Don’t Shoot!" 
05:30 pm – Episode 39: "Farewell, Ultraman!"

*Times listed are Pacific time, approximate and subject to change.

"THE BIRTH OF ULTRAMAN": JULY 10, 1966 The Episode of ULTRAMAN You Never Saw!

お祝いウルトラマン前夜祭『ウルトラマン誕生』とは


The completed final draft script for the half-hour preview special.

Before the scheduled premiere of ULTRAMAN on July 17, 1966, the TBS network proposed to bump up the broadcast date of the first episode ("Ultra Operation: No. 1") a week early, since the rival Fuji Television network were debuting their own color kaiju series on July 4th: AMBASSADOR MAGMA (which would beat Tsuburaya Productions’ show to the airwaves by nearly two weeks).

Eiji Tsuburaya told TBS that there would be no way to get the first episode on-air by the 10th, since the episodes were being shot out of sequential order and ULTRA Q was set to air its final episode on July 10th. Unfortunately, since it featured nary a monster, TBS already decided to pull the final episode of ULTRA Q, "Open Up!" (eventually broadcast in rerun on December 14, 1967).

So, at the beginning of June, TBS began considering options to cover the gap and give the Tsuburaya Productions the time needed to finish the premiere episode of ULTRAMAN. Then, after meetings between the network, Tsuburaya, and the sponsor, Takeda Pharmaceuticals, it was decided to produce a live, nationwide relay broadcast on July 10th and introduce Ultraman to the Japanese public.

Tentatively titled the "Ultraman Eve Festival", TBS Producer Takashi Kakoi, director Akio Jissoji (of "Modern Leaders"-fame), and writer Yuzo Higuchi (who was in charge of production on Ultraman from the TBS side), were appointed to supervise this live television special. The producers chose Tokyo’s Suginami Public Hall to host this television event.

Through a number of brainstorming sessions, Kinjo completed a preliminary teleplay, in which the three characters from ULTRA Q would appear on stage to bid their farewells to the audience. They planned to have actor Koji Ishizaka (Ultra Q's narrator) and popular singer Judy Ong appear as hosts, with the vocal group, The Bony Jacks, as the chorus singers for the special.

Tetsuo Kinjo wrote a revised second draft from the first, entitled "Ultraman: A Children’s Jamboree". Finally, after a third draft, dropping most of the early ideas (due to scheduling conflicts), the script was completed with the final title, "The Birth of Ultraman: An Ultraman Premiere Celebration". This new version, however, was more akin to a strange, high school production.

"Doctor Monster" devises a machine to bring back the monsters from ULTRA Q. kaiju are shuttled back and forth, then revolt, and joined by creatures appearing in ULTRAMAN. Anarchy ensues and Doctor Monster calls in the Science Investigation Agency. Even Eiji Tsuburaya was on hand, sitting in the audience like everyone else, before making his on-stage appearance with the cast of the new show.

While this was something of a mess, it served its purpose. The first episode of ULTRAMAN was delivered to TBS on July 13th, only four days before the initial broadcast, so it can be said that the decision to produce "The Birth of Ultraman" was a success, promoting the start of the series and introducing the characters of ULTRAMAN to the Japanese public, and striking back at Fuji Television.

ULTRAMAN's premiere the following Sunday, was a colossal success, and 50 years later, Ultraman kith and kin are still going strong as Japan’s foremost superhero — here's to another 50 years!

Now, watch the entire kinescope-captured special (no subtitles):


(By the way, Fuji Television's Ambassador Magma was later exported and broadcast in the US as The Space Giants.)

HAPPY BIRTHDAY, EIJI TSUBURAYA! JULY 10, 1901 - JANUARY 25, 1970

お誕生日おめでとう、円谷英二様！


Eiji Tsuburaya, the Father of Ultraman was born 115 years ago!

The "Father of Japanese Special Visual Effects" was born on July 10, 1901 as Eiichi Tsumuraya in Sukagawa, Fukushima (according to the family register). As with his life, even his date of birth is steeped in legend — official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the tradition of Tanabata (meaning "Seven Evenings"), a Japanese star festival derived from the celebration of ancestors, know as Obon. Celebrated on July 7th or August 7th, Tanabata commemorates the meeting of Orihime (Vega) and Hikoboshi (Altair).

Tanabata originated from the Chinese Festival to Plead for Skills (Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with Obon traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of tanzaku paper, which were hung on bamboo trees. This tradition is still practiced today.

A Japanese claiming they were born on the Tanabata, was akin to an American saying they were born on Independence Day. So, even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the Tanabata certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).

For more on the Old Man, order your copy of "Eiji Tsuburaya: Master of Monsters" (Chronicle Books), today!

TAMASHII LAB'S SCIENCE PATROL "SUPERGUN"! Screen-Accurate Replica from Ultraman, 1966

Tamashii Labの「科学特捜隊光線銃 スーパーガン」も初お披露目！


First reveal teased by Bandai Collectors' Twitter account on July 8th.

Tamashii Nations, part of Bandai's Collectors Division, which has had great success with such adult-aimed products in the Tamashii Nations line, has launched a new division, announced at this very weekend's "Ultraman Day in the Suginami Public Hall" (where the "Ultraman is Born" premiere pre-show was held a half-century ago), under the moniker: Tamashii Lab.


Tamashii Lab's unveiling of the upcoming Science Patrol Supergun!

The first project out of their docket was unveiled at the "Ultraman Day" event, the trusty sidearm of the Science Investigation Agency, the "Supergun"! In the photos taken by fans attending the event, and Bandai Collector's Twitter account, this screen-accurate edition of the Supergun will come with two attachments seen in the series: Anti-Gravity Shell and the Balloon Marker.


Tamashii Lab's replica of the Supergun with special attachments.

With a number of garage kits and cottage industry outfits producing screen-accurate versions of the Supergun over the last few years (most out of resin, fiberglass, polystone, and even metal), and with various attachments, Tamashii Lab's over-the-counter product will most likely be the definitive (and perhaps cheaper) version. Although they'd better make the rest of the attachments, too.


Tamashii Lab's Special Attachments for their pending Supergun.

According to the freshman Tamashii Lab's website, "Based on years of advanced modeling techniques that Collectors Division has acquired, Bandai also adds its know-how to develop "most wanted items" from live action productions, exhaustively researched down to the most minute detail.


Original metal Supergun prop with all of the paint details worn off.

"And each and every time, the concepts will also change. Sometimes using the latest technology, and sometimes employing traditional methods. We aim to make products that will prove more surprising than the real thing."


Previous polystone version issued by Stealth Tanaka and A-Toys.

As of this writing, the release date for Tamashii Lab's Supergun was announced for December 2016, with the manufacturer's suggested retail price set at ¥12960 ($122 USD). This new diecast Supergun will feature sound effects of the ray emitter, as well as the cries of 40 monsters from the show, and various sound effects activated by the two PVC attachments. I'd say this is a hands-down winner!


Demo video featuring actor Susumu Kurobe who played Hayata!

CRUNCHYROLL HAS PREMIERED "ULTRAMAN ORB" 50th Anniversary Ultra Series Is Now Streaming!

新シリーズ『ウルトラマンオーブ』が日本と米国に放送スタート！


Here's the main English image art for the all-new ULTRAMAN ORB.

Crunchyroll, the mighty anime streaming service, which announced its aim to expand into more live action titles (or tokusatsu, the term for special effects productions), has already unleashed a plethora of Ultraman upon the US, Europe, and Latin America over the last two years. And on July 8th at 7:00 pm PDT, will begin simulcasting the latest series, ULTRAMAN ORB, in a tandem with the series' premiere on Japanese television for the 50th Anniversary of the franchise.


Orb's Spacium-Zephyrion form combines Ultraman & Ultraman Tiga.

Bowing on July 9th in Japan, ULTRAMAN ORB, produced by Tsuburaya Productions and broadcast on TV Tokyo, will be the first of the recent "Ultra Series" to not produced under the "Ultraman Retsuden" banner. Returning is director Kiyotaka Taguchi (Ultraman X), who promised in an Uchusen magazine interview, that the new series would return the franchise's roots and the themes of traveling a noble path, while still being a fun story. ORB is slated to run 25 episodes.


The Hurricane-Slash form combines Ultraman Jack & Ultraman Zero.

Once upon a time, the Earth was saved from total destruction when Ultraman and Ultraman Tiga sealed away a horde of demonic beasts. Since childhood, Naomi Yumeno, has sensed these terrible monsters, and as a young woman launches the SSP investigation site. When she is threatened by one of the kaiju, and is saved by Gai Kurenai, who is in reality the warrior known as Ultraman Orb! But, a mysterious, evil figure is lurking in the shadows to challenge Orb...


The Burn-Mite form combines Ultraman Taro & Ultraman Mebius.

Be sure start watching ULTRAMAN ORB tonight on Crunchyroll at 7:00 pm Pacific Daylight Time, and then join them each and every week for this special simulcast presentation of the latest in the Ultraman franchise — available worldwide (excluding Asia) — same Ultra Time, same Ultra Channel!

Check out the official Ultraman Orb wesbite (Japanese only), here.

CELEBRATING A HALF CENTURY OF "ULTRAMAN"! "Junior TBS News Extra" Newsletter, June 1966

お祝い『ウルトラマン』放送50周年記念

Tokyo Broadcasting System's supplement on the July 17th premiere!

HAPPY BIRTHDAY, SATOSHI "ULTRAMAN" FURUYA! JULY 5, 1943

お誕生日おめでとう、古谷敏！ウルトラマンとアマギ隊員よ永遠に！


At a fit 73, Satoshi "Bin" Furuya still has the right "Ultra Stuff"!

On the eve of the 50th Anniversary of the seminal ULTRAMAN series, read more about the man who played the red and silver hero from the stars, here! This July 15th-17th, Mr. Furuya will be appearing at G-Fest XXIII in Chicago, along with his co-star Hiroko Sakurai, who played Akiko Fuji. If you're a fan, its your duty to come by and wish Mr. Ultraman a very happy ultra birthday!

Read about my thoughts on Mr. Furuya, here.

"ULTRAMAN" TURNS 50 THIS MONTH: JULY 2016! From "Weekly TV Guide" #199, June 24, 1966

お祝い『ウルトラマン』放送50周年記念


"TV Guide" full-page color preview (Tokyo News Service, Ltd.).

Bowing on Japan's TBS television network on July 17, 1966, Tsuburaya Productions' ULTRAMAN was not only an instant and colossal success at home, but also abroad, as it was syndicated to North America and Latin American countries through United Artists Television. Creating generations of fans across the globe, with new incarnations appearing on television and cinema screens, as well as the originals, thrilling both old and new, alike.

As a five year old, I was captivated by those daily doses of ultra kaiju action which flooded into my living room every weekday, and left an permanent mark upon my young psyche. A malady from which I never recovered. Despite vanishing from local airwaves, this wondrous sci-fi action series remained in my mind. In those days, there was little or no merchandise to be found in the US, until a fateful school field trip to San Francisco's Japantown changed everything.

Toys, books, magazines, records, and more were laid before me in now-defunct shops such as Goshado, Nichibei Bussan, and Mikado. Not only was there an entire Ultra Family, an entirely new world superheroes and monsters flooded into my consciousness, and so my fate was sealed. It was not long afterwards that ULTRAMAN returned to Northern California television, and this time, we would not be separated ever again.

While I live and breathe the vast pantheon of Japanese superheroes and kaiju, both great and small, my favorite series and my eternally favorite savior from the stars will always be the original Ultraman — protector of the world! In honor of this anniversary,  I will be posting a number of Ultraman-related pieces all month, so happy anniversary to ULTRAMAN, one of the greatest television series of all time! And remember, it's all your fault (just kidding).

You can stream all 39 episodes of the original, uncut ULTRAMAN, with English Subtitles, for free at Shout Factory TV!

ACE OF SPACE! "ULTRAMAN ACE" BLU-RAY BOX Standard & Editions Dropping September 27th!

待望の『ウルトラマンA』がBLU-RAY BOXとなって登場します！


Jacket design for the latest HD 2.0 Remaster of the Ultra Series!

On September 27th, Tsuburaya Productions and Bandai Visual will be issuing the latest in their "HD Remaster 2.0" roster with ULTRAMAN ACE (1972) for the Japanese market in two editions. ULTRAMAN ACE was the fifth in the long running "Ultra Series", starting in 1966 with ULTRA Q, and the fourth featuring a titular "Ultraman" character.


Slipcase for the Blu-ray box of the 5th Ultra Series from 1972!

"Under the slogan, 'The Ultra Bottom Line: All-Out War', ULTRAMAN ACE made revolutionary turns, with Seiji Hokuto (Keiji Takamine) and Yuko Minami (Mitsuko Hoshi) merging into a singular Ultra Hero, the solidarity of the 'Ultra Brothers', and a powerful leader in the 'Father of Ultra', creating a show with great appeal."


Ultra Rings included with Special Edition (actual product may differ).

ULTRAMAN ACE is an exciting series that captures the transition from the classic giant monster scenario into the "Henshin Heroes" boom, exemplified by Kamen Rider. Showcasing bizarre creatures, colorful action, as well as a man and a woman forming a singular superhero, ULTRAMAN ACE is among the best of the '70s Ultra Series!

STANDARD EDITION
52 half-hour episodes/1319 minutes
9 Discs (All Region)/Linear PCM (Stereo/Mono)
AVC/BD50G/1080p HD/4:3
Subtitles: Japanese
MSRP ¥29800 ($273.70 USD)

SPECIAL EDITION: Amazon Japan Exclusive (First Printing)
52 half-hour episodes/1319 minutes + 60 min. (Bonus Disc)
10 Discs (All Region)/Linear PCM (Stereo/Mono)
AVC/BD50G/1080p HD/4:3
Subtitles: Japanese
Bonus Disc (Staff & Cast interviews, etc.)
Replica "Ultra Rings" pair set
Special 78-page Booklet
MSRP ¥49800 ($457.38 USD)

"ULTRAMAN GAIA" UNLEASHED UPON EARTH! Full Series Now Streaming from Crunchyroll

後に『ウルトラマンガイア』は世界中のストリーミング！


Finally, ULTRAMAN GAIA is now available streaming worldwide!

Yesterday, when I broke the news about Crunchyroll's latest addition to their streaming service of on-going "Ultra Series" titles, ULTRAMAN NEXUS (2004), I stated a wish that there would be more coming soon, including one of my all-time favorites in the 1990s run, ULTRAMAN GAIA (1998). Today, the folks at Crunchyroll, gave me the heads up that the complete series of ULTRAMAN GAIA begins streaming today at 5:00 pm (Pacific) — and it's about damned time!


Star Takeshi Yoshioka, visiting the US in 2011 (photo: David Chapple).

Premiering on September 5, 1998, ULTRAMAN GAIA followed the success of ULTRAMAN TIGA (1996) and ULTRAMAN DYNA (1997), but broke from its predecessors' continuity to exist in a universe all its own, and a far more complex storyline, with multiple character and plot arcs that intersect beautifully, dovetailing into an incredible climax. The series is also a bit extra special for me, because I spent a lot of time on the set over the course of a month during the fall of 1998. But, even though I'm biased, it's still a great series.


With actors Maria Theresa Gow (left) and Ai Hashimoto (right).

At the end of the 20th Century, a network of young geniuses known as the Alchemy Stars, develop a supercomputer, CRISIS, predicting that mankind will be annihilated by an "entity of radical destruction". An international concern employs these young men to create cutting edge technology and weaponry for G.U.A.R.D. (Geocentric Universal Alliance against Radical Destruction), a secret worldwide defense network, and their tactical response organization, X.I.G. (eXpanded Interceptive Guardians).


With Brad Warner (right), Tsuburaya's International Sales director.

Several years later, during a quantum physics experiment, Gamu Takayama, a former member of the Alchemy Stars, bonds with the mysterious light of "Ultraman Gaia" in order to stop the oncoming threat to all life on our planet. But, not long after this momentous battle begins, he encounters another mysterious giant, "Ultraman Agul", who believes that protecting the Earth doesn't necessarily mean protecting mankind...

ULTRAMAN GAIA also features fantastic monster designs by Hiroshi Maruyama, a great score by Toshihiko Sahashi, and solid writing by Chiaki Konaka. So, what are you waiting for? You've got 51 episodes to catch up with — get a move on!

"ULTRAMAN NEXUS" DEBUTS 'ROUND THE GLOBE Crunchyroll Streams a Different Ultraman Show

今『ウルトラマンネクサス』は世界中のストリーミング！


Prepare for a completely different kind of Ultraman series!

Back in December, the anime streaming service, Crunchyroll, stated that their simulcast of Tsuburaya Productions' ULTRAMAN X (2015) was so successful, that they would be adding the 2004 series, ULTRAMAN NEXUS to their on-going Ultra Series line-up (Ultraman Leo, Ultraman 80, Ultraman Max, and Ultraman Mebius) — all licensed directly from Tsuburaya and available worldwide, excluding Asia. These are all presented in the original Japanese with Subtitles available in several languages, including English.

Debuting over the Chubu-Nippon Broadcasting network on October 2, 2004, ULTRAMAN NEXUS was conceived and produced as a darker, adult-oriented science fiction drama, opposed to previous entires, which were more positive or child-oriented. Unfortunately, NEXUS was placed in an early morning timeslot, instead of prime time, and on account of poor ratings, was cut to 37 episodes from the original plan of 50. Home Video releases boasted an all-new "Episode EX" as well as an Director's Cut of Episode 29, each running 45 minutes.

From Crunchyroll's press release: Kazuki Komon, a failed Rescue Squad member, gets recruited by the Terrestrial Liberation Trust (TLT) to join the Night Raiders, a top classified special task force assembled by the TLT to protect Earth from space monsters. After undergoing stringent training, Kazuki gets paired with the cool Night Raider sub-captain Nagi Saijo for active duty — just in time for an insidious invasion of Earth, and the appearance of a "giant of light", whose mission is to protect humanity.

So, if you're looking for something truly different in the Ultra Series, or just like sci-fi series such as Dark Matter, you just might dig the story-and-character-arc-driven plot of ULTRAMAN NEXUS. And let's hope that Crunchyroll continues to bring us more Ultraman goodness in the near future, because there's still some really great stuff to be shared with the world, such as ULTRAMAN GAIA!

All 37 episodes of ULTRAMAN NEXUS launches via Crunchyroll on February 10, 2016 at 5:00 pm (Pacific Standard Time)!

WHIMSICAL RENDERINGS OF ULTRAMAN'S KAIJU A Selection of Kim Hu's Pop Ultra Kaiju Studies

気まぐれなイラストで『ウルトラマン』の怪獣たち。


Bemler, the Space Monster from Episode 1.


Baltan, the Space Ninja from Episode 2.


Redking, the Skull Monster from Episode 8.


Dodongo, the Mummy Monster from Episode 12.


Hidrah, the Highland Dragon from Episode 20.


Jamila, the Mutant Monster from Episode 22.


Woo, the Legendary Monster from Episode 30.

These wonderful pieces, only a fraction of his killer kaiju gallery, were created by Kim Hu — a self-described "Artist. Illustrator. Toy designer. Toycollector" — as part of his Inktober 2015 a-kaiju-a-day challenge. The Tokyo resident, and his fantastic kaiju illustrations, can be found on Instagram or follow him on Facebook.

THE MAN WHO CONTINUES TO DRAW RAY BEAMS The First Book on Optical Animator Sadao Iizuka

光線を描き続けてきた男 飯塚定雄


"Treasured Photobook" follow-up featuring animator Sadao Iizuka.

In the monstrous footsteps of Yonsensha Publishing's previous heavily-illustrated "Treasured Photobooks" on important figures of the golden age of Japanese visual effects films at Toho Studios (monster suit actor Haruo "Mr. Godzilla" Nakajima, visual effects director, Koichi Kawakita, and monster-maker Keizo Murase), comes this biography, focusing on legendary optical animator Sadao Iizuka.

In 1954, while still in high school, IIzuka was studying art under Seiji Tojo at the Nikaikai Institute of Art, when he started a part time job at Toho Studios. Chief of the Special Technical Department, Eiji Tsuburaya, put Iizuka to work in his Art Department, where the young artist worked on GODZILLA (1954), GODZILLA RAIDS AGAIN (1955), MADAME WHITESNAKE (1956), and RODAN (1956), among others.

Noticing Iizuka's artistic abilities, Tsuburaya transferred him to the optical animation department in 1957, with his first job being the ray-filled orgy, THE MYSTERIANS. His talents were seen in such films as VARAN (1958), BATTLE IN OUTER SPACE (1959), SECRET OF THE TELEGIAN (1960), MOTHRA (1961), THE LAST WAR (1961), GORATH (1962), KING KONG VS. GODZILLA (1962), MOTHRA VS. GODZILLA, DOGORA, and GHIDRAH (all in 1964), and even Daiei's GAMERA (1965).

Iizuka was not only responsible for the rays emitted by the Maser Cannons in THE WAR OF THE GARGANTUAS (1966), but he also went on to creating the optical animation for ULTRA Q and ULTRAMAN, the same year, not to mention ULTRA SEVEN (1967). And after leaving Toho, he formed Den Film Effects with his other student, Minoru Nakano, and they worked on MESSAGE FROM SPACE (1978), the latter Heisei Godzilla films, and the recent, ULTRAMAN X (2015).

From the book's obi (paper band): "Godzilla's radioactive heat ray, King Ghidorah's gravity rays, Ultraman's Spacium Beam and Shredding Halo! These cool ray beam techniques are absolutely essential to Japanese visual effects! For more than 60 years, Sadao Iizuka continues to emit beams of light as one of the true heroes of the visual effects industry!"

This all-new, illustrated book, clocking in at a whopping 303 pages, was compiled by Iizuka and his protégé Hajime Matsumoto (Zeiram, Heisei Godzilla series, et. al.), featuring an interview (in Japanese) between master and disciple, and includes a foreword by Hideaki Anno and Shinji Higuchi (currently making the upcoming Godzilla Resurgence). Together, they illustrate the "Iizuka Method", and his indelible impact on anime and visual effects creators.

If you've ever been fascinated by the myriad of beam weapons and deadly rays in the Japanese fantasy film — this publication comes highly recommended, despite the language barrier for non-Japanese readers, with is wealth of incredible llustrations and production stills. This one now sits proudly among the best books in my own reference library.

Click on the link below to order from Amazon Japan:
SADAO IIZUKA: THE MAN WHO CONTINUES TO DRAW RAY BEAMS
Format: 8.2 x 5.9 inches
ISBN-10: 4800308518
ISBN-13: 978-4800308511
Release Date: January 8, 2016
MSRP: ¥2916 ($24.86 USD)

BILLIKEN REAL MODEL KIT SERIES: "JIRASS" ULTRAMAN's Moonlighting Godzilla in Soft Vinyl!

リアルモデルキットシリーズ新作、ジラースを発売いたします。


Billiken's first Real Model Kit addition in two years: Jirass!

For more than three decades, the world famous vinyl kit maker, and vintage toy shop, Billiken Shokai, has produced an endless number of high-end figures, tin toys, and affordable vinyl kits, including a huge parade of monsters — both east and west — ranging from Beulah (It Conquered the World) to Lon Chaney's Erik (Phantom of the Opera). Not to mention a swarm of Godzillas and an army of creatures from Toho's kaiju eiga and the Ultraman pantheon.


A face only a mother... Incredible attention to detail, in vinyl!

Jirass is the latest in Billiken's long-running and highly-lauded "Real Model Kit" series, sculpted by master Kiyotaka Sugo. While Billiken's founder, Hayao Hama is renown as an incredible sculptor (handling most the Ultra characters, for example), every iteration of Godzilla he's produced has been a collaboration between them, with Sugo flying solo on such kits as Mechani Kong (King Kong Escapes) and Baragon (Frankenstein Conquers the World).


Does this beast from Episode 10 of ULTRAMAN (1966) look familiar?

So, who is this frilled, man-made dinosaur, anyhow? Jirass, while not described in the original teleplay, is a prehistoric monster created by a mad scientist ('natch), the design was inspired by the frilled lizard, Chlamydosaurus. With people joking, "Who would win: Godzilla or Ultraman?", Executive producer Eiji Tsuburaya, ordered his staff to redress one of the Big G's monster suits. But, it wasn't a simple case of merely sticking new parts any old Godzilla laying around.


A hybrid Godzilla suit, created for a display, would become Jirass...

May 1966, a kaiju event was staged at a department store in Tokyo's Ueno Ward, and a Godzilla was needed for a display. Tsuburaya had his team rescue the suit repurposed for Gomess (seen in the first episode of Ultra Q), last employed in GHIDRAH, THE THREE-HEADED MONSTER (originally created for Mothra vs. Godzilla), and restore it. The head was swapped out with the one built for MONSTER ZERO, and modified. When the episode went into production, they added a giant frill, bright colorways, and... Voilà!


Here's the formidable, frilled, man-made dinosaur... Jirass!

In the episode, "Mystery of the Dinosaur Base" (teleplay by Tetsuo Kinjo and directed by Kazuho Mitsuta), Kinjo's scenario does not outline the details of the fight scenes, which were left up to effects director Koichi Takano, and actors Satoshi "Bin" Furuya (Ultraman) and Haruo Nakajima (Jirass). It was then decided to have the silver and red superhero rip the frill from the monster's neck, allowing for a brief — and "unauthorized" — "Godzilla vs. Ultraman" sequence.


Left quarter view of the prototype pull of Billiken's Jirass.

Over the years, Jirass has gone on to become one of the most iconic of the Ultra Monsters, and a number of great garage kits and over-the-counter toys have been made in his likeness from companies such as Falchion, X-Plus, Fewture, Yamanaya, Bandai, and Bullmark. While I stand partial to the dynamic pose of the 25cm version from X-Plus, I believe the Billiken is going to be the beast to beat, towering over 30cm (12") — although it comes unpainted.


Rear right quarter view of the prototype pull of Billiken's Jirass.

The "Billiken Real Model Kit Series: Jirass" will available for pre-sale to those attending Super Festival 69 in Tokyo on Sunday, September 27th. In-store pre-orders will also be taken that same day, at Billiken Shokai, located in Tokyo's Minato Ward. Over-the-counter sales will be open at Billiken Shokai on Tuesday, September 29th, commencing at Noon (Japan Time). Unassembled and unpainted, and molded in "Billiken Godzilla Blue" vinyl, Jirass retails for ¥6500 ($54.00 USD). The color sample in the top image was painted by Kazuhiko Uchida.

Can't wait to get my hands on one!

LEGENDARY MONSTER MAKER: KEIZO MURASE All-New Photobook On His Monstrous Career!

新発売！洋泉社の「怪獣秘蔵写真集 造形師 村瀬継蔵」


Cover for this must-own photobook on classic Japanese monsters!

One of the most prolific publishing houses of genre subjects in Japan today, Yonsensha, has formally announced the impending release of their third, monstrous "Treasured Photobook" related to great figures who worked during the golden age of Japanese visual effects films at Toho Studios. Previous volumes featured the living legend, monster suit actor Haruo "Mr. Godzilla" Nakajima, and the late visual effects director, Koichi Kawakita.

Now, while starting out as an upstart in the late 1950s, working in the fabrication department under visual effects wizard, Eiji Tsuburaya, Keizo Murase's legacy started as a part-timer at Toho, with his prolific career exceeding beyond his work for the great Tsuburaya, and which continues even today. As with the previous volumes, this is a photo-filled book, with page-after-page of photographs, but very minimal text (not counting a lengthy interview with the monster maker), most taken by Murase himself.

Here's the hyperbole from the book's obi (paper book band):

"King Kong and Godzilla Armatures, a Blue King Ghidorah, and the Inside Baragon's Head. Never-Before-Published Photographs Have Been Collected for This Wondrous Monster Photobook."

"An assistant fabricator at Toho who helped create Mothra, King Kong, King Ghidorah, Baragon, etc. Sculptor Keizo Murase eye-witnessed the very moment of many monsters were born. As a camera hobbyist during his youth, the tremendous amount of photographs Murase personally captured of the monster-making process are revealed for the very first time. A breakthrough discovery that turns the history of fabrication onto its head!!"

"Matango, Titanosaurus, Takora, Greenman. Gyaos, Viras, Daimajin. Booska, Belocron, Vaxim, Yongary to the Mighty Peking Man... They're all here in this shocking photo collection!!"

"Plus, Keizo Murase's life as a fabricator is documented in an exclusive 16,000-character interview!"

While that sums up no further need for details, this publication is likely to exceed the roughly 400 pages for the previous volumes on Nakajima and the late Kawakita, since the MSRP is just over ¥1,000 ($8.31) higher than the latter. Hitting Japanese bookshelves this September 9th, "Treasured Kaiju Photobook: Keizo Murase, Monster-Maker", was supervised by modern kaiju-builder, Shinichi Wakasa (Godzilla 2000), and famed collector and toy-maker, Yuji Nishimura (the founder of M-Ichigo).

It goes without saying that this is a must-own, even if you don't read Japanese, because based on the previous volumes, "Keizo Murase, Monster-Maker", should measure up to over 95% photos versus text — and will surely be the book hardcore fans will be talking about for years to come. I mean, aren't your curious why the original King Ghidorah was blue and not gold?

Click on the link below to pre-order:
TREASURED KAIJU PHOTOBOOK: KEIZO MURASE, MONSTER-MAKER
Format: 8.2 x 5.9 inches
ISBN-10: 4800307562
ISBN-13: 978-4800307569
Release Date: September 9, 2015
MSRP: ¥5184 ($43.10 USD)

Special thanks to Shinichi Wakasa and Yasushi Shiroi for info, and a big shout-out to Takao Yoshiba for providing the cover image.

HAPPY BIRTHDAY, EIJI TSUBURAYA! JULY 10, 1901 - JANUARY 25, 1970

お誕生日おめでとう、円谷英二様！


Goofing around on the set of FRANKENSTEIN VS. BARAGON (1965).

The “Father of Japanese Special Visual Effects” was born on July 10, 1901 as Eiichi Tsuburaya in the town of Sukagawa, Fukushima. As with his life, even his date of birth is steeped in legend — official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the celebration of Tanabata (meaning “Seven Evenings”), a Japanese star festival derived from Obon (a celebration of ancestors). Tanabata is usually celebrated on July 7th or August 7th, to commemorate the meeting of Orihime (Vega) and Hikoboshi (Altair).

Tanabata originated from the Chinese Festival to Plead for Skills (Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with Obon traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of tanzaku paper, which were hung on bamboo trees. This tradition is still practiced today in Japan.

Even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the Tanabata certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).

Order your copy of "Eiji Tsuburaya: Master of Monsters" (Chronicle Books), today!

HAPPY BIRTHDAY, SATOSHI "BIN" FURUYA! JULY 5, 1943

お誕生日おめでとう、古谷敏！ウルトラマンとアマギ隊員よ永遠に！


Alas, poor Ultraman! I knew him, Officer Amagi...

At the age of five or six, ULTRAMAN came into my life through our living room television set, my life would never be the same. While I loved dinosaurs, monsters, the space age, and having already met Godzilla kith and kin, it was the weekday broadcasts of the silver and red superhero, which drove me to obsess over science fiction and fantasy films and teleseries from the land of the rising monsters.

And the actor who brought this savior from the stars to life was Satoshi "Bin" Furuya.

Born in Tokyo's upscale Azabu Ward (now a part of the Minato Ward), Furuya was picked as one of Toho Studio's 15th Annual "New Faces" (along with his ULTRAMAN co-star Masanari Nihei), after graduating from Toho's Acting School in 1960. Cast in several small or background parts, in films such as Ishiro Honda's MOTHRA (1961), he garnered his first screen credit (as "Ken") in the Jun Fukuda crime thriller, THE HOWLING JAILBREAKERS (1962).

After appearing in a number of kaiju eiga (such as GHIDRAH), Furuya's towering stature and physical proportions didn't go unnoticed by Eiji Tsuburaya, who thought the tall thesp would be a wonderful monster suit actor for the series ULTRA Q (1966). Furuya resisted, at first, but who could refuse working for Japan's visual effects wizard? He soon found himself under the wing of Haruo Nakajima, Godzilla himself. After ULTRA Q, Eiji thought that Furuya would be the perfect choice to portray the titular character of his next series: ULTRAMAN.

And the rest, as they say, is history — Furuya was the first and the best Ultraman. Shortly after the conclusion of the series, all of the young actor's efforts and suffering beneath the suffocating suit, was rewarded by Tsuburaya Productions for their next series. This time, featured — sans masks — in the main cast of ULTRA SEVEN (1967) as "Officer Amagi" of the Ultra Guard; a character who has endeared himself to a generation of Japanese fans to this very day.

But, to me, he will always be the one and only Ultraman!