How do you bridge the gap between Godzilla as a force of terror and as a cool guy who fights other monsters? The American 2014 film tried to split the difference between metaphorical horror and “let them fight” fun before turning completely silly in its sequels. The last two JapaneseGodzilla films (Shin Godzilla and Godzilla Minus One) were stand-alone reboots that stripped the King of the Monsters down to his scary roots without another kaiju in sight. Then Minus One became an Oscar-winning global blockbuster, and writer/director/VFX genius Takashi Yamazaki pretty much had to make a sequel — and that means scaling up with another kaiju. How do you deliver the beatdowns fans want while still maintaining consistency with the dark historical drama of Minus One?

Godzilla Minus Zero‘s answer is to make its monster vs. monster fight the scariest you’ve ever seen. As everyone’s correctly guessed by now, King Ghidorah is the big new threat attacking Japan in 1949. Ghidorah’s a different beast in each Godzilla continuity, so I won’t say much about his portrayal here to avoid spoilers, but I’ll say this: we see a lot more of him this time around than we do Go dzilla, and he looks fantastic; Yamazaki’s special effects have leveled up beyond his already striking accomplishments in the first one. I’ll also note something from the press conference that followed the screening: when one critic offered his interpretation of what Ghidorah might be a metaphor for, Yamazaki said he welcomed all interpretations so long as he made the viewer feel a sense of powerlessness. Well, Yamazaki-san, you did your job.

The film’s surprising R rating is earned — though the violence is not excessively graphic, it refuses to sugarcoat the brutality inflicted on civilians in war. One of the new major characters, scientist Kanji Murakami (Min Tanaka), is a survivor of the Hiroshima bombing; we see flashbacks of him discovering his family’s burned bodies and even more PTSD-driven dark thoughts entering his head. Another flashback to the aftermath of Godzilla’s Ginza rampage in Minus One, answering the question of how Noriko (Minami Hamabe) managed to survive that attack in the first place, plays similarly to the Hiroshima scenes. You couldn’t edit this material down to a PG-13, and you wouldn’t want to. This very concern with the consequences of violence, however, might actually make it good for teenagers to see, a moral antidote to the wanton destruction of so many bloodless blockbusters.

If Godzilla Minus Zero has one big weakness in comparison to its predecessor, it’s that it’s so structurally tied into said predecessor that it won’t work nearly as well as its own story. The sequel has some good character development and powerful emotional moments, but it also doesn’t have an arc with the same easy hook as Koichi Shikishima (Ryūnosuke Kamiki) overcoming his kamikaze survivor’s guilt in Minus One. Beyond the spectacular kaiju attacks and the visceral war-horror elements, one’s attachment to the human characters here is more dependent on the attachments already established in the last movie, along with the general historical context that informs its depiction of post-war Japan.

While having fun with pulpier sci-fi plot elements and the inherent excitement that comes with Godzilla (that classic Godzilla theme still hypes one up), Minus Zero ends up being a darker movie than Minus One. Its mission is less one of heroic redemption and more entangled with complications. If Minus One was Star Wars, Minus Zero is The Empire Strikes Back. I don’t know if there will be a Return of the Jedi or if we’re left with a beautifully bleak duology. Of course I want to see more, but if Yamazaki wishes to end it here, he’s still left this series on a strong note. You can’t trust that the world will remain saved, but maybe you can still protect yourself and your family.

Original series based on card game ended in April 2025

The November issue of Kadokawa‘s Monthly Shōnen Ace magazine announced on Saturday Katsura Ise and Takuma Yokota will launch a new miniseries for their Destroy All Humans. They Can’t Be Regenerated. A Magic: The Gathering Manga (Subete no Jinrui o Hakai suru. Sorera wa Saisei Dekinai.) manga, based on the Magic: The Gathering trading card game, beginning in the December issue on October 26. The series will be titled Subete no Jinrui o Hakai suru. Sorera wa Saisei Dekinai. -Timeshift- (Destroy All Humans. They Can’t Be Regenerated. -Timeshift-).

Ise confirmed on X (formerly Twitter) the new manga will be a short limited series that will run for four chapters irregularly in the magazine.

Viz Media releases the main manga in English and describes the story:

Travel back in time to the early days of Magic: The Gathering!

It’s the nineties at Tokiwagi Middle School. And for gamers like Hajime Kano, after the release of Magic: The Gathering, nothing will ever be the same again!

In everything he does, it seems like geeky Tokiwagi Middle School student Hajime Kano comes in second place behind popular honor student Emi Sawatari. But when Hajime takes a trip to a new game store he’s been hearing about, their rivalry takes an unexpected turn. Welcome to the early years of Magic: The Gathering, whena trading card game shaped a generation forever!

The manga first debuted as a one-shot in Monthly Shōnen Ace in August 2018. The manga started its serialization in the magazine in November 2018. Wizards of the Coast LLC. is credited with cooperation. The manga ended serialization in April 2025, and Kadokawa shipped the 18th and final volume in June 2025.

Sources: Monthly Shōnen Ace November issue, Katsura Ise‘s X/Twitter account

---

Disclosure: Kadokawa World Entertainment (KWE), a wholly owned subsidiary of Kadokawa Corporation, is the majority owner of Anime News Network, LLC. One or more of the companies mentioned in this article are part of the Kadokawa Group of Companies.

Side story debuted in January

Akaza Samamiya announced on X (formerly Twitter) on Saturday the Mr. Mallow Blue: After The Rain side story to the Mr. Mallow Blue manga will end in the next chapter.

The original series focuses on the meetings of various social outcasts, including a fragile girl, a shut-in, and a handsome man who wears a cold expression as a mask.

Samamiya launched the side story in the March issue of Kadokawa‘s Asuka magazine, which shipped in January.

Samamiya launched the main manga in Kadokawa‘s Asuka magazine in November 2019, and ended the series with the the sixth and final compiled book volume on December 24.

Samamiya launched the Ballad x Opera manga in Asuka in May 2017, and ended it in September 2019. Kadokawa published the manga’s fifth and final volume in November 2019.

Samamiya serialized the Bloody Mary manga series in Asuka from November 2013 until February 2017. Kadokawa published 10 volumes for the manga, and Viz Media published all 10 volumes in English.

Source: Akaza Samamiya‘s X/Twitter account

---

Disclosure: Kadokawa World Entertainment (KWE), a wholly owned subsidiary of Kadokawa Corporation, is the majority owner of Anime News Network, LLC. One or more of the companies mentioned in this article are part of the Kadokawa Group of Companies.