In the almost 70 years since Toho’s original Godzilla feature astounded filmgoers with its practically created depiction of monstrous, atomic devastation, Toho’s larger franchise of kaiju-focused projects has expanded and evolved to include battles with robots, three-headed monsters, and even King Kong. But all that growth has never really erased the king of monster’s textual origins as a metaphor for the pain Japan experienced during World War II and the global fear of nuclear weapons that