Skip to main content

When Godzilla Speaks

  • Chapter
  • 266 Accesses

Abstract

In 1956, Clifford Simak, an American science fiction writer, published Strangers in the Universe, a collection of short stories that included the piece “Shadow Show.” The story describes a group of scientists who have been sent to a lonely asteroid and commissioned with the task of creating life, specifically sentient human life that could take alien form, thus allowing humans to populate inhospitable planets throughout the universe. To keep the scientists amused and also psychologically sound, an entertainment known as the Play has been created for them in which they can mentally project images of made-up characters onto a screen and have them interact with the mental projections of the other scientists. The characters projected by the scientists are a varied group, ranging from the grotesque—such as the “Alien Monster”—to the comic, the so-called Out at Elbows Philosopher. In the story’s surprise denouement the scientists realize that they have indeed succeeded in creating life, not through their experiments but through the machine that enables the Play. In a shocking reversal, the characters declare independence from their creators and begin to speak and act for themselves, coming down from the screen and appearing on the stage. At the end of “Shadow Show,” Bayard Lodge, the story’s protagonist, walks down the auditorium to meet his projected persona, the “Rustic Slicker.”

This is a preview of subscription content, log in via an institution.

Buying options

Chapter
USD   29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD   39.99
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD   54.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD   54.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Learn about institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. Clifford Simak, Strangers in the Universe ( New York: Simon & Schuster, 1956 ), p. 45.

    Google Scholar 

  2. Oscar Wilde, quoted in Frank Nute, Frank Lloyd Wright and japan ( London: Routledge, 2000 ), p. 100.

    Google Scholar 

  3. Roland Barthes, Empire of Signs (New York: Hill & Wang, 1982), p. 9.

    Google Scholar 

  4. Lafcadio Hearn, Glimpses of Unfamiliar Japan ( Rutland, VT: Charles E. Tuttle, 1976 ), p. 7.

    Google Scholar 

  5. See Susan Napier, “Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira,” in Contemporary Japan and Popular Culture, ed. John Treat ( Honolulu: University of Hawai’i Press, 1996 ), pp. 235–262.

    Google Scholar 

  6. John Treat, Writing Ground Zero: Japanese Literature and the Atomic Bomb ( Chicago: University of Chicago Press, 1995 ).

    Google Scholar 

  7. Dave Barry, Dave Barry Does Japan ( New York: Random House, 1992 ), p. 7.

    Google Scholar 

  8. Takayuki Tatsumi, “Waiting for Godzilla: Chaotic Negotiations between PostOrientalism and Hyper-Occidentalism,” in Transactions, Transgressions, Transformations: American Culture in Western Europe and Japan, ed. Heide Fehrenbach and Uta G. Poiger ( New York: Berghahn Books, 2000 ), p. 228.

    Google Scholar 

  9. Bill Powell, “Don’t Write Off Japan,” Newsweek 919 (1992), p. 48.

    Google Scholar 

  10. Douglas McGray, “Japan’s Gross National Cool,” Foreign Policy (May/June 2002), p. 46.

    Google Scholar 

  11. Ken Belson and Brian Bremner, Hello Kitty: The Remarkable Story of Sanrio and the Billion Dollar Phenomenon ( Singapore: John Wiley & Sons, Asia, 2004 ), p. 5.

    Google Scholar 

  12. See, for example, Giuliana Bruno, “Ramble City: Postmodernism and Blade Runner” in Alien Zone, ed. Annette Kuhn ( London: Verso, 1990 ), pp. 183–195.

    Google Scholar 

  13. Christine Yano, “Panic Attacks: Anti-Pokémon Voices in Global Markets,” in Pikachu’s Global Adventure: The Rise and Fall of Pokémon, ed. Joseph Tobin (Durham, NC: Duke University Press, 2004 ), p. 113.

    Google Scholar 

  14. Susan Pointon, “Transcultural Orgasm as Apocalypse: Urotsukidoji: The Legend of the Overfiend,” Wide Angle 19: 3 (1997), p. 45.

    Article  Google Scholar 

  15. Alan Cholodenko, “Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla and Baudrillard,” in Baudrillard West of the Dateline, ed. Victoria Grace, Heather Worth, and Laurence Simmons ( Palmerston North, New Zealand: Overmore Press, 2003 ), p. 239.

    Google Scholar 

  16. Jean Baudrillard, The Evil Demon of Images, trans. Paul Patton and Paul Foss (Sydney, Australia: The Power Institute of Fine Arts, 1987 ), p. 15.

    Google Scholar 

Download references

Authors

Editor information

Editors and Affiliations

Copyright information

© 2006 William M. Tsutsui and Michiko Ito

About this chapter

Cite this chapter

Napier, S. (2006). When Godzilla Speaks. In: Tsutsui, W.M., Ito, M. (eds) In Godzilla’s® Footsteps. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403984401_2

Download citation

Publish with us

Policies and ethics