Good news for non-Japanese speaking Ultraman fans!

The Ultraman movie DVD will be relased in Japan on 22 July 2005. And it comes with english subtitles too. The initial release comes with a metallic jacket. Additional inserts include an 8pp full coloured guide. The DVD bonus features include interviews, the making of, trailers and deleted footages.

You can place advance orders for this video at CD Japan or Amazon Japan.

The original motion picture soundtrack for ULTRAMAN will be released two days earlier than the DVD, on 20 July 2005. This soundtrack is produced by Tak Matsumoto (松本孝弘) from the famous J-rock group B’z. Tracks in this album include “Theme from Ultraman” and “Never Goodbye". You can also purchase the CD at CD Japan and Amazon Japan.

ULTRAMAN (2005) Review
Author: Bob Johnson
Source: Henshin Online

A shadowy creature moves through the dark halls of a research facility, security guards in pursuit. His silhouetted form crosses a sign that reads, “Bio Hazard - Caution!” Guards open fire, but their bullets have no effect.

The beast turns down another hallway to see a beautiful woman in a lab coat. In her hands is a weapon, loaded with a lethal poison. She fires at the hideous monster, hitting it in the shoulder. The large form turns towards her and stares straight into her eyes, saliva dripping from its razor-sharp teeth. As the woman looks on in shock, the creature’s shoulder starts to pulse and forms itself into a human face. A slight expression of recognition shows on the woman’s face as the monster turns and crashes through a wall, into the night air where it runs to the end of a tall cliff and leaps into the churning ocean below.

Is this a new horror film? A sequel to ALIEN? A science fiction shocker crafted in the US? The intro to a new video game? No, it is the opening to the newest feature from Tsuburaya Productions, simply titled ULTRAMAN. As with Toho’s Godzilla, Ultraman is a long-running franchise that is seeking a new direction to garner more of an audience. However, unlike GODZILLA FINAL WARS, which targets the youth market and lacks a meaningful story or sense of cinematic direction, ULTRAMAN is a serious, adult film that makes no excuses for superhero and monster action. It is a new and serious approach to a character that has been an icon on Japanese TV and in films for close to 40 years. The film had its premier at the Tokyo International Film Festival in Japan (TIFF) and is currently being marketed to world-wide distributors as ULTRAMAN: THE NEXT.

Shunichi Maki (Tetsuya Bessho) is a fighter pilot at the Air Self Defense Forces’ Hiyakuri Base. All his life he has wanted to fly fighter jets. As a child, he saw a jet overhead and dreamed of being a “silver meteor", streaking through the heavens. However, that dream is now winding down. The 35-year-old Maki has a wife and a 5-year-old son, who suffers from a congenital blood disease which, threatens to take his life before he can reach his 7th birthday. He tells his friend and fellow pilot, Kurashima, that he must quit the Self-Defense Force so he can spend more time with his family at this time of crisis.

Their discussion is interrupted by an alert. They scramble their F15 Eagles and take off to investigate a strange object sited in the night sky. In the midst of the search, Maki’s jet crashes into a large, red, glowing sphere. He finds himself inside the sphere, careening through a sea of light. The last image he sees is an enormous incandescent figure. He later appears back on the ground, at the entrance of a diner. He enters and asks to use the phone as his body, in a tattered uniform, falls to the floor.

He awakens in a hospital with his wife, Yoko and their son, Tsugumu. The doctors tell him he is in perfect health, no injuries, although his jet was found crumpled in a heap in the nearby mountains.

A month later, Maki is involved in his new job, training students to fly Cessna aircraft. One student he takes up with him pulls a gun and with a helicopter escort, orders him to fly the plane to Cape Ryu, which hides the base of the international BCST, an anti-bioterrorism organization. The “student", Sara Mizuhara (Kyoko Toyama), is the same woman who confronted the creature earlier.

Once there, Maki is told of a ship captain that encountered a glowing, blue sphere under the ocean. His ship was destroyed, his crew killed, but he survived. Similar to what happened to Maki in the sky. However, Udo, the ship’s captain, has mutated into a creature, code-named “The One", that absorbs animals to take on their characteristics and abilities as needed. They believe the same fate awaits Maki. He tells them he is human and sarcastically asks what his code name would be. Sara responds “The Next, maybe” and locks him up in a re-enforced cell.

Maki forms rudimentary psychic abilities that allow him to see things as or before they happen. This connects him mentally to Udo (Kenya Osumi), who follows his brain waves back to the base. He returns, intent on killing Maki, who he has seen as someone who will become a threat to him.

As guards attack The One, he suddenly mutates again, growing to a height of fifteen feet. With the guards in retreat, Udo corners Sara, moving in for the kill. An eruption of light precedes Maki’s prison door exploding open as Maki appears. Udo turns his attention towards Maki, chasing him and finally slamming him against a wall with his tail. Maki’s body begins to glow and he painfully transforms into a silver giant, equal in height with The One. Udo’s tail whips towards Sara, but is stopped as Maki crouches over her, taking the brunt of the attack. The two fight to a draw as Udo escapes.

Maki changes back into his human form. Sara determines that unlike Udo, Maki retains his human conscience when he mutates. She asks him to use his powers to kill The One. However, Maki has a vision and sees his son, collapsing in a schoolyard. Stealing a jeep, he escapes to be with his son.

Doctors at the hospital determine that Tsugumu’s fainting was due to psychological fatigue and not the disease in his blood. Maki comforts him as Tsugumu tells his father that he will get better and that his father should go to “do his job".

Maki leaves again, to return to Sara and confront The One, setting up the final, climactic battle of giants amongst the streets and in the skies of Japan!

Veteran Ultra-movie director Kazuya Konaka, addressing the crowd at the Tokyo International Film Festival, stated that, “This is my fourth ULTRAMAN and I aimed to amuse not only children, but also adults and couples.” Tetsuya Bessho, who plays Maki added, “I belong to the generation of Ultraman. I have perceived what justice is from Ultraman. It was an honor to be able to act in this film.”

This demonstrates some of the deep-rooted feelings many Japanese have for the character of Ultraman and with this film, Tsuburaya presents a movie that is aimed at all ages and not just the children that make up a large percentage of the current audience.

The core story of a father, trying to be with his son, but being pulled away by other responsibilities is one that hits home with almost every father today. Though Maki is doing everything he can to change his life and spend more time with his family, his destiny of being Ultraman and the forces that oppose him and also the ones who want to use him, pull him away and cause conflicting emotions to build up inside him. He must find time for his son, but he is also the Earth’s only hope against a creature that could destroy the planet. This is a new dynamic and one that has never been explored in an Ultraman story.

The script for ULTRAMAN was penned by Keiichi Hasegawa. No stranger to the Ultra universe, Hasegawa worked on episodes of the ULTRAMAN TIGA television series and the movie ULTRAMAN GAIA: BATTLE IN HYPERSPACE. He also co-wrote GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK and episodes of the new animated ASTROBOY.

Ultraman himself still stays within the framework of his predecessors, but is also handled with a new, fresh approach. Maki’s original transformation into the semi-giant hero begins as a painful mutation, rather than the flashy transformations of the past. Starting out as a 15’ figure with simple, almost primitive detailing, it is not until the final battle when he changes into an Ultraman-size hero, towering against the city’s buildings. The progression may also be interpreted as an explanation of the original Ultraman’s change in design from the Type A to Type B to Type C suits in the 1966 ULTRAMAN series.

Although referred to as “Ultraman The Next” in publicity materials, he is never called Ultraman in the movie until reporters dub him as such at the end of the film. The only reference to The Next is when he asks Sara what he would be called since Udo was “The One” and she replies, “The Next, maybe".

During the final battle, as he avoids the monster’s requisite oral ray, Ultraman realizes that he can fly and what a flight it is! As Ultraman soars into the sky, we get a camera angle looking down on the rooftops of tall skyscrapers as Ultraman flies around them, avoiding the ray and finally turns to fly directly at the camera. This is by far the most impressive flying effect in any of the Ultraman films or TV series.

To pursue Ultraman, The One absorbs nearby crows and sprouts crow-like wings leading to an exciting aerial battle. It is during the battle that we are actually provided with an explanation of why Ultraman, or this Ultraman anyway, has a warning light. It is because the union between Ultraman and his human host is not quite perfect, causing this weakness of limited power. The warning light itself is actually the large red crest on Ultraman’s chest, definitely the biggest warning light in Ultra-history.

The One is a multi-stage creature as he absorbs different animals to take on their abilities as needed for battle or killing. The more he absorbs the larger and more powerful he gets. In a nod to Ultraman’s origins, the creature’s second stage, as he confronts Ultraman for the first time bares a slight resemblance to the monster Bemler, seen in the first episode of the original ULTRAMAN (1966). Later mutations get more and more detailed as the final form, complete with huge wings, is a very impressive design.

The impressive visual effects, both CGI and traditional, that are used to bring the action to life are helmed by Yuichi Kikuchi, who also handled the visual effects for Toho’s GODZILLA AGAINST MECHAGODZILLA (2002). As Kikuchi has mentioned, “There was a lot of involvement of CGI and main live action and I gave care to match them.” And match them he does. For the most part, the CGI and live action are blended seamlessly as Ultraman and The One do battle in and above actual city scenes mixed with traditional miniatures.

This film, unlike other Japanese effects movies, does not use model jets or other vehicles. All are either actual live versions or CGI recreations. The flying scenes are also CGI and look great. Some of these are the most realistic CGI effects to date in a Japanese film. They are definitely a big step over the CGI effects used in its competitor, GODZILLA FINAL WARS.

The cast, led by Bessho is well chosen and add to the believability of the characters in the story. Rather than rely on recent J-Pop stars, the casting of Bessho as an older, more grounded hero was an excellent choice and a move that reinforces the more mature themes and audiences this film aspires to. Bessho’s previous genre roles were in the films SOLAR CRISIS (1990) and GODZILLA VS. MOTHRA (1992). Kenya Osumi, who plays Udo, Maki’s antagonist in the film, is delightfully evil. He seemed to relish the role as he told the TIFF audience, “I also grew up with Ultraman. When I got the offer [for this film] I first thought I would be Ultraman, but to my relief, I played his enemy!”

Kyoko Toyama, who plays the heroine, Sara Mizuhara, has a wider range of emotions to play in comparison to her Ultra-heroine predecessors, as the fiancé of someone she must now kill. She must find it within herself to overcome her past emotions and find a way to destroy what was once her future husband. As an actress, Toyama found in tough playing in a special effects film, saying, “It was a challenge for me to act in special effects (blue back shooting for CGI composition) and at the base of the Self-Defense Forces. Each scene is memorable for me.”

Audiences seeing this film will come away with the same feeling, that each scene is memorable. ULTRAMAN is a film that takes the character in a new and exciting direction and Tsuburaya’s dedication to keeping the image of Ultraman in the dreams of young and old alike, puts the character in good standing for the new millennium. Many companies try to do this, but few succeed. With this film, we may have one of those rare successes!

Visit the official ULTRAMAN movie website at for additional photos, information, downloadable screen savers, and a look at the theatrical trailers and TV commercials. Tell them Henshin! Online (and also Ultraman Lah! sent you!)

ULTRAMAN HERO PICTORIAL - Terebikun Deluxe Collection Album

ゲキジョウバンウルトラマンヒーローピクトリアル

■出版社： 小学館
■著者名： 監／円谷プロダクション・構成／間宮尚彦・写真／川上裕生
■ISBNコード： 4091051014
■判型/頁 ： ＡＢ /48頁
■定価： 998円（税込）
■発売日： 2004/12/27

Ultraseven 21 from Burnproject has provided more scans from the two Ultraman Mooks:

From ULTRAMAN: Theatrical Movie Photo Album:

BEAST - THE ONE

Idrobia - Height: 3 m; Weight: 920 kg.

Reptilia - Height: 10 m; Weight: 44,000 t

Belzebua - Height: 50 m, Weight: 99,000 t.

Belzebua Corone - The ultimate form of The One. Height: 50 m; Width: 250 m; Weight: 120,000 t

CAST

[L] The first deunamist - Shunichi Maki (Tetsuya Bessho); [R] BCST Chemist - Sara Mizuhara (Kyoko Toyama)

The human host of The One - Takafumi Udo (Kenya Osumi)

Supporting Cast:

Top, From Left to Right: Pilot of ASDF - Go Kurashima (Toshiya Nagasawa); Wife of Shunichi - Yoko Maki (Nae Yuki); Son of Maki - Tsugumu Maki (Ryohei Hirota)

Bottom, From Top Left to Right: Colleague Of Shunichi from Hoshikawa, the civilian aviation company - Ippei (Eisuke Tsunoda) ; Another colleague from the aviation company - Yuriko (Yumiko Sato); Boss of Hoshikawa - Manjome (Masao Kusakari)

From Left to Right: Senior Commander in the GSDF - Sogabe (Daisuke Ryu); Captain of the BCST Special Force - Yoshiro (Kazuya Shimizu)

From ULTRAMAN STYLE:

CONCEPT SKETCHES OF BEAST - THE ONE

IDROBIA

REPTILIA

BELZEBUA

BELZEBUA CORONA

A Magazine + Book = Mook. The Japs do have creative uses for english nouns.

There are two movie tie-in mooks for the “ULTRAMAN” movie:

ULTRAMAN STYLE: The ultimate Ultra Movie Dissection from Eichi Publishing

ULTRAMAN Movie Photo Album from Kodansha Books

ULTRAMAN STYLE introduces the initial design sketch for Ultraman the Next:

And the final form:

Watch this thread for news on Ultraman movie related literature

(news source: Burnproject)

Ultraman Noa was the first hero that launched the Ultra N Project. Little is known about this mysterious silver giant, as there aren’t many documentation of this hero on the net.

There are many unanswered questions about the herald of the new Ultra generation - how does Noa fit into the M-78 universe? How are Ultraman Noa, Ultraman Nexus and Ultraman the Next related?

Go to the ULTRA N PROJECT DISCUSSION section over at our FORUM for the latest scoop!

New trailer viewable at the official THE ULTRAMAN movie website. More footages, new BGM composed by Tak Matsumoto. Trailer run for 3mins 05s.

To view clip, click on ‘Movie Preview’ and then DIGEST (デイジｴスト).

You may also view the “MAKING” under the SPECIALS section. This section includes footage of the red carpet appearance at the 17th Tokyo International Film Festival, and interviews with the cast and production staff.

The production of the new movie 「ULTRAMAN」 has been completed.

Produced at a rate of one movie per year, this movie is a break from the traditional “family movie” genre. This movie is a movie that may be enjoyed by both adults and the general audience.

This movie departs from the standard television fare, which theme places ULTRAMAN and characters within the contemporary perspective. This movie is the “realistic” remake of the first episode of the very first Ultraman tv show.

The lead characters and settings had been re-designed so as to make the story realistic. The initial contact between Ultraman and the monster was filmed as it would happen in the real world.

Similar to the original Ultraman, the human host of Ultraman is a pilot that collided with a red sphere in mid-flight. However, unlike the sci-fi Science Patrol, the protagonist is a pilot from the ASDF who had scrambled his jet to meet the unidentified flying object.

The JSDF had provided their full support for the filming. The aerial combat scene was made possible because the airforce made a available a F-15 at a hangar at 百里 Airbase for the shoot. Besides the fighter-jet, the SDF also provided Search and Rescue helicopters and armoured vehicles, which lent more realism to the production.

The protagonist who became Ultraman after miraculously surviving a collision with the red sphere, is a married man who’s in his 30s. This is unlike the tradtional template of the Ultraman protagonists who’re usually young lads aging around 20 something and had the intrepid spirit. This was to add depth to the narrative and characterization, similar to a drama serial.

In my opinion, being able to transform into Ultraman would be a rather traumatic event if it ever happened in the real world. Having your body mutate and then facing a powerful foe in a death match is an experience that is difficult to accept. Thus, I wanted to bring out the drama of this conflict. And this is an opportunity to examine protagonists’ who are saddled by familial responsibilities within the society.

This film is targeted towards fans of the original Ultraman fans. This film is for fans who’d been enthralled by the original Ultraman tv series during their childhood, but who’d fallen out of favour with the Heisei-era Ultraman series. Our production is not an extension of the children tv programmes, but instead is one that utilised cutting edge technology to re-invent a hero, much like the Hollywood production of Spider-Man.

This is my fourth Ultraman movie. The previous movies were each done in different themes: “Ultraman Zearth 2″ (1997) was an action-comedy, “Ultraman Tiga & Ultraman Dyna” (1998) was a tele-movie, “Tiga, Dyna and Gaia” (1999) was a kids’ special. With producer Suzuki Kiyoshi (铃木清) and scriptwriter Keiichi Hasegawa (长谷川圭一), we intended to make a mature version of Ultraman. The years placed into the planning and production has finally paid off.

Although I used to be the special effects director, I decided to take the helm of the direction for this production. I wished for Kikuchi Yuichi (菊地雄一) to be the special effects director. Kikuchi is a young director who made his debut as a SFX director in last year’s “GODZILLA vs. MECHA GODZILLA". His rich experience with Godzilla, Gamera and Ultraman and love for the Kaiju genre certainly brings life to the movies he directed.

The design of the monster and Ultraman was conceived with realism in mind.

The size of monster varies according to its level of transformation. Although it grows to a size of 50m, it has to go through intermediate changes of 3m and 10m so as to conform to realistic growth proportions. And part of the excitement comes from the fight scenes during the human sized stage.

Ichiro Itano (板野一郎), the charismatic animator famed for his work on “Super Dimensional Fortress MACROSS", was invited to participate in the production of this film. He did the CG works for the Ultraman vs. Monster vs. SDF fighter-jet scene. “Itano’s Circus” is reputed its eye-dazzling and unique aerial combat scenes. Fusing live action film with the cutting edge of Japanimation techniques, the special effects will give Hollywood a run of its money.

Bessho Satoru (spel?) (別所哲也) fully immersed himself into the character, capturing the fears and anxiety during transformation, and also the turmoil of shouldering the responsibility to protect those whom he loved. Bessho had thoroughly studied the script and had assiduously transferred his emotions and being into his character. His skilled acting had brought reality to fiction.

大澄贤也, who played the Maritime Self Defense Force who eventually became a monster after encountering the Blue Sphere, had to bear the burden of cosmetic makeover. But since he is also a devout fan of Ultraman, he did not mind the inconvenience. He had also invested time and sweat to buff up his physique for the movie.

远山景织子, who acted as the Ground Self Defense Force biologist and lover of 大澄贤也 in the movie, had to play a difficult role of a cold-blooded killer who had to take the life of someone she loved.

The presence of the veteran actors and actresses, 裕树奈江，永泽俊箭，隆大介，草刈正雄 enriched the drama of the movie.

Tak Mastumoto, the musical director of the group B’z provided the ending theme “NEVER GOODBYE” to the sountrack. He is also a big fan of Ultraman, and contributed his talents to scoring the Background Music and lent his guitar skills to the composition. The stylised musical direction consummates the production of the 「ULTRAMAN」 movie.

(source: ULTRAMAN THE MOVE Official site; credits: ■中国特摄联盟■, Google Translate)

Here’s the plot of the movie, as according to the official movie site.

(credits: TFClub ■中国特摄联盟■)

Part 3 of the story:

Thereafter, while Maki was escorted from the BCST lab to Tokyo, he was informed that his son 継夢 was admitted to hospital. He sped to the hospital to see his son. His wife 蓉子 (裕木奈江) was already there and they had a family reunion.

While this was happening, mankind faced its greatest crisis. “The One” that had mutated after absorbing multitudes of lifeform into its body had assumed its final stage of metmorphosis. It threatens to turn the streets of Shinjuku into fiery hell with its fiery breath.

有働 can never revert to his human form, after being infected by “The One". He was once engaged to his lover and colleague, Sara Mizuhara (水原沙羅).

With Sara on his mind, and also the promise he made to his son, and his love for his family, Maki transforms again. This time, his form had evolved and it stood at 40m, with blood-red sinews connecting his armored exterior. At his elbows were special “elbow cutters” known as “Strike Edge".

ULTRAMAN THE NEXT and THE ONE, fights a fiery battle above the sky scrapers of Shinjuku.

Ultra N Project is Tsubaraya Production’s initiative to rejuvenate the Ultraman legend for the new millenium - to return ULTRAMAN to his original spirit. One of the goals is to infuse more drama into the new Ultraman shows. There is three schema associated with the launch: “NOA Nostalgia“, “Next Evolution” and “Nexus Trinity“. (view the Ultra N Project CM here)

Now, how are the three projects related to each other?

At first glance, Noa is a character designed for live appearances (stage shows) and printed material. However, there is a possibility that Noa may make appearances in the Ultraman Nexus series (based on if the indicator that Ultraman Noa appeard in the same key-holder gashapon series with Ultraman Nexus). But Ultraman Lah! had already seen Ultraman Noa appearing in the same ’show’ as Ultraman Nexus - during the ULFES 2004 Live Stage. The live stage is part of the ‘official’ narrative of the Ultraman universe. Ultraman Noa had appeared in two official live stage plays, “Part 1 ~ Fight! The First Messenger ~ The Birth of Ultraman Noa” (shown at ULFES 2004 from 24 Jul to 11 Aug 04) and “Part 2 ~ Another Light” (12 Aug to 31 Aug 04)”

While “The Next Evolution” is supposed to introduce a tangential concept to ULTRAMAN - the human host becoming Ultraman via mutation rather than through the usual magical “henshin” transformation. And how do these projects relate to each other? Or are they stand-alone experiments?

According to Ultramangaia from 中国特摄联盟 TFClub, he suggested that Ultraman Nexus (Nexus Trinity) is the “nexus” that links the three projects together, in terms of story continuity. The purpose of Ultraman Noa’s appearance at live stage (official debut at ULFES 2004) is to introduce the idea of the Dark Ultramen, that would appear in Ultraman Nexus (Dark Faust, Dark Mephisto)

The monster that appeared before young Saijyo in Ep 4 of Ultraman Nexus (Metafield) is reportedly “The One” from the Ultraman movie, according to a movie poster.

Based on the images above, there is close resemblance between the ‘beast’ in Nexus and ‘The One” from the movie. Does that mean the movie took place before Ultraman Nexus?

An unsolved mystery of the N Project - does Ultraman Noa have more than one form? From this picture below taken at the second episode of Live Show during ULFES 2004, Ultraman Noa appeared without his wings:

Does it mean that there’s a winged version of Noa and a wing-less version? Other than the wings, there are no other detectable differences in the costume design.

Banpresto has lined up a series of exciting new prize toys (バンプレスト プライズ) in December and also in the coming year 2005.

Check out the rest of the pictures here!

The One, ULTRAMAN NEXT’s adversary is a beast that is capable of mutation. The creature would transform from a human, to a small beast, and subsequently into more powerful forms as it absorbs other lifeform into its body.

The Idrobia form is the first stage of transformation by the human host. It is about 3m tall, and is sensitive to the presence of “The Next”

This is the beast’s second form. It stands about 10m tall, and its tail poses a painful problem for “The Next".

The final form of The One. This form represents the ultimate stage of evolution, an aggregate of the special charateristics of all life forms on Earth.

(Source: Tokusatsu Ace No. 006)

The title track for the ULTRAMAN movie, “NEVER GOODBYE” by Tak Matsumoto Group (TMG) is now available! This track is taken from TMG’s first album, TMG I.

Tak Matsumotois the songwriter, guitarist and producer of The B’Z, one of Japan’s pop-band. In 2003, he formed the TMG group with Jack Blades (Damn Yankees) on Bass , Eric Martin (Mr. Big) on Vocals, , and sessionists Brian Tichy (Foreigner), Chris Frazier (Steve Vai) and Cindy Blackman (Lenny Kravitz) rotating on drums.

DOWNLOAD THE MP3 HERE!

The Trailer and Teaser clips are now available on the official movie site!

Also new information available on the Story, Cast and Character

Japan’s Lawson is selling the tickets to the upcoming ULTRAMAN movie, together with the exclusive action figure (measuring 16.5 cm)

P.S. Keep an eye out on E-bay…

(Source:Tokusatsu Fan Club)

On 23 October 2004 (Saturday), the Ultra Family strolled down the red carpet at the opening of the 17th Tokyo International Film Festival (TIFF). Father and Mother of Ultra, Ultraman, Seven, Taro and The Next wore expensive suites at the ceremony. Mom wore a 2,000,000 yen kimono from 加賀友禅, while Dad wore a 500,000 yen piece. The rest of the brothers wore a 300,000yen suite each.

“ULTRAMAN” is on show at the 17th TIFF, and premiers on 18 December 2004 across Japan.

(Source: Nikkansports.com)

Reporters from People Republic of China’s Tokusatsu Fan Club managed to capture some precious Kodak moments:

The trailer is now available online

Click here to view

(^____^)

As you know, the Ultraman fans from all over the world are looking forward to December’s release of the original feature film ULTRAMAN. This movie is part of Tsubaraya’s N-Project, an effort to relaunch the 40years old franchise. The N-project seeks to breathe new life into the perennial silver giant, warrior of light. The movie will appeal to mature fans who first experienced the sense of wonder when they saw Hayata transforming into Ultraman.

Here’s the introduction to the movie, roughly translated from the official movie website:

“An unidentified flying object crashes into the Pacific Ocean. A lieutenant from Japan’s Maritime Self Defence Force (MSDF) goes out to investigate. Suddenly, he was engulfed by a “BLUE LIGHT". Under the exposure, his genes mutated, taking after the evil beast “The One". He was impounded by the Ministry of Defence’s special organ, BCST (an intelligence branch looking over bioterrorim) but later escaped.

Shunichi Maki, a F-15 pilot from the Air Self Defence Force (ASDF) wanted to resign from his job so as to look spend more time with his sick kid. During his final flight, he collided with an object emitting “RED LIGHT” in mid air. This happened three months after the “The One” incident… (to be continued)”

The Next, is part of of N-Project Trinity - Noa, Nexus and the Next. Currently, Noa’s appearance is limited to live performances and merchandising. Nexus has his own TV series. The Next gets his own movie. Unlike Nexus and the Next, Noa is not known to have the Anphas-Junius variation.

From the above, the N-Project pays homage to the original Ultraman. Besides that, other than the oval eyes, color timer, mouth and head fin, thats where the similarity departs. ULTRAMAN (the Next) promises a more challenging production, elevating Ultraman from the wide-eyed-innocence kiddy show to a matured sci-fi production. Ultraman, the Next touts a more “organic” design. Many forummers compared The Next to Bio-Booster Guyver), or the S.I.C. version of Kamen Rider.

There are speculations that Bandai will give an S.I.C Movie Realization treatment to the Next action figures (Devilman, the movie figure already exists in the S.I.C. format). But what’s for sure, is that Bandai will be releasing The Next soft-vinyl figures under the Ultra Hero series coming December:

Release date: Late December
Price: 735 yen (tax incl.)
Manufacturer: Bandai
Toy series: Ultra Heroes

Watch this space for more updates!

“Do you still remember your childhood dream about a silver shooting star? The dream still remains somewhere in your heart unbroken. The year 2005, it took us 39 years to come across the shooting star again…”

In December, Tsubaraya Production will be releasing ULTRAMAN - The Movie. This is part of N Project’s effort to relaunch the Silver Hero mythology.

Here’s some scans of ULTRAMAN THE NEXT (thats what’s the Ultraman character’s been labelled on print)

And from the pictures, THE NEXT is able to adopt two forms - Junius and Anphans. Just like Ultraman Nexus.

Movie scoops published on Japanese Tokusatsu magazines: Newtype The Live and Terebi Kun

Merchandise: