SciFi Japan

    GODZILLA: CITY ON THE EDGE OF BATTLE Debuts Worldwide on Netflix July 18th

    New Info and Pics for Second Godzilla Anime Film Source: Netflix, Toho Co., Ltd. Official Site: godzilla-anime.com (Japan), netflix.com/godzilla-anime-2 (US) Twitter: @GODZILLA_ANIME

    Today, as part of their NETFLIX?ANIME panel at Anime Expo, Netflix announced that Toho and Polygon Pictures` anime film GODZILLA: CITY ON THE EDGE OF BATTLE (GODZILLA ????????, Gojira Kessen Kidoo Zooshoku Toshi, 2018) will launch worldwide (excluding Japan) on Netflix on July 18, 2018. Netflix will be offering the movie with Japanese, English, French, German, Spanish, Portuguese and Italian audio tracks and optional English, Spanish, French, Traditional Chinese and Simplified Chinese subtitles just two months after it opened theatrically in Japan. CITY ON THE EDGE OF BATTLE is the second chapter in the three-part, fully animated movie series, GODZILLA (aka “Anigoji,” a portmanteau of “anime” and “gojira”). Chapter 1, GODZILLA: PLANET OF THE MONSTERS (GODZILLA ????, Gojira Kaijuu Wakusei), was the first-ever 3DCG animation in Godzilla franchise history, released in Japan on November 3, 2017 and worldwide by Netflix this past January 18. The “Anigoji” trilogy is an epic re-imagining of the Godzilla world, set some 20,000 years into the future and depicts an Earth that has been ruled by Godzilla. Humanity finds itself on the verge of extinction, and is fighting for its survival. GODZILLA: CITY ON THE EDGE OF BATTLE pits humans and robots against the biggest Godzilla ever seen in an interplanetary struggle to the death as Haruo Sakaki and his companions make contact with the indigenous Houtua tribe and set out for the old Mechagodzilla facility in the hopes of defeating the King of the Monsters. STORY In the early 21st century, the Earth has been ravaged by the monster Godzilla. While the majority of humanity is left behind, a select few escape on the interstellar migrant ship Aratrum, bound for a “promised land”, the potentially habitable planet Tau Ceti e. However this migration plan fails, and the remnants of the human race must return to Earth. Due to a distortion in space-time caused by the long-distance sub-space jump, the survivors return to a vastly changed Earth 20,000 years in the future. On this Earth, Haruo Sakaki and his comrades execute the “Anti-Godzilla Tactics” strategy he has been concocting over the past 20 years during their exile that will take the fight to Godzilla. Using the combined forces of the remaining humans, Exifs and Bilusaludians -- humanity’s alien allies -- they manage to defeat Godzilla in a desperate and costly battle to the death. However, their moment of celebration is fleeting, as the original Godzilla Earth stirs from deep underground. Having continued to grow for 20,000 years, he has evolved into a colossus: 300 meters tall and weighing over 1 million tons. Before the overwhelming destructive power of this immortal giant, Haruo and the other survivors are scattered as they flee for their lives. Haruo is saved by Miana, a young woman from an aboriginal tribe called the Houtua, who seem to be the descendants of those left behind on Earth millennia ago. The Houtua are the first humanoids that the survivors have found on Earth since their return. Haruo also learns that Miana has a twin sister, Maina. The Houtua tell him that their god was also destroyed by Godzilla, and that only its egg remains. All those who challenge or attempt to resist Godzilla will be washed away in a sea of flame. In response to this, Haruo is determined: this is their final chance to wrest the Earth back from Godzilla! Meanwhile, the Bilusaludian commander, Galu-Gu, realizes that the Houtua’s weapons are made from nanometal, an autonomous “smart metal”. This is the same substance used in the development of an anti-Godzilla superweapon in a facility at the foot of Mt. Fuji back in the 21st century, but which was destroyed by Godzilla just before the weapon could be brought online in the form of a “Mecha-Godzilla.” This is proof, however, that the facility still exists and may be made operational again...

    CREDITS GODZILLA A Netflix Film Part 2: CITY ON THE EDGE OF BATTLE Streaming Date: Wednesday, July 18, 2018 (Worldwide) Production Year: 2018 Rating: TV-14 Genres: Action & Adventure, Anime, Adult Animation, Anime Action, Anime Features, Anime Sci-Fi, Japanese Movies, Sci-Fi & Fantasy, Action Sci-Fi & Fantasy Running Time: 101 Minutes Staff Directors: Kobun Shizuno, Hiroyuki Seshita Executive Producers: Yoshihiro Furusawa, Akito Takahashi Producer: Takashi Yoshizawa Original Story: Gen Urobuchi (Nitroplus) Screenplay: Sadayuki Murai, Tetsuya Yamada, Gen Urobuchi Series Composition: Gen Urobuchi, Sadayuki Murai Character Design: Yusuke Kozaki Assistant Director: Hiroaki Ando Technical Director: Naohiro “Tady” Yoshihira Production Design: Naoya Tanaka, Ferdinando Patulli CG Character Design: Yuki Moriyama Modeling Director: Mitsunori Kataama Art Director: Yukihiro Shibutani Color Design: Hironori Nochi Sound Director: Satoshi Motoyama Music: Takayuki Hattori Theme Song: “The Sky Falls” by XAI (TOHO Animation RECORDS) Japanese Voice Cast Haruo Sakaki: Mamoru Miyano Metphies: Takahiro Sakurai Yuko Tani: Kana Hanazawa Martin Lazzari: Tomokazu Sugita Adam Bindewald: Yuki Kaji Mulu-Elu Galu-Gu: Junichi Suwabe Maina: Reina Ueda Miana: Ari Ozawa Rilu-Elu Belu-be: Kenta Miyake Unberto Mori: Kenyu Horiuchi Halu-Elu Dolu-do: Kazuya Nakai Endurph: Kazuhiro Yamaji English Dub Staff Directors: Laura Post, Shannon Wilson Production Manager: Mary Kay De Guzman ADR Engineers: Ally Hustings, Erik Karsen Puhm, Tony McVann Dubbing Studio: Post Haste Digital English Voice Cast Haruo Sakaki: Chris Niosi Metphies: Lucien Dodge Yuko Tani: Cristina Vee Martin Lazzari: Edward Bosco Mulu-Elu Galu-Gu: Taylor Henry Rilu-Elu Belu-be: Rich Brown Production Company: Toho Co., Ltd. Production Studio: Polygon Pictures Distributor: Toho (Japan), Netflix (Worldwide) © 2018 TOHO CO., LTD. © 2018 “GODZILLA” Film Partners. All Rights Reserved.


    About Netflix

    Netflix is the world’s leading Internet television network with over 93 million members in over 190 countries enjoying more than 125 million hours of TV shows and movies per day, including original series, documentaries and feature films. Members can watch as much as they want, anytime, anywhere, on nearly any Internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

    About Toho Co., Ltd.

    Founded in 1932 and headquartered in Tokyo, Toho Company, Ltd. is one of the leading entertainment conglomerates in Japan. Toho is best known worldwide as the producer of the Godzilla films, as well as most of the films by the world-renowned director, Akira Kurosawa. Besides film production, Toho also distributes Japanese films (earning the highest box office receipts for decades in Japan) as well as foreign films through its subsidiary, owns first class movie theaters throughout Japan, produces legitimate plays and musicals, and has more than 100 entertainment-related subsidiaries.

    About Polygon Pictures

    Founded in July 1983, PPI is one of the largest digital animation studios in Japan and produces cutting-edge entertainment content in keeping with their mission to "do what no other has done, in unparalleled quality, for all the world to see and enjoy." Including their Malaysian subsidiary studio, Silver Ant PPI Sdn. Bhd., and visual software development company, J Cube Inc., they have brought together over 400 creators from around the world. Together as the Polygon Family, they devote their days to producing digital content for all types of media. Polygon`s notable works include TRANSFORMERS PRIME and STAR WARS: THE CLONE WARS (both Daytime Emmy award winners), Tron: Uprising (Annie award winner), KNIGHTS OF SIDONIA (Director: Kobun Shizuno), RONJA, THE ROBBER’S DAUGHTER (Director: Goro Miyazaki), AJIN: DEMI-HUMAN (Supervising Director: Hiroyuki Seshita, Director: Hiroaki Ando) and more. By fusing unrivaled technical and production planning know-how with the internationally recognized quality of Japanese animation, PPI aims to become a leading company in the content business.


    For more information on Anigoji Trilogy, please see the earlier coverage here on SciFi Japan:


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