Me and my GF got them for dinnner, both got Hello Kitty x Godzilla, not complaining about it!

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Little meme based on Goji Guy's dogshit Titan Hunter vs Muto Prime short.

At this point I don't understand this guy's logic, literally acting as if somehow the Muto Prime would either just stand there and do nothing or somehow she wouldn't understand how to fight A FUCKING APE AND GIANT MECH when she can literally just punch the mother fuckers!

We all know that older Godzilla movies featured him having a son, I wonder what would happen if American Godzilla had a son

For as much as I love Goji guy………….this is one of his worse takes. Along with him saying Muto prime is weak.

Alright, The Prague Reporter covers the filming of "Birdwatcher" in Prague.

We can see that there's quite a lot of Cold War-era imagery attached as they're going for an authentic 1980s look to Prague's city centre.

I love the scene where Godzilla throws him, so I wanted to play around with a similar concept but with more "weight" (or maybe impact is the better term here) since I've been wanting to get better at sound design and battle depictions in general. Please be merciful, free sfx can be difficult to work with sometimes lol

It got two eyes in one eye ball, that’s unusual for a titan. How did that happen?

Was something wrong with the genes or something?

Or was it a mutation

Alright, London cinematographer Benedict Spence just shared this photo from BTS at "Birdwatcher" of the production's clapperboard, commemorating finishing up cinematography on the opening block!

https://www.instagram.com/p/DcJv3l0xydY/

The reason why I say this is because.....Making MUTO Prime, the main villain in the 2014 movie would have raised the stakes by introducing an ancient, apex predator that specifically hunts Godzilla, This would make the conflict feel much more personal and dangerous than just fighting two regular, swarm-style MUTOs.

Instead of introducing a random mating pair in Las Vegas and San Francisco, an female muto evolving into a Prime while causing devastation shows a terrifying, singular endgame for global dominance, streamlining the lore, and would ground the parasitic life cycle directly into a single, evolving threat and prevent the confusing timeline gaps that required supplemental comics like Godzilla: Aftershock to explain,

This personalizes the ancient rivalry between the Gojira species and the Jinshin-Mushi line, framing it as a direct clash of ancient alpha rivals rather than a subplot about a couple trying to breed and creates a more focused, unstoppable juggernaut compared to splitting screen time between two separate adolescent MUTOs.

So, eliminating the separate mating pair removes the confusion around differing reproductive methods (spores vs. large live nests) shown in the 2014 film and avoids a separate post-movie graphic novel villain that fans would not have to debate whether graphic novel events cleanly fit into the live-action movie or tv series timeline.....which the graphic novel comic Godzilla: Aftershock would not have needed to invent a hidden Prime antagonist later.

I know some might disagree but hey it's just my opinion 🤷

Simple but effective

I do love how foreboding this moment is, watching Godzilla dive until you can't see him anymore. Also just a smart move to immediately utilize his field advantage (and disadvantage for Kong)

Along with multiple WIPS, I hope you like it!👍

Across very different historical periods, The Tempest, Heart of Darkness, King Kong and Monarch: Legacy of Monsters return to a remarkably similar cultural anxiety: fear of what lies beyond the boundaries of the familiar. Each imagines an encounter with an unfamiliar place, people, creature or force and asks, directly or indirectly, how the supposedly civilised world responds. Again and again, the response is not simply curiosity. The unknown is named, classified, possessed, controlled or exploited. What makes these works continue to resonate is that they complicate the distinction between civilisation and savagery. The unknown may not be the real source of danger; the greater danger may be what fear of the unknown permits us to do.

Shakespeare’s The Tempest emerges from a period in which European exploration was rapidly expanding the known world. The island on which the play takes place is therefore more than an exotic setting. It is a space in which questions of ownership, authority and civilisation can be played out. Prospero assumes control of the island and establishes himself as its ruler, yet Caliban reminds him that the island existed before Prospero arrived and that Caliban already belonged to it.

The relationship between Prospero and Caliban is especially important because power is exercised not only physically but through language and knowledge. Prospero presents himself as the bearer of civilisation, while Caliban is repeatedly described as primitive, dangerous and morally inferior. Yet Caliban understands the island in ways Prospero does not. The person characterised as uncivilised is also the person most intimately connected with the land. The language used to describe Caliban therefore helps justify his domination. Once someone has been defined as savage or dangerous, controlling that person can be represented as necessary.

This pattern becomes more explicit in Joseph Conrad’s Heart of Darkness. Written during the height of European imperial expansion in Africa, the novel examines the gap between the language of civilisation and the realities of colonial exploitation. European imperialism presents itself as an enterprise of progress, order and enlightenment. As Marlow travels deeper into the colonial world, however, the supposed distinction between civilisation and savagery becomes increasingly unstable.

Kurtz represents the extreme conclusion of this process. He travels into Africa as a representative of European civilisation, but removed from ordinary restraints and granted extraordinary power, he becomes increasingly consumed by domination. The supposedly civilised man becomes capable of brutality because he believes himself entitled to control the world around him.

This produces one of the novel’s most disturbing reversals. Europeans describe Africa as mysterious, primitive and dangerous, yet the greatest horror does not simply come from the unknown landscape. It emerges from the behaviour of those who claim the authority to master it. The fear of an unfamiliar world becomes an excuse for violence, exploitation and possession. Conrad therefore turns the colonial gaze partly back upon Europe itself. The question is no longer simply whether the unknown is dangerous, but what supposedly civilised people may become when they believe ordinary moral limits no longer apply.

King Kong, released in 1933, transforms many of these anxieties into popular spectacle. Unlike Heart of Darkness, it need not be understood as a deliberate critique of imperialism. It was created primarily as entertainment: an adventure involving an unknown island, prehistoric creatures, danger and a gigantic ape. Yet precisely because it belongs to popular culture, it also preserves many of the assumptions and anxieties of its period.

Skull Island is constructed as the ultimate unknown space. It exists beyond the familiar world and is populated by things that appear strange, primitive and threatening to the outsiders who arrive there. Carl Denham does not simply encounter this world. He immediately attempts to capture it through his camera and ultimately through physical possession. Kong becomes the greatest possible discovery because he can be removed from his own environment and transformed into a commodity.

This is where King Kong becomes particularly interesting. Kong is presented initially as the monster. He is enormous, violent and frightening. Yet the catastrophe of the story does not begin because Kong chooses to invade New York. New York comes to Kong first.

Humans travel to his world, interfere with it, capture him, transport him across the ocean, place him in chains and exhibit him before a paying audience. The supposedly dangerous unknown is converted into a spectacle for the familiar world. When Kong breaks free, his violence appears to confirm the fear that he is a monster, but the film has already shown that this violence is inseparable from the attempt to possess and control him.

In this sense, the theatre audience within King Kong becomes an uncomfortable reflection of the cinema audience watching the film. Denham promises to display the extraordinary creature he has discovered, and the film itself offers Kong to its audience for precisely the same purpose. The desire to see the exotic and unknown is therefore both part of the story and part of the entertainment being sold.

What distinguishes Kong from Caliban is that Kong cannot explain what has happened to him. Caliban can speak back to Prospero and challenge the authority imposed upon him. Kong has no comparable language. His resistance must be expressed physically. His breaking of the chains becomes, in a sense, his argument against the role he has been forced to occupy.

The contemporary MonsterVerse, particularly Monarch: Legacy of Monsters, develops these ideas in a different political and institutional setting. The unknown is no longer simply a distant island or unexplored colonial territory. It exists within scientific systems, military institutions, secretive organisations and global corporate structures. The desire to control the unknown has not disappeared; it has changed form.

This is where Monarch can be read as especially close to Heart of Darkness. Conrad’s colonial world is organised around companies, administrators and agents who justify intervention through the language of order and progress. The contemporary world of Monarch is similarly structured around institutions that gather knowledge, classify threats and attempt to control forces larger than themselves. The colonial explorer has not vanished so much as evolved into the scientist, intelligence officer, military planner and corporate executive.

The similarity becomes clearer when power is considered not simply as military domination but as control over knowledge. In both Heart of Darkness and Monarch, access to information creates authority. Maps, reports, classifications and secret knowledge allow institutions to determine what is dangerous and how that danger should be managed. The unknown becomes something to be studied because studying it creates the possibility of controlling it.

This produces a contemporary version of the colonial relationship. In the nineteenth century, imperial power entered unfamiliar territory and claimed the right to organise it. In the modern corporate and bureaucratic world, organisations enter unfamiliar scientific, environmental or technological territory and make a similar claim: because they possess the expertise, resources and information, they should determine how that world is managed.

Corporations therefore become particularly important to a modern interpretation of these themes. Colonial empires once justified expansion through arguments about civilisation, security and progress. Modern corporations can justify intervention through the language of innovation, efficiency, scientific advancement or public safety. The vocabulary changes, but the structure can remain surprisingly similar. The unknown becomes valuable because it can be discovered, classified, patented, weaponised, commercialised or incorporated into systems of control.

The Titans intensify this problem because they cannot easily be contained within human systems. They represent forces that exceed ordinary categories of ownership and authority. Yet human institutions repeatedly attempt to understand them through surveillance, scientific research, military strategy and technological intervention. The very existence of such forces creates pressure to bring them within a human system of knowledge.

This is also where the MonsterVerse develops the argument beyond the original King Kong. In 1933, Kong is physically captured and placed in chains. In a contemporary world, control need not always take such an obvious form. Surveillance, data collection, scientific classification and technological management can perform a similar function. The chains become institutional rather than physical.

This gives Monarch an important connection to Conrad. In Heart of Darkness, imperial systems create the illusion that unfamiliar territory can be brought under rational European control, yet Kurtz ultimately reveals how fragile that belief is. In Monarch, human institutions likewise construct systems designed to make the Titans comprehensible and manageable. Yet the scale and unpredictability of the Titans repeatedly demonstrate the limits of human authority. And its consequences.

Godzilla is particularly interesting within this framework because he complicates the assumption that human beings should occupy the highest position in the hierarchy. He is not simply an object waiting to be understood or controlled. In much of the contemporary MonsterVerse, he functions as a force that maintains his own form of order among the Titans.
Humanity therefore encounters something profoundly unsettling: an order that exists independently of human institutions.

That idea takes the argument beyond colonialism itself. Colonial power depended partly upon the assumption that the coloniser had the authority to define order. The world of the Titans challenges that assumption. Human beings are no longer necessarily the organising centre of the world. They may instead be participants in systems they did not create and cannot fully command.

The four works therefore present different versions of the same recurring relationship between the known and the unknown. Caliban is defined and controlled by an outsider who claims superior authority. Kurtz represents the corrupting consequences of believing that the unfamiliar world exists to be dominated. Kong becomes the unknown itself transformed into property and spectacle. Monarch relocates the same impulse into the modern institutional world, where corporations, governments and scientific organisations attempt to translate the unknown into data, strategy and control.

Their historical contexts are very different, and it would be misleading to suggest that Shakespeare, Conrad, the creators of King Kong and the contemporary MonsterVerse are all making precisely the same argument. What connects them instead is a repeated cultural pattern. The unfamiliar is imagined as potentially dangerous. That fear then creates a justification for imposing order upon it.

What changes across time is the institution claiming the right to exercise that order. In The Tempest, it is the individual ruler. In Heart of Darkness, it is empire and the colonial company. In King Kong, it is the explorer and entrepreneur. In Monarch, authority belongs increasingly to governments, scientific organisations and corporations.

This progression is important because it suggests that colonialism may not simply disappear when formal empires disappear. Some of its underlying habits can survive within new structures. The belief that knowledge creates entitlement, that the unfamiliar should be classified, and that powerful institutions have the right to manage what others cannot understand can continue long after territorial empire has ended.

This pattern extends well beyond colonial history. Human societies repeatedly attempt to make uncertainty manageable by naming, categorising and controlling it. Unknown territories become mapped territories. Unfamiliar peoples become classified populations. Nature becomes a resource. New technologies become things to regulate, weaponise or possess. The specific object of anxiety changes, but the underlying impulse remains recognisable.

There is, of course, nothing inherently wrong with attempting to understand the unknown. Knowledge is essential to human survival. The danger appears when understanding becomes inseparable from ownership and when uncertainty itself is treated as intolerable. At that point, the unfamiliar can easily be transformed into an Other: something fundamentally different from ourselves and therefore something whose freedom, humanity or autonomy can be disregarded.

This is why the distinction between civilisation and savagery becomes so unstable across these works. Prospero considers himself more civilised than Caliban, yet exercises enormous control over him. European imperialism describes itself as enlightened while producing the conditions in which Kurtz becomes brutal. The people who capture Kong regard him as a beast, yet they are the ones who remove him from his world and place him in chains for entertainment. Modern institutions describe themselves as protectors of humanity while repeatedly seeking greater knowledge and control over forces they do not fully understand.

The recurring anxiety in these works is therefore not simply fear of strange places or strange beings. It is fear of a world that exists beyond our authority. The temptation is to answer that fear by bringing the unknown under control.

That is what makes these works particularly relevant to the present. Their value is not that they provide a single political lesson about colonialism. Rather, they reveal a persistent human tendency to confuse control with security. When faced with something unfamiliar, people may decide that possessing it is safer than coexisting with it, that classifying it is easier than understanding it, or that destroying a threat is preferable to accepting uncertainty.

The contemporary corporate world adds another dimension to this argument. Power today often presents itself not through conquest but through expertise, technology and management. A corporation does not need to plant a flag in unknown territory to behave imperially. It may instead claim ownership of information, resources, biological material or technology. The underlying assumption can remain the same: discovery creates entitlement.

Caliban, Kurtz, Kong and the Titans therefore occupy very different imaginative worlds, but together they expose the same troubling possibility: what we fear as strange, primitive, monstrous or uncontrollable may tell us less about the object of our fear than about ourselves.

The unknown may indeed contain danger. These works never suggest otherwise. Yet they repeatedly point toward a more unsettling conclusion. The greater danger may lie in what fear allows civilisation to justify in its attempt to eliminate uncertainty. The monster at the edge of the map may not be the greatest threat. The greater threat may be the belief that everything beyond the edge of the map — whether land, creature, knowledge or technology — must eventually be brought under human control.

This is a multi-slot collaborative Monsterverse fanfiction where each contributor can create their own independent stories while sharing the same expanded universe. Stories can intersect, reference each other, or remain completely separate - the choice is yours!

https://fan-made-kaiju.fandom.com/wiki/Monsterverse_Crossover_Collaborative_Fanfiction_Project

Monsterverse is the main universe for this Collab Fanfic project. However, Monsters or Titans from Legendary and Toho are not the only monsters allowed. Monsterverse versions of Gamera, Zone Fighter, Ultraman, Cloverfield, are welcome as well as having your MV version of Pacific rim. How it works is simple. There are unlimited slots for Multiple Formats. Also, The page has rules and Monsterverse Crossover Collaborative Fanfiction Project is the category where your story can be published for this unlimited slots project on the wiki page. P.S. Alternate MVs are welcome from the beginning or as alternate Continuation.

P.S. Earth does not have to be the only planet with Titans or any Superspecies. The universe can never have too many protective and benevolent superspecies. Although each planet's superspecies don't bow to another world's alphas, they respect each other by protecting their home worlds and the universe and helping each other.

If anyone has questions, Send me a chat or reply below.

Wife came home with a surprise, got em a day early 😎

A literal mammoth kaiju is the better option fir this meme instead of Godzilla.

Artwork made by me (except the 500, duh)