When people hear “Godzilla model,” many might imagine a three-dimensional replica of the figure exactly as seen in the movies. It has the dorsal fins, it has the massive body, and that silhouette everyone knows is right there. However, “Godzilla Re:Imagination 'Godzilla (1954)' ARTPLA SCULPTURE WORKS” approaches us from a slightly different direction. There is something that cannot be fully explained by the words “we replicated Godzilla.” Even before opening the box, you get the feeling that “this might not be the task of assembling a movie character.” This is because what this work aims for is neither the replication of a suit nor the replication of CG. What would happen if an ancient gigantic creature suddenly appeared in a modern city? An atmosphere as if seriously shaping that imagination drifts about. Its post-completion figure gives a sensation closer to “a gigantic creature encountered for the first time” rather than “the familiar Godzilla.”

What is extremely interesting about this sculpt is that, while taking the promotional still photograph from the 1945 release of “Godzilla” as a starting point, it reconstructs the essences of Godzilla accumulated over 70 years. Normally, hearing “faithful replication of the first-generation Godzilla” would seem sufficiently charming in itself. However, it does not end as a mere restoration task here. Through the idea of “what if a gigantic creature actually existed in reality,” it feels as though they are recreating the very existence of Godzilla anew. It makes complete sense that Mr. Shinobu Matsumura, who sculpted the prototype, is a leading figure in natural history and biological sculpting. Gazing at the body lines, the flow of the muscles, and the texture of the surface, there are moments when you feel as if you are looking at an unknown biological specimen rather than a kaiju. Even though it is terrifying, you somehow cannot take your eyes off it. It is close to an instinctive sensation, just like when facing a massive creature in front of you at a zoo.

What personally attracted me particularly is the presentation of the base section, not just the Godzilla body itself. Just having a massive kaiju standing is sufficiently impactful. However, in this kit, the collapsed Nichigeki Building and the Japanese National Railways elevated tracks are placed at its feet, and furthermore, by adding a pose where it holds a train in its mouth and clutches it in its grasp, an event that should have been a single flash suddenly transforms into a story. As you look at it, sounds automatically begin to play in your head: “the sound of steel frames creaking,” “alarms echoing in the distance,” “the footsteps of people fleeing in confusion.” Despite it being a static model, you find yourself imagining even the time before and after that moment. Rather than just displaying a kaiju, a sensation of cutting out and owning a snippet from the middle of a certain scene is born.

With sculpting details this fine, some people might feel, “It looks tough to assemble.” Certainly, the body surface details possess an immense amount of information, and the parts look complex. However, ingenuity has been applied to the structure, and because a method of pasting exterior parts onto the base body is adopted, it is interesting that robustness after completion is also secured. Moreover, since the precision between parts is high and the design makes dividing lines inconspicuous, it becomes closer to a sensation of “building the skin and skeleton of a gigantic creature” rather than a sensation of “combining parts.” The process of the overall picture gradually revealing its figure is considerably immersive. It is a model that makes you want to build it up while confirming each and every piece, rather than rushing toward completion.

The charm after completion is also quite interesting with this product. Among plastic models, there are those carrying an impression that they are finished only after being painted, but this kit radiates a sufficient presence even in an unpainted, straight-assembled state. Precisely because the fine details are firmly crafted, it likely holds together as a three-dimensional object without being painted. And of course, once you start painting, the breadth of imagination expands even further. In this specific example, it is also fascinating that a reddish-brown system that stands out against the burning cityscape was chosen, instead of the black system frequently seen on the first-generation Godzilla. Come to think of it, for the figure of a massive kaiju advancing through flames, cold colors are not necessarily the only correct answer. The body color tinged with red looks as if it has cloaked itself in the heat of destruction or the flames of the city, generating an air where terror and beauty exist simultaneously.

Gaze at the completed form, and in the end, a slightly mysterious sensation arises. It is close to an impression of “a massive calamity has appeared on top of the desk” rather than “a Godzilla model is completed.” It is neither a scene from a movie nor character merchandise. If a gigantic creature appeared in the real world, the very imagination of how that moment might look has taken form. Exactly because of that, this kit does not end with just assembling it. Every time it draws a bit closer to completion, there is a sensation as if you yourself are stepping foot into that world. I think it is a work that leaves a strong impression not only on people who like kaiju, but also on those drawn to the interesting nature of sculpting itself.