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{{short description|Japanese film genre}}
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{{Not to be confused with|Tonkatsu}}
]'' (1954). The techniques developed by ] for ] continue to be used in the {{transl|ja|tokusatsu}} film and television industry.]]
{{nihongo|'''''Tokusatsu'''''|{{ruby-ja|特撮|とくさつ}}||{{literal translation|special filming}}}} is a Japanese term<!-- (shortened from {{nihongo|''Tokushu satsuei gijutsu''|特殊撮影技術||{{literal translation|special effects technology}}}})--> for ] films or television programs that make heavy use of practical ]s. Credited to special effects director ], ''tokusatsu'' mainly refers to ], ], ], or ] media featuring such technology but is also occasionally dubbed a genre itself. Its contemporary use originated in the ] around 1958 to explain special effects in an easy-to-understand manner and was popularized during the "]" (1966–1968). Prior to the monster boom, it was known in Japan as {{nihongo|'''''tokushu gijutsu'''''|特殊技術||{{literal translation|special technology}}}} or shortened {{nihongo|'''''tokugi'''''|特技||{{literal translation|special technique}}}}.


Subgenres of {{transl|ja|tokusatsu}} include '']'' such as the '']'' and '']'' series; ] such as the '']'' and '']'' series; ] like ''], and ];'' and ] like '']'' and '']''. Some {{transl|ja|tokusatsu}} television programs combine several of these subgenres, for example, the '']'' series.
{{nihongo|'''Tokusatsu'''|特撮}} is a ] of ] ]ese entertainment, involving ]. It is a broad term, encompassing many subgenres of ] and ]. Tokusatsu generally has ], ], or ] themes, but this is not always the case. The most popular types of tokusatsu entertainment are ] serials, ] and ] dramas, or combinations of the previous.


''Tokusatsu'' is one of the most popular forms of Japanese entertainment, but only a small proportion of ''tokusatsu'' films and television programs are widely known outside of Japan. Nevertheless, certain properties have attained popularity outside of Japan; ''Godzilla'' featured in popular American-made movies.
The term "tokusatsu" is a contraction of the Japanese phrase {{nihongo|"tokushu satsuei"|特殊撮影}}, meaning "special photography". In production, the special effects director is given the title of {{nihongo|"tokushu gijutsu"|特殊技術}}, Japanese for "special techniques" or {{nihongo|"tokusatsu kantoku"|特撮監督}}, which is Japanese for "special effects director", the title usually used by English language productions.


{{Fantasy}}
Tokusatsu is one of the most popular and representative forms of Japanese entertainment, along with ] and ], although it is not as widely known in non-Asian countries.


==Eiji Tsuburaya== ==History==
] (1901-1970) is perhaps the most famous ''tokusatsu kantoku'' in Japan. He is responsible for bringing the famous characters of ] and ] to life. While he wasn't the first effects artist, he fought to make special effects in Japanese cinema truly special. When doing movies and TV shows involving giants (be it monsters, superheroes, aliens, etc.), Eiji's techniques usually involved expert miniature work, and the monster is usually either a stuntman in a full monster costume (a process later dubbed "Suitmation") or a marionette-like prop (], ], etc.). Even with the support of digital effects since the 1990s, Eiji's ''tokusatsu'' method has been carried over to this very day, and has become a tradition like kabuki theater.


=== 1908–1933: Early development ===
Some of Eiji's proteges include ], ], ] (who also directed the effects for the majority of superhero shows by ]), ], ] and others. They have worked at ], Eiji's company ], ] and other companies. ], ] (who directed the effects for the classic ] movies) and ] (who directed the tokusatsu for the ] trilogy) used the same techniques over at the ] (now owned by ]).
{{transl|ja|Tokusatsu}} has origins in early ], specifically in ] (with its action and fight scenes) and in {{transl|ja|]}}, which utilized some of the earliest forms of special effects, specifically ].{{Citation needed|date=June 2023}} ] pioneer ] is credited as the founding father of ''tokusatsu'' techniques, having directed several '']'' films starring ] that featured ]s.<ref name=":0">{{Cite book |url=https://books.google.com/books?id=SUg9AAAAMAAJ |title=百科年鑑 |publisher=] |year=1984 |page=100 |language=ja |trans-title=Encyclopedia Yearbook |via=]}}</ref> Makino's effects work inspired filmmaker ] to employ such technology in his own movies, notably '']'' (1917) and '']'' (1934).<ref name=":0" />


=== 1933–1945: Influence from ''King Kong'' and wartime efforts ===
A new generation of tokusatsu masters include ], ] (who have both worked on newer Godzilla and Gamera movies), and ] (who still works on the bulk of Toei's newer superhero shows).
{{stack|float=left|] is credited as the creator of ''Tokusatsu''. Photographed by Yoshikatsu Kanno on the ], ] in March 1960.]]}}After researching the special effects featured in '']'' (1933), ] began to develop ''tokusatsu'' and had his breakthrough on '']'' (1935) and '']'' (1937).<ref>{{cite book|last=Ragone |first=August|title=Eiji Tsuburaya: Master of Monsters |edition=paperback|date=May 6, 2014|publisher=]|pages=24–27|isbn=978-1-4521-3539-7}}</ref> Modern {{transl|ja|tokusatsu}}, however, did not begin to take shape until the late 1940s.<ref>{{Cite web|date=March 12, 2021|title=The Invisible Man Appears (1949) {{!}} The Invisible Man vs. The Human Fly (1957) |url=https://www.framerated.co.uk/invisible-appears-fly-1949-1957/|access-date=July 8, 2021 |website=Frame Rated |language=en-GB}}</ref>


=== 1954–present: Widespread recognition ===
==Suitmation technology==
Tsuburaya and the director ] became the driving forces behind 1954's '']''. Tsuburaya, inspired by the American film '']'', formulated many of the techniques that would become staples of the genre, such as so-called ]—the use of a human actor in a costume to play a giant monster—combined with the use of miniatures and scaled-down city sets. ''Godzilla'' forever changed the landscape of Japanese science fiction, fantasy, and cinema by creating a uniquely Japanese vision in a genre typically dominated by American cinema.<ref>''Millennial Monsters: Japanese Toys and the Global Imagination'', pp. 47–48. {{ISBN|0-520-24565-2}}</ref> This film also helped Tsuburaya's employer ] establish itself as the most successful effects company in the world.<ref>{{cite book |last=Ragone|first=August |title=Eiji Tsuburaya: Master of Monsters|edition=paperback |date=May 6, 2014|publisher=]|page=44 |isbn=978-1-4521-3539-7}}</ref>
], which utilized suitmation technology]]
{{nihongo|''']'''|スーツメーション|Sūtsumēshon}} is the term used in Japan to describe the process in tokusatsu movies & television programs used to portray a monster using suit acting. It is not known exactly where the term originated from; Some people in Japan (possibly staff members at ]) coined the term to differentiate the suit work from ]'s celebrated ] (]) technique. The term was at least used to promote the Godzilla suit from '']''.


''Godzilla'' kickstarted the {{transl|ja|kaiju}} genre in Japan, creating the "Monster Boom", which remained extremely popular for several decades, with characters such as the aforementioned Godzilla, Gamera and ] leading the market.<ref>{{cite book |author=Robert Greenberger |year=2005 |title=Meet Godzilla |publisher=Rosen Pub. |place=New York |isbn=1-4042-0269-2 |edition=1st}}</ref> However, in 1957 ] produced the first film serial featuring the superhero character ], signaling a shift in popularity that favored masked heroes over giant monsters called the "Henshin Boom" started by ] in 1971, though giant monsters, aliens and humanoid creatures dubbed {{lit|strange person"|怪人|kaijin}} remained an integral part of the genre. Along with the ] '']'', the ''Super Giant'' serials had a profound effect on the world of {{transl|ja|tokusatsu}}. The following year, '']'' premiered, the first of numerous televised superhero dramas that would make up one of the most popular {{transl|ja|tokusatsu}} subgenres.<ref>''Japan Pop!: Inside the World of Japanese Popular Culture'', p. 262 {{ISBN|0-7656-0560-0}}</ref> Created by ], he followed up its success with the {{transl|ja|tokusatsu}} superhero shows '']'' (1959) and '']'' (1960), both starring a young ].
===Suit material===
The monster suits from the classic Godzilla films were made of liquid ], coated with all sorts of appliances (especially flame-retardant). The suit is thick so that the stuntperson does not get burned. The teeth were originally made from ]; later versions were made from ]. The actor usually sees through small holes in the suit's neck. The head is fitted with mechanisms that move the eyes & mouth (with the battery located somewhere in the costume), and is radio-controlled. Wires operated by overhead crewmen move the tail.


These original productions preceded the first color-television {{transl|ja|tokusatsu}} series, '']'' and '']'', which heralded the ] subgenre, wherein a regular-sized protagonist grows to larger proportions to fight equally large monsters.<ref>Porter, Hal. ''The Actors: an image of the new Japan'', pg. 168 {{ISBN|0-207-95014-8}}</ref> Popular {{transl|ja|tokusatsu}} superhero shows in the 1970s included '']'' (1971), '']'' (1972), '']'' (1975, trademarked in 1979) and '']'' (1978).
In any case, the suits were very, very grueling, especially in the old days when studios were very hot. The average stuntperson could only last for three minutes before becoming too uncomfortable. Conditions improved when studios became ]. In '']'', an oxygen hose was attached to Godzilla's tail, which threaded up to the neck so that the actor could breathe.


==Techniques==
For superheroes, Ultraman usually wore a form-fitting latex costume similar to a wet suit. The helmet was made originally from latex, and later, ]. A set of batteries in the suit made the eyes and Colortimer light up. Toei superheroes had various sorts of costume materials, from ] to ] to ]. Starting with '']'', the heroes in ] wear ]. Helmets are made of fiberglass, and had clips on the side to lock them into place. Later, helmets had the clips hidden for a smoother look, although knockoff helmets used for promotional work and live appearances do retain the external clips.
===Miniatures===
{{See also|Scale model}}
''Tokusatsu'' is recognized for its heavy use of miniature sets, especially in the Kyodai Hero subgenre. Miniatures are placed from the camera's perspective to create the illusion that the characters are larger than they are.<ref>''“The Men Who Made Ultraman''.” Directed by Akio Jissoji and Takamichi Yamada, Tsuburaya Production,1989</ref>


===Other special effects=== ===Suitmation===
{{Main|Suitmation}}
Japanese special effects techniques are not restricted to placing people inside suits. The first '']'' film from 1954 used a wide ranging number of advanced techniques in this area. Besides the Suitmation Godzilla, ]'s crew also used various puppet-like props, one was like a hand-puppet, another was basically an early example of an ] puppet (from the scene where Godzilla first appeared over a mountain in Oto Island), which shot a smoky spray from its mouth to create the illusion of Godzilla's white-hot radioactive breath. One shot of Godzilla's tail even used a stop-motion process similar to Ray Harryhausen's Dynamation technique (it's said that Tsuburaya wanted to use stop-motion for ''Godzilla'', but Toho couldn't allow it, because it was too expensive and too time-consuming; most Japanese studios had only allowed notoriously tight budgets/production schedules).


{{Nihongo|'''Suitmation'''|スーツメーション|Sūtsumēshon}} is the term used to describe the process in {{transl|ja|tokusatsu}} movies and television programs used to portray a monster using suit acting. The exact origin of the term remains unknown. At the least, it was used to promote the Godzilla suit from '']''.{{Citation needed|date=May 2011}}
Later films use various techniques to bring Godzilla and the other monsters to life. In the 60s, aside from said close-shot puppets, they used mechanical miniatures in distance shots of Godzilla. Since the 80s, they used robotic animatronic Godzilla props to give him a more realistic, lifelike appearance (as is the case with the 20-foot "Cybot Godzilla" in '']'' and the "Close-Up Godzilla" in '']''). They even actually lit up Godzilla's dorsal fins made of ], and in more recent films, they used ] to create that effect.


==Franchises and productions==
The same principle applied to superhero shows: some robotic-looking superheroes (like ] and ]) used electronic props for close shots.
{{Unreferenced section|date=December 2021}}
The many productions of {{transl|ja|tokusatsu}} series have general themes common throughout different groups.


===''Kaiju''===
===Computer-generated imagery===
{{Main|Kaiju}}
Tokusatsu productions have also used computer-generated imagery. Scenes such as Ultraman flying smoothly in the sky, Kamen Rider transforming into animated armor, and Sentai robots combining in one shot have been done with CGI. Computer effects are also used for optical effects such as ray beams, missiles, falling debris and explosions. Other tokusatsu films to use CGI include '']'' and '']'' (based on ]'s 1973 ] ] series).


{{Nihongo|''Kaiju''|怪獣|kaijū|literally "mysterious beast"}} productions primarily feature monsters, or {{Nihongo|giant monsters|大怪獣|daikaijū}}. Such series include '']'', the '']'' film series, the '']'' series, the '']'' series, and films such as '']'', '']'', and {{Nihongo|'']''|]|Uchu Daikaijū Girara}}.
===City sets===
There is a generalized misconception that the minituarised city sets are made of cardboard. However, since the old Godzilla movies, miniature sets were actually made from a thinly cut plaster and wood. The newer films do this as well (only some of the buildings are actually collapsible). Buildings that were not made to be destroyed are made from wood and plastic. Some miniature models are made out of ] (this goes for the many tanks and electrical towers that Godzilla melted with his radioactive breath). In movies such as '']'' (1959) and '']'' (1960), the miniature sets were made of edible material, the same ingredients as those used to make ]s.


==={{transl|ja|Kaijin}}===
==Famous monsters and superheroes==
{{nihongo3|literally "mysterious person"|怪人|'''Kaijin'''}} productions primarily feature supervillains as their central character. This includes films such as '']'', '']'', '']'', '']'', and '']''.
Godzilla, ''Ultraman'' and ''Kamen Rider'' are considered the two greatest influential model Japanese superheroes to this very day. All three characters have created countless sequels and imitations, few of which rival their popularity (the Super Sentai Series, for example, is an offshoot of the Henshin Hero genre started by Kamen Rider).


===Popular franchises===
] (specifically Space Sheriffs) became a basis for the '']'' movies. ] and ] are well known companies in the Daikaiju category of tokusatsu. ] is the company associated with ''Ultraman'', while ] is responsible for Sentai series, Metal Heroes and the '']'' series.
] ''(])'', ] ''(])'', ] and ] ''(])'', and ]. The photo also features manga character ] on the far left.]]
Since about 1960, several long-running television series have combined various other themes. ] has had the '']'' starting with '']'' and '']'' in 1966. ] began their foray into {{transl|ja|tokusatsu}} in 1966 with the series '']''. They also had involvement in the '']'' series which concluded in November 2006.


] has several series that fall under their '']'' category of programming, starting in 1958 with the film series, '']''. Then, they produced several other long-running series, starting with ]'s '']'' in 1971, the '']'' series in 1975, the '']'' in 1982, and the '']'' in 1981. Toei also produced several other television series based on Ishinomori's works, including '']'' and '']'', '']'', '']'' and '']'', and '']''. Toei was also involved in the '']'' television series, which influenced their subsequent Super Sentai series. In 2003, ] began broadcasting the ''Super Sentai'' and ''Kamen Rider'' series in a one-hour block airing each week known as '']''. ], the creators of ], also had their hands in creating the '']'' of programs from 2003 to 2006 and the '']'' franchise.
Not all of Toei's group of hero shows are classified as "]" (Super Sentai shows are exclusively produced by Toei). Toei's non-Super Sentai group heroes include ], ] and ]. The most notable non-Toei group series is perhaps Toho's ] (Super Star God series), which began in 2003 with '']'' (Super Star God Gransazer), continues in 2004 with '']'' (Phantom Star God JustiRiser), and in 2005 with '']'' (Super Star Fleet Sazer X). The Chouseishin series is Toho's attempt at competing with Toei's Super Sentai series.


In 2006, ]'s '']'', a mature late-night tokusatsu drama, was released, starting a franchise composed of several television series and films. Other mature late-night series followed, including a revival of ''Lion-Maru'' in '']'', the '']'' television series (based on the '']'' film series), and ''Shougeki Gouraigan!!'' (also created by Amemiya).
An awkward category of tokusatsu is the '''Child Hero''' or '''Kiddy Hero''' genre. The most notable of this genre of is ] and ].


==={{transl|ja|Tokusatsu}} movies===
One last category is the ''Heroine Tokusatsu'', which consists of a fighting team composed by females, or an individual female. Examples include '']'', '']'', and the new live-action version of '']'', '']''.
Various movies classified as {{transl|ja|tokusatsu}} can include ]s and ]s. These include {{Nihongo|'']''|宇宙人東京に現わる|Uchūjin Tōkyō ni arawaru|Spacemen Appear in Tokyo}} (1956), {{Nihongo|'']''|日本誕生|Nippon Tanjō}}, {{Nihongo|'']''|宇宙快速船|Uchū Kaisokusen|High Speed Spaceship}}, {{Nihongo|'']''|世界大戦争|Sekai Daisensō|The Great World War}}, {{Nihongo|'']''|ガンマー第3号 宇宙大作戦|Ganmā daisan gō: uchū daisakusen|Ganma 3 Space Mission}}, {{Nihongo|'']''|日本沈没|Nihon Chinbotsu|Japan Sinks}}, {{Nihongo|'']''|惑星大戦争|Wakusei Daisensō|War of the Planets}}, {{Nihongo|'']''|復活の日|Fukkatsu no Hi|Day of Resurrection}}, {{Nihongo|'']''|さよならジュピター|Sayonara Jupitā}}, and {{Nihongo|'']''|戦国自衛隊1549|Sengoku Jieitai 1549|Sengoku Self-Defense Forces 1549}}.


==Non-traditional Tokusatsu productions== ==Similar productions==
{{Unreferenced section|date=December 2021}}
There are tokusatsu movies and TV shows that either don't use conventional special effects, or don't star human actors. These include:


===Non-traditional {{transl|ja|tokusatsu}} productions===
*Shows like '']'' (1973), in which the monsters and the titular giant knight-like warrior are done with ] effects instead of suitmation.
Non-traditional {{transl|ja|tokusatsu}} films and television programs may not use conventional special effects or may not star human actors. Though suitmation typifies {{transl|ja|tokusatsu}}, some productions may use ] to animate their monsters instead, for example ''Majin Hunter Mitsurugi'' in 1973. TV shows may use traditional {{transl|ja|tokusatsu}} techniques, but are cast with puppets or marionettes: ''Uchuusen Silica'' (1960); ''Ginga Shonen Tai'' (1963); ''Kuchuu Toshi 008'' (1969); and ]'s '']'' (1980). Some {{transl|ja|tokusatsu}} may employ animation in addition to its live-action components: ]' ''Dinosaur Expedition Team Bornfree'' (1976), '']'' (1977) and '']'' (1976).
*Puppet shows like '']'' (1960), '']'' (1963) and '']'' (1969). These shows (the three mentioned were produced by ]) use the same tokusatsu techniques, but the cast of the show is made up of puppets/marionettes, as opposed to human actors. Similar to the famous ] shows by ]. A better known show in this category is ]'s '']'' (1980), shown in ] as ''Star Fleet''.
*Similar to the above listed puppet shows, there are also tokusatsu shows that use the same special effects techniques, but the show's cast are ] characters in animated sequences. These shows include ]' '']'' (1976) and '']'' (1977), which were combined into compilation movies like ''Return of the Dinosaurs'' and ''Attack of the Super Monsters'', respectively. A more bizarre effort was done for Tsuburaya by ]; '']'' (1976), which looks like a conventional tokusatsu superhero show, except when the title wrestler-superhero Aztekaiser is able to transform the show's live-action dimension into an ] sequence, where he is able to perform wrestling moves against the weekly villain, wrestling moves that are impossible to do in live-action!
*In ], Buildup Entertainment, an independent company in Japan, did a direct-to-] ] ]/] miniseries titled '']'', which completely used ] for the title mobile suit and the monsters, instead of traditional effects.
*In ], Jun Awazu and his independent company Studio Magara produced an all-CG animated 25-minute short film called '']''. While not technically a real tokusatsu, it is nonetheless a tribute to the "Golden Age" of tokusatsu cinema, especially ].


==Japanese fan films== ===Japanese fan films===
As pop-culture fandom in Japan grew in the 1980s, a fan-based group called Daicon Film (now called ]) was created by ], ], ], and ]. Besides anime sequences, they also produced a series of tokusatsu shorts, usually parodies of monster movies and superhero shows, which has gained much media coverage. These productions include '']'' (1983), '']'' (1982), '']'' (1983) and '']'' (1985). As the popularity of {{transl|ja|tokusatsu}} increased in Japan, several ] projects have been produced over the years. ], ], ], and ] set up a fan-based group called Daicon Film, which they renamed ] in 1985 and turned into an animation studio. Besides anime sequences, they also produced a series of {{transl|ja|tokusatsu}} shorts parodying monster movies and superhero shows. These productions include '']'' (1982), '']'' (1983), '']'' (1983) and '']'' (1985).


==Outside of Japan==
In the turn of the new millennium, comedian ] produced a number of tokusatsu ]s. These include include '']'' and '']'' (2004). In 2005, he completed his upcoming first original effort, '']''.
{{More citations needed section|date=April 2023}}
{{transl|ja|Tokusatsu}} techniques have spread outside Japan due to the popularity of ''Godzilla'' films.


===Adaptations===
==Tokusatsu around the world==
'']'' first appeared in English in 1956. Rather than a simple dub of the Japanese-language original, this work represented an entirely re-edited version that restructured the plot to incorporate a new character played by a native English-speaking actor, ]. '']'' gained popularity when ] dubbed it for American audiences in the 1960s.
The tokusatsu technique has been copied around the world, thanks to the popularity of Godzilla films.


In 2002, ] bought the rights to '']'', but simply produced a ] of the Japanese footage, broadcast on the ]. And in 2009, ] took 2002's '']'' and turned it into '']'', which began broadcast on ] in 2009. It won the first ] for "Outstanding Stunt Coordination" for its original scenes.<ref name="Emmy win">{{cite web|url=http://www.welovesoaps.net/2010/06/winners-daytime-entertainment-creative.html|title=WINNERS: Daytime Entertainment Creative Arts Emmy Awards|date=June 26, 2010|access-date=27 June 2010}}</ref><ref>{{cite web|url=http://www.toei.co.jp/release/tv/1192155_963.html|title=「KAMEN RIDER DRAGON KNIGHT」第37回デイタイム・エミー賞において最優秀スタントコーディネーション賞を受賞！ {{!}} 東映［テレビ］|date=2010-06-29|access-date=2010-07-04|url-status=dead|archive-url=https://web.archive.org/web/20100701193143/http://www.toei.co.jp/release/tv/1192155_963.html|archive-date=2010-07-01}}</ref>
===Famous examples===
*In 1961, ] made its own Godzilla-style film, '']'', which used the same "suitmation" technique as the Godzilla films.
*That same year, ] in ] made another Godzilla-style giant monster film, '']''. This film's monster was brought to life using a ] on a miniature set.
*In 1967, ] produced its own ] movie titled '']''.
*In 1975, ] produced a ] film called '']'', based on the huge success of ] and ] there. The film starred ] in the title role. Although there were several other similar superhero productions in Hong Kong, ''The Super Inframan'' is the first, and considered the best by superhero fans. With help from Japanese ] artists under ], they also produced a Japanese-styled monster movie, '']'', in ].
*The cult popularity of Japanese ] and superheroes in ] have resulted in a wacky, action-packed program/event called '']'' in ]. It continues to thrill audiences and fans to this day.


In 2023, GMA Network released ], an adaptation of the original ], which has used special effects and CGI heavily reminiscent of those found in traditional tokusatsu shows, with some western influences added. In 2006, YTV ] used CGI for the monsters with humor in the show.
===Fan films===
*In 2001, Buki X-1 Productions, a French fan-based production company, produced its own series, '']'' (now called ''Shin Kenjushi France Five''), a tribute to Toei's long running ] series.
*In 2004, ] (with his company Experimental Amateur Hero Productions) produced a low-budget superhero video series called '']'', which is a tribute/deconstruction/parody of ] and the ] genre.


===Original productions===
==Confusion outside Japan==
In 1961, England-based filmmakers produced the Godzilla-style film, '']'', which used the same situation technique as the Godzilla films. That same year, ] in ] made another Godzilla-style giant monster film, '']'', bringing its monster to life using a marionette on a miniature set. In 1967, South Korea produced its monster movie titled '']''. In 1975, ] produced a superhero film called '']'', based on the huge success of Ultraman and Kamen Rider there. The film starred ] in the title role. Although there were several similar superhero productions in Hong Kong, ''The Super Inframan'' came first. With help from Japanese special effects artists under Sadamasa Arikawa, they also produced a Japanese-styled monster movie, '']'', in 1977.
There is a misconception in countries outside Japan (including the ]) that the term ''tokusatsu'' refers mainly to Japanese superhero TV shows (including - but not limited to - the ], ] and ]). However, the term has always been used in Japan to describe all live action productions, Japanese or otherwise, that feature special effects.


Concurrent with their work on ''Superhuman Samurai Syber-Squad'', DIC attempted an original concept based on the popularity of ''Power Rangers'' in 1994's '']''. In 1998, a video from an ] of '']'' surfaced, combining original footage of American actresses with original animated sequences.
The confusion dates back to the early 1990s, when ] created a short-lived fanzine called ''Sentai: The Journal of Asian S/F & Fantasy''. This was one of the few American fanzines in the wake of the '']'' craze that covered live-action Japanese fantasies. This magazine proved to be so popular that people began labeling all Japanese live-action superhero shows as "sentai".


Saban also attempted to make their own unique {{transl|ja|tokusatsu}} series entitled '']'', set in medieval ] and featured four, later five knights who transform using the power of the elements (for the most part) at they protected their kingdom from evil. Saban had also produced the live-action '']'' series '']'', which was known in the turtles' fandom for introducing a female turtle exclusive to that series called ''Venus de Milo'' and eliminating the fact that the other turtles were brothers. The show mostly featured actors in costumes, but featured similar choreographed fights like other {{transl|ja|tokusatsu}} shows.
==United States view==
The ] has seen almost every ] and ] film, as well as many Japanese ] films up to the early ], but mainstream America does not look at these films very favorably.


Also, like other Tokusatsu Productions, the Syndicated ] and Nickelodeon's ] are also described as "American Tokusatsu" due to the techniques they employed. Fujiyama Ichiban is a 2013 web series shot in ].
Even only a handful of Japanese superhero shows such as '']'' (the most recognized Japanese superhero in America, of course), '']'' and '']'' made it there, as well as '']'', which was the last major superhero production to be seen in the States, whereas ironically, it was just the beginning (in that exact same period, '']'', a low-budget TV series, began the "Henshin Craze" in Japan).


All the other Tokusatsu shows in YTV's ] were shot in ], ], Canada. They used CGI for the monsters.
Of the American populace, ] (and, to a lesser degree, ]) are more familiar with the superhero shows made since the "Henshin Craze", and these shows were very successful there. Shows like '']'' (the first tokusatsu series to be subtitled in English), '']'', ] (perhaps the most popular show in Hawaii), '']'' and '']'', as well as ]'s '']'' (which, in ], became the first Japanese program to be dubbed in English there). The last tokusatsu series to be subtitled in English was 1979's '']'' (the first "]" series).


In the 2000s, production companies in other East Asian countries began producing their own original {{transl|ja|tokusatsu}}-inspired television series: ]'s '']'' and ]'s '']'' in 2006; the ]' '']'' (itself a sanctioned spinoff of Toei's '']'') in 2007;<ref>{{cite web|url=http://www.pep.ph/news/13162/GMA-7-acquires-exclusive-rights-to-Shaider|title=GMA-7 acquires exclusive rights to "Shaider"|website=pep.ph|access-date=2007-09-20}}</ref> ]'s ''Armor Hero'' ({{zh|c=铠甲勇士|p=Kǎi Jiǎ Yǒng Shì}}) in 2008, ''Battle Strike Team: Giant Saver'' ({{zh|c=巨神战击队 |p=Jùshén zhàn jí duì}}) in 2012, ''Metal Kaiser'' ({{zh|c=五龙奇剑士|p=Wǔ Lóng Qí Jiàn Shì}}); and ]'s '']'' which began in 2013.<ref>{{cite web|author=Pewarta: Nanien Yuniar |url=http://www.antaranews.com/berita/373464/bandai-buat-mainan-bima-satria-garuda |title=Bandai buat mainan BIMA Satria Garuda |date=7 May 2013 |publisher=ANTARA News |access-date=2013-06-08}}</ref><ref>{{cite web|author=Pewarta: Nanien Yuniar |url=http://www.antaranews.com/berita/373453/bima-satria-garuda-ksatria-baja-hitam-indonesia |title=BIMA Satria Garuda, Ksatria Baja Hitam Indonesia |date=7 May 2013 |publisher=ANTARA News |access-date=2013-06-08}}</ref>
This perception of tokusatsu in America can be chalked down to a few things:


On July the 1st, 2019, ]'s Transform Studio co-operating with Dive Into Eden announced their own original {{transl|ja|tokusatsu}} series, ''Mighty Guardian'' (]: {{lang|vi|Chiến Thần}}). The first season in the series is ''Mighty Guardian: Lost Avian'' (]: {{lang|vi|Chiến Thần Lạc Hồng}}), using ] as the main concept.<ref>{{Cite web|url=https://www.facebook.com/ChienThanLacHong/|title=Chiến Thần Lạc Hồng - Mighty Guardian|website=Facebook |language=en|access-date=2019-07-08}}</ref><ref>{{Cite web|url=http://game4v.com/phim-truyen/chien-than-lac-hong-du-an-phim-dang-duoc-cong-dong-dat-ten-5-anh-em-sieu-nhan-viet-nam-594029.g4v|title=Chiến Thần Lạc Hồng - Dự án phim đang được cộng đồng đặt tên "5 anh em siêu nhân Việt Nam"|date=2019-09-04|website=Game4V|language=en-US|access-date=2019-09-26}}</ref><ref>{{Citation|title=CHIẾN THẦN LẠC HỒNG {{!}} MIGHTY GUARDIAN: LOST AVIAN {{!}} TEASER TRAILER| date=10 September 2019 |url=https://www.youtube.com/watch?v=skS5HgMJUlw|language=en|access-date=2019-09-26}}</ref><ref>{{Cite web|url=http://catarea.org/anons-novogo-vetnamskogo-toku-seriala-mighty-guardian-lost-avian/|title=Анонс нового вьетнамского току-сериала — Mighty Guardian: Lost Avian — Babylon Fiction|last=Alpha_Prime|language=ru-RU|access-date=2019-09-26}}</ref>
===Realism===
One of the things that Japanese live-action fantasy is usually criticized for by non-fans in America is that these productions don't look "realistic". In the ], some people criticized the special effects in ] movies, comparing them to ]'s ] techniques (Harryhausen was hurt by this, and instead started making fantasy films). When '']'' was released in ] and made ] mainstream, the American public began to forget the past and focus on the future. Even when some Japanese companies use their tried and true techniques for sentimental reasons (combined with ]-style effects), Americans continued to label these films as "cheap", "cheesy" and/or "]y". In fact, many old Japanese special effects fantasies, no matter what regard they were held in Japan, were pretty much considered ] material by many Americans who raise themselves on big-budget Hollywood films, nowadays strictly using ] effects. That perception is also based on watching faded, worn-out fullscreen prints of these classic films.


===Influence===
However, American fans like August Ragone and reporter Steve Ryfle have enlightened a skeptical media on this subject countless times, and people were profounded. According to Ryfle, even classic Japanese special effects fantasies were not necessarily trying to look "realistic", they were trying to make something that's colourful and spectacular. These were ''fantasies''. Godzilla is not a "realistic" monster, because he's not a real animal. He is a fantasy creature, basically a god (not unlike the beasts from ] and ], like the ]). This goes for many of the Japanese '']'' of the type. ], ], ], ], etc. These hand-crafted fantasy monsters looked "real" to some fans. Some even say that, unlike stop-motion, these monsters looked very real, because they were ''filmed'' real.
Kaiju and {{transl|ja|tokusatsu}} films, notably '']'' (1956), sparked ]'s interest in science fiction films and influenced '']'' (1968). According to his biographer ], despite their "clumsy model sequences, the films were often well-photographed in colour ... and their dismal dialogue was delivered in well-designed and well-lit sets."<ref>{{cite book|last=Baxter|first=John|date=1997|title=Stanley Kubrick: A Biography|page=|location=New York|publisher=Basic Books|isbn=0786704853|url=https://archive.org/details/stanleykubrickbi00baxt/page/200}}</ref>


] cited '']'' as an inspiration for '']'' (1993), specifically '']'' (1956), which he grew up watching.<ref>{{cite book |last=Ryfle |first=Steve |title=Japan's Favorite Mon-Star: The Unauthorized Biography of the Big G |year=1998 |publisher=ECW Press |isbn=9781550223484 |page= |url=https://archive.org/details/japansfavoritemo0000ryfl/page/15 }}</ref> During its production, Spielberg described ''Godzilla'' as "the most masterful of all the dinosaur movies because it made you believe it was really happening."<ref>{{cite book |last1=Ryfle |first1=Steve |title=Japan's Favorite Mon-star: The Unauthorized Biography of "The Big G" |date=1998 |publisher=] |isbn=9781550223484 |page= |url=https://archive.org/details/japansfavoritemo0000ryfl|url-access=registration }}</ref> ''Godzilla'' also influenced the Spielberg film '']'' (1975).<ref>{{cite book |last1=Freer |first1=Ian |title=The Complete Spielberg |date=2001 |publisher=] |isbn=9780753505564 |page= |url=https://archive.org/details/completespielber0000free|url-access=registration }}</ref><ref>{{cite book |last1=Derry |first1=Charles |title=Dark Dreams: A Psychological History of the Modern Horror Film |date=1977 |publisher=A. S. Barnes |isbn=9780498019159 |page= |url=https://archive.org/details/darkdreamspsycho0000derr|url-access=registration }}</ref>
] himself thought that absolute realism was "boring," so he experimented with the many films he did, and his surreal visuals dazzled many audiences, including children and fans. And even if certain techniques didn't work, it still amused him. Some audiences may laugh at these effects shots, or even criticize certain aspects of them, but this was something Eiji never took too seriously. A notable example was one scene in the ] film '']'', where the giant monster ] attacks an animal farm, and smashes a stable with an obvious puppet of a horse galloping wildly inside. When asked by a Japanese journalist about why he used a horse puppet instead of a real one against a bluescreen, Eiji replied, "Because it's more interesting!" Eiji's "unreal" effects techniques were copied to this day by other Japanese effects artists, who have even added their own touch of realism to suit today's audiences.


Japanese {{transl|ja|tokusatsu}} movies also influenced one of the first ], '']'' (1961), inspiring its science fiction theme. According to the game's programmer Martin Graetz, "we would be off to one of ]'s seedier cinemas to view the latest trash from ]" as Japanese studios "churned out a steady diet of cinematic junk food of which ] and ] are only the best-known examples."<ref name="PGESFG">{{cite magazine |title=Players Guide To Electronic Science Fiction Games |magazine=] |date=March 1982 |volume=1 |issue=2 |pages=36 |url=https://archive.org/details/Electronic_Games_Volume_01_Number_02_1982-03_Reese_Communications_US/page/n33/mode/2up |issn=0730-6687}}</ref>
Meanwhile, even the equally criticized Japanese live-action superhero shows (aimed mainly at children) achieved what American productions usually could not when making ]s of ]s: a colourful, fantastic sense of wonder. After the original "campy" 1966 '']'' TV series, superhero fans, even the American public, started to take their fantasies for granted, because colour and fantasy became "silly", "stupid" and thus equated with "camp". Thus, superheroes became dark, grim and "realistic." These were no longer the comic-books kids grew up with, they were more "adult" and "cynical." Japanese superheroes, on the other hand, retain that colourful "comic-book" feel. Yes, some of these superheroes are altruistic, like ], ], and ], yet others (of the '']'' variety, for example, like ]) take their powers for granted, but the hero still must make do with their powers to help the innocent, even get along with children, who usually idolize these heroes. They have even long before experimented with "grim" and "ironic" concepts that would finally be utilized in American superhero comics by the late ]. The villains in these shows included the kind of threats depicted in American comics that American movie & TV adaptations usually exclude; an evil empire, an alien race, a mad scientist and a weekly monster. Some would argue that Japanese superhero movies & shows, despite their "limited" special effects, are much better at emulating the style of American comic-books than the TV shows and ] movies that are based on them.


===Homage and parody===
Furthermore, it also has to do with conservative budget reasons. Japanese studios, unlike those of ], are not ]-based. Some Japanese studios still allow a notoriously tight budget and schedule, while others are liberally taking a chance on things. Actors/staff are paid a smaller salary, yet they work together like a family.
In 1998, a Brazilian webcomic inspired by both ''Power Rangers'' and ''Super Sentai'' entitled '']'' was published on the internet, created by Japanese-Brazilian author Fábio Yabu. The webcomic's popularity allowed the webcomic to become a print comic book until 2004 and having a reboot through Graphic Novels in the 2010s.<ref>{{cite web |access-date=2010-05-18 |author=] |date=2002-10-30 |title=Site dos Combo Rangers retorna com novo visual e pelo UOL |language=pt |url=http://www.universohq.com/quadrinhos/n30102002_06.cfm |work=] |trans-title=Combo Rangers website returns with new look and via UOL |archive-date=2010-02-03 |archive-url=https://web.archive.org/web/20100203051132/http://universohq.com/quadrinhos/n30102002_06.cfm |url-status=dead }}</ref>


In 2001, Buki X-1 Productions, a French fan-based production company, produced its own series, '']'' (now called ''Shin Kenjushi France Five''), a tribute to Toei's long running ''Super Sentai'' series. The low-budget television series '']'' directly parodies monster and ] films and series by immersing their own costumed characters in professional wrestling matches among cardboard buildings. In 2006, '']'' premiered on the internet as a ''Power Rangers'' spoof, but was quickly picked up by ] for broadcast.<ref>{{cite web |title=Mighty Moshin' Emo Rangers |publisher=MTV UK |url=http://www.mtv.co.uk/channel/28092006/mighty_moshin_emo_rangers |archive-url=https://web.archive.org/web/20070319211453/http://www.mtv.co.uk/channel/28092006/mighty_moshin_emo_rangers |archive-date=2007-03-19 |access-date=2013-05-16 |url-status=dead}}</ref> The popularity of tokusatsus in Brazil in the 90s provided many fans in the country who even tried to make indie series, the most notable being ''Insector Sun'' (a low-budget tribute to ''Kamen Rider'')<ref>{{Cite web |last=Candido |first=Junior |date=2023-01-16 |title=O Brasil tem um tokusatsu para chamar de seu: o Insector Sun |url=https://www.arkade.com.br/o-brasil-tem-um-tokusatsu-para-chamar-de-seu-o-insector-sun/|website=Arkade |language=pt}}</ref> and ''TimerMan''.<ref>{{Cite web |date=2021-01-18 |title=TimerMan: Projeto nacional de tokusatsu lança episódio piloto |url=https://www.jbox.com.br/2021/01/18/timerman-projeto-nacional-de-tokusatsu-lanca-episodio-piloto/|first=César|last=Filho|website=JBox |language=pt-br}}</ref>
===Violence===
As is evident since the 70s, Japanese superhero movies & TV shows became increasingly violent. Even as kid shows in Japan, American audiences were overly concerned over violence in America, and by the 70s, censorship against violence on American children's television had grown more and more strict. This mainly includes Japanese superhero TV productions, many of which were very dark and violent, and had grim and ironic stories. This goes for ] shows as well. Superheroes like ] were created surgically by the villains, and turn against them. Superheroes like the title team of '']'' (an anime series) ruthlessly beat villains to a pulp. Superheroes like ] chop the monsters' heads off. Shows like '']'' and '']'' had the monster of the week demonstrating their powers by slaying an innocent victim (an expendable character) at the beginning of each episode (not unlike the victims of the weekly monsters and alien threats featured in '']''). Needless to say, even ] movies had followed suit in the same period.


], the director of the '']'' films in the ], said that ]'s costume design was influenced by two {{transl|ja|tokusatsu}} superheroes, ] and ].<ref>{{cite news |last1=Kelley |first1=Shamus |title=The Surprising Tokusatsu Influences of Ant-Man |url=https://www.denofgeek.com/us/movies/marvel/276699/the-surprising-tokusatsu-influences-of-ant-man |access-date=16 November 2019 |work=] |date=October 2, 2018}}</ref>
In the 1990s, '']'', the ] version of ] series, made the shows more palatable to American TV standards by removing violence considered excessive, and it differed dramatically from its original version. This is still a highly debated topic even among fans. One particular reason is that some evil kaijin in various tokusatsu are psychotic vicious and unforgiving. Those same monsters that are "adapted" are now depicted as stupid, unintelligent goof-offs to the point that the suit monsters are, to some, "Barney-esque." One victim of this was the warrior Grifforzer (renamed ] in Power Rangers). Originally a powerful, threatening figure in his original Japanese incarnation from ], Goldar became more and more pitiful as the series went on. Gasha Skull from ], who was adapted as Rito Revolto, was best described as being "mentally unstable", often prone to sudden mood swings and sadistic behavior against friend and foe, while his counterpart was just an idiot only to serve comedic purposes. However, some villains actually transition for the better. Loki, from ], was extremely evil, but in ], ] turned out to be a deeper character for a villain. Same went for ] (who was originally, Yugande from ]) was adapted into a complex villain as well. Villains that included Zen-Aku, Ecliptor, Villamax, Diabolico were coined by the ] fandom as ''the noble villain''; although on the side of evil, they possess strong ethic which enable them to make bold decisions to help the heroes or oppose their superior or commit acts of heroism.


In 2015, Brazilian indie game studio, Behold Studios, developed a ''Power Ranger'' and ''Super Sentai'' inspired game, '']''.<ref>{{Cite web |title=HOME |url=https://www.beholdstudios.com.br/ |access-date=2024-02-05 |website=Beholdstudios |language=en}}</ref>
===Lack of cultural identification===
Because American audiences did not readily identify with the appearance and culture of east Asian characters, elements were introduced to increase a sense of familiarity. For example, to make the original ] '']'' more palatable to American audiences, actor ] was added to help the audience accept the Japanese characters from the original version. In the mid-], ] actors like ] and ] actually appeared in some of these films alongside the Japanese actors (thanks to the collaboration between ] and ], best known for their animated movies & TV shows like '']''). The ] films, aimed at children, started to include ] children alongside the ]ese children to appeal to the American market, upon the success of the first Gamera film there. In order to reach the ]n market and particularly the ]n market, ] co-produced two ] shows starring a multiracial cast. ] has been trying to penetrate the ]n market for a long time. Later shows such as '']'' were completely ] to fit mainstream tastes.


Tokusatsu has also had a large influence on western animation. Artist Thomas Perkins has delved into work that makes reference to tokusatsu. This is most notable in the design of the character Way Big from '']'', who bears a striking resemblance to Ultraman.<ref>{{Cite web |last=Gaetos |first=Paula |date=2014-05-16 |title=Artist Feature: Thomas Perkins |url=https://tokusatsunetwork.com/2014/05/artist-feature-thomas-perkins/ |access-date=2024-02-11 |website=The Tokusatsu Network |language=en-US}}</ref>
==Terminology==
Some new terms that came up over the years:


In March 2024, ] included the word Tokusatsu as a ] along with others from ].<ref>{{cite web |last=Salzman |first=Brody |title="Tokusatsu" Added To Oxford English Dictionary |url=https://tokusatsunetwork.com/2024/03/tokusatsu-added-to-oxford-english-dictionary/ |website=The Tokusatsu Network |date=March 31, 2024 |access-date=June 18, 2024}}</ref>
*'''Original Toku(satsu)''' - This term refers to the original movies & shows that came from Japan.
**Examples: ], ], ], ], ], ], ]

*'''Toku(satsu) Adapts''' - This term refers to movies & shows that "Americanize" the original Japanese concept.
**Examples: Saban's, Disney's ], '']'', '']'', '']'', '']'', etc.
**American-made remakes of Japanese FX movies may fall into this category. Examples: ] (]), '']'' (]), '']'' (])

Note: Movies and series like '']'',
'']'', '']'', and
the 4Kids rendition of ] fit into a sub category of Toku
Adapts call "Toku Dubs" by some toku enthusiasts. Godzilla,
King of the Monsters, King Kong vs. Godzilla, and Varan the Unvelievable,
it in this sub category because, despite adding American Footage, a
majority (if not all) of the Japanese actors were still kept, as well as
some of the original concepts used in the Japanese versions.

*'''American Toku(satsu)''' - Original American movies & shows made in the US (or by US companies) that follow the tokusatsu formula instead of "adapting" Japanese footage. This is confusing to some, because many claim that the Power Rangers series has slowly stopped using the original Japanese footage and began filming new scenes; however, if the Sentai suits, Monster suits, etc. are still being used in the show despite different footage, it is still a "toku adapt" rather than "American Toku."
**Examples: ]'s '']'', '']'', '']'', '']'', '']'', '']'', '']'', ''],'' '']''


==References== ==References==
{{Reflist}}
*Grays, Kevin. ''Welcome to the Wonderful World of Japanese Fantasy'' (''Markalite'' Vol. 1, Summer 1990, Kaiju Productions/Pacific Rim Publishing)
*Yoshida, Makoto & Ikeda, Noriyoshi and Ragone, August. ''The Making of "Godzilla Vs. Biollante" - They Call it "Tokusatsu"'' (''Markalite'' Vol. 1, Summer 1990, Kaiju Productions/Pacific Rim Publishing)
*Godziszewski, Ed. ''The Making of Godzilla'' (''G-FAN'' #12, November/December 1994, Daikaiju Enterprises)
*Ryfle, Steve. ''Japan's Favorite Mon-Star: The Unauthorized Biography of Godzilla''. ECW Press, 1999. ISBN 1-55022-348-8.
*Cassidy, John Paul. , 2005 (Blog Essay).
*Suriadikusuma, Aria Wicaksana. , 2005.

==See also==
*]
*]
*]
*]
*]
*]


==External links== ==Bibliography==
{{Refbegin}}
*
* {{Cite book |last=Allison |first=Anne |year=2006 |title=Millennial Monsters: Japanese Toys and the Global Imagination |url=https://books.google.com/books?id=BWPERdH-WVoC |series=Asia-Local Studies/Global Themes 13 |location=Berkeley, Calif. |publisher=University of California Press |isbn=0-520-24565-2 |oclc=690263415}}
*
* {{Cite book |editor-last=Craig |editor-first=Timothy J. |year=2015 |orig-year=2000 |title=Japan Pop!: Inside the World of Japanese Popular Culture |url=https://books.google.com/books?id=amfxBwAAQBAJ |edition=Reprint |location=New York |publisher=Routledge |isbn=978-0-7656-0560-3 |oclc=1099932333}}
*
* {{Cite magazine |last=Grays |first=Kevin |date=Summer 1990 |title=Welcome to the Wonderful World of Japanese Fantasy |magazine=Markalite: The Magazine of Japanese Fantasy |volume=1 |publisher=Kaiju Productions/Pacific Rim Publishing}}
* - ] fansite with photos of several Tokusatsu series
* {{Cite magazine |last=Godziszewski |first=Ed. |date=November–December 1994 |title=The Making of Godzilla |magazine=G-FAN |issue=12 |publisher=Daikaiju Enterprises}}
* - Large information source about Tokusatsu, focused mainly on the Henshin Heroes genre
* {{Cite book |editor-last=Martinez |editor-first=D. P. |year=2003 |orig-year=1998 |title=] |edition=Reprint |series=Contemporary Japanese Society |location=Cambridge |publisher=Cambridge Univ. Press |isbn=0-521-63729-5 |oclc=634442451}}
* {{Cite book |last=Ryfle |first=Steve |year=1999 |title=Japan's Favorite Mon-Star: The Unauthorized Biography of "The Big G" |url=https://books.google.com/books?id=cqSOkywWeX4C |location=Toronto |publisher=ECW Press |isbn=1-55022-348-8 |oclc=38748971}} AKA ''Japan's Favorite Mon-Star: The Unauthorized Biography of Godzilla''.
* {{Cite magazine |last1=Yoshida |first1=Makoto |last2=Ikeda |first2=Noriyoshi |last3=Ragone |first3=August |date=Summer 1990 |title=The Making of 'Godzilla Vs. Biollante'—They Call it 'Tokusatsu' |magazine=Markalite: The Magazine of Japanese Fantasy |volume=1 |publisher=Kaiju Productions/Pacific Rim Publishing}}
{{Refend}}


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Latest revision as of 07:00, 5 December 2024

Japanese film genre "Henshin Hero" redirects here. For henshin heroines, see Magical girl.

Not to be confused with Tonkatsu.
Poster for Godzilla (1954). The techniques developed by Eiji Tsuburaya for Toho continue to be used in the tokusatsu film and television industry.

Tokusatsu (特撮（とくさつ）, lit. 'special filming') is a Japanese term for live-action films or television programs that make heavy use of practical special effects. Credited to special effects director Eiji Tsuburaya, tokusatsu mainly refers to science fiction, war, fantasy, or horror media featuring such technology but is also occasionally dubbed a genre itself. Its contemporary use originated in the Japanese mass media around 1958 to explain special effects in an easy-to-understand manner and was popularized during the "first monster boom" (1966–1968). Prior to the monster boom, it was known in Japan as tokushu gijutsu (特殊技術, lit. 'special technology') or shortened tokugi (特技, lit. 'special technique').

Subgenres of tokusatsu include kaiju such as the Godzilla and Gamera series; superhero such as the Kamen Rider and Metal Hero series; Kyodai Hero like Ultraman, and Denkou Choujin Gridman; and mecha like Giant Robo and Super Robot Red Baron. Some tokusatsu television programs combine several of these subgenres, for example, the Super Sentai series.

Tokusatsu is one of the most popular forms of Japanese entertainment, but only a small proportion of tokusatsu films and television programs are widely known outside of Japan. Nevertheless, certain properties have attained popularity outside of Japan; Godzilla featured in popular American-made movies.

Fantasy
Media
Genre studies
Subgenres
Fandom
Categories

History

1908–1933: Early development

Tokusatsu has origins in early Japanese theater, specifically in kabuki (with its action and fight scenes) and in bunraku, which utilized some of the earliest forms of special effects, specifically puppetry. Japanese cinema pioneer Shōzō Makino is credited as the founding father of tokusatsu techniques, having directed several jidaigeki films starring Matsunosuke Onoe that featured special effects. Makino's effects work inspired filmmaker Yoshirō Edamasa to employ such technology in his own movies, notably Journey to the West (1917) and The Great Buddha Arrival (1934).

1933–1945: Influence from King Kong and wartime efforts

Eiji Tsuburaya is credited as the creator of Tokusatsu. Photographed by Yoshikatsu Kanno on the Miura Peninsula, Kanagawa Prefecture in March 1960.

After researching the special effects featured in King Kong (1933), Eiji Tsuburaya began to develop tokusatsu and had his breakthrough on Princess Kaguya (1935) and The Daughter of the Samurai (1937). Modern tokusatsu, however, did not begin to take shape until the late 1940s.

1954–present: Widespread recognition

Tsuburaya and the director Ishirō Honda became the driving forces behind 1954's Godzilla. Tsuburaya, inspired by the American film King Kong, formulated many of the techniques that would become staples of the genre, such as so-called suitmation—the use of a human actor in a costume to play a giant monster—combined with the use of miniatures and scaled-down city sets. Godzilla forever changed the landscape of Japanese science fiction, fantasy, and cinema by creating a uniquely Japanese vision in a genre typically dominated by American cinema. This film also helped Tsuburaya's employer Toho establish itself as the most successful effects company in the world.

Godzilla kickstarted the kaiju genre in Japan, creating the "Monster Boom", which remained extremely popular for several decades, with characters such as the aforementioned Godzilla, Gamera and King Ghidorah leading the market. However, in 1957 Shintoho produced the first film serial featuring the superhero character Super Giant, signaling a shift in popularity that favored masked heroes over giant monsters called the "Henshin Boom" started by Kamen Rider in 1971, though giant monsters, aliens and humanoid creatures dubbed lit. 'strange person"' or '怪人' or 'kaijin' remained an integral part of the genre. Along with the anime Astro Boy, the Super Giant serials had a profound effect on the world of tokusatsu. The following year, Moonlight Mask premiered, the first of numerous televised superhero dramas that would make up one of the most popular tokusatsu subgenres. Created by Kōhan Kawauchi, he followed up its success with the tokusatsu superhero shows Seven Color Mask (1959) and Messenger of Allah (1960), both starring a young Sonny Chiba.

These original productions preceded the first color-television tokusatsu series, Ambassador Magma and Ultraman, which heralded the Kyodai Hero subgenre, wherein a regular-sized protagonist grows to larger proportions to fight equally large monsters. Popular tokusatsu superhero shows in the 1970s included Kamen Rider (1971), Warrior of Love Rainbowman (1972), Super Sentai (1975, trademarked in 1979) and Spider-Man (1978).

Techniques

Miniatures

See also: Scale model

Tokusatsu is recognized for its heavy use of miniature sets, especially in the Kyodai Hero subgenre. Miniatures are placed from the camera's perspective to create the illusion that the characters are larger than they are.

Suitmation

Main article: Suitmation

Suitmation (スーツメーション, Sūtsumēshon) is the term used to describe the process in tokusatsu movies and television programs used to portray a monster using suit acting. The exact origin of the term remains unknown. At the least, it was used to promote the Godzilla suit from The Return of Godzilla.

Franchises and productions

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The many productions of tokusatsu series have general themes common throughout different groups.

Kaiju

Main article: Kaiju

Kaiju (怪獣, kaijū, literally "mysterious beast") productions primarily feature monsters, or giant monsters (大怪獣, daikaijū). Such series include Ultraman, the Godzilla film series, the Gamera series, the Daimajin series, and films such as Mothra, The War of the Gargantuas, and The X from Outer Space (宇宙大怪獣ギララ, Uchu Daikaijū Girara).

Kaijin

Kaijin (怪人, literally "mysterious person") productions primarily feature supervillains as their central character. This includes films such as The Invisible Avenger, Half Human, The H-Man, The Secret of the Telegian, and The Human Vapor.

Popular franchises

Protagonists of the popular tokusatsu franchises mostly of the late 1970s (from back to front, left to right): Ultraman Joneus (Ultra Series), Battle Fever J (Super Sentai), Kamen Rider Stronger and Kamen Rider V3 (Kamen Rider Series), and Spider-Man. The photo also features manga character Doraemon on the far left.

Since about 1960, several long-running television series have combined various other themes. Tsuburaya Productions has had the Ultraman Series starting with Ultra Q and Ultraman in 1966. P Productions began their foray into tokusatsu in 1966 with the series Ambassador Magma. They also had involvement in the Lion-Maru series which concluded in November 2006.

Toei Company has several series that fall under their Toei Superheroes category of programming, starting in 1958 with the film series, Moonlight Mask. Then, they produced several other long-running series, starting with Shotaro Ishinomori's Kamen Rider Series in 1971, the Super Sentai series in 1975, the Metal Hero Series in 1982, and the Toei Fushigi Comedy Series in 1981. Toei also produced several other television series based on Ishinomori's works, including Android Kikaider and Kikaider 01, Robot Detective, Inazuman and Inazuman Flash, and Kaiketsu Zubat. Toei was also involved in the Spider-Man television series, which influenced their subsequent Super Sentai series. In 2003, TV Asahi began broadcasting the Super Sentai and Kamen Rider series in a one-hour block airing each week known as Super Hero Time. Toho, the creators of Godzilla, also had their hands in creating the Chouseishin Series of programs from 2003 to 2006 and the Zone Fighter franchise.

In 2006, Keita Amemiya's Garo, a mature late-night tokusatsu drama, was released, starting a franchise composed of several television series and films. Other mature late-night series followed, including a revival of Lion-Maru in Lion-Maru G, the Daimajin Kanon television series (based on the Daimajin film series), and Shougeki Gouraigan!! (also created by Amemiya).

Tokusatsu movies

Various movies classified as tokusatsu can include disaster movies and science fiction films. These include Warning from Space (宇宙人東京に現わる, Uchūjin Tōkyō ni arawaru, Spacemen Appear in Tokyo) (1956), The Three Treasures (日本誕生, Nippon Tanjō), Invasion of the Neptune Men (宇宙快速船, Uchū Kaisokusen, High Speed Spaceship), The Last War (世界大戦争, Sekai Daisensō, The Great World War), The Green Slime (ガンマー第3号 宇宙大作戦, Ganmā daisan gō: uchū daisakusen, Ganma 3 Space Mission), Submersion of Japan (日本沈没, Nihon Chinbotsu, Japan Sinks), The War in Space (惑星大戦争, Wakusei Daisensō, War of the Planets), Virus (復活の日, Fukkatsu no Hi, Day of Resurrection), Bye-Bye Jupiter (さよならジュピター, Sayonara Jupitā), and Samurai Commando: Mission 1549 (戦国自衛隊1549, Sengoku Jieitai 1549, Sengoku Self-Defense Forces 1549).

Similar productions

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Non-traditional tokusatsu productions

Non-traditional tokusatsu films and television programs may not use conventional special effects or may not star human actors. Though suitmation typifies tokusatsu, some productions may use stop-motion to animate their monsters instead, for example Majin Hunter Mitsurugi in 1973. TV shows may use traditional tokusatsu techniques, but are cast with puppets or marionettes: Uchuusen Silica (1960); Ginga Shonen Tai (1963); Kuchuu Toshi 008 (1969); and Go Nagai's X Bomber (1980). Some tokusatsu may employ animation in addition to its live-action components: Tsuburaya Productions' Dinosaur Expedition Team Bornfree (1976), Dinosaur War Izenborg (1977) and Pro-Wrestling Star Aztekaiser (1976).

Japanese fan films

As the popularity of tokusatsu increased in Japan, several fan film projects have been produced over the years. Hideaki Anno, Yoshiyuki Sadamoto, Takami Akai, and Shinji Higuchi set up a fan-based group called Daicon Film, which they renamed Gainax in 1985 and turned into an animation studio. Besides anime sequences, they also produced a series of tokusatsu shorts parodying monster movies and superhero shows. These productions include Swift Hero Noutenki (1982), Patriotic Squadron Dai-Nippon (1983), Return of Ultraman (1983) and The Eight-Headed Giant Serpent Strikes Back (1985).

Outside of Japan

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Tokusatsu techniques have spread outside Japan due to the popularity of Godzilla films.

Adaptations

Godzilla, King of the Monsters! first appeared in English in 1956. Rather than a simple dub of the Japanese-language original, this work represented an entirely re-edited version that restructured the plot to incorporate a new character played by a native English-speaking actor, Raymond Burr. Ultraman gained popularity when United Artists dubbed it for American audiences in the 1960s.

In 2002, 4Kids Entertainment bought the rights to Ultraman Tiga, but simply produced a dub of the Japanese footage, broadcast on the FoxBox. And in 2009, Adness Entertainment took 2002's Kamen Rider Ryuki and turned it into Kamen Rider: Dragon Knight, which began broadcast on The CW4Kids in 2009. It won the first Daytime Emmy for "Outstanding Stunt Coordination" for its original scenes.

In 2023, GMA Network released Voltes V: Legacy, an adaptation of the original Voltes V, which has used special effects and CGI heavily reminiscent of those found in traditional tokusatsu shows, with some western influences added. In 2006, YTV Monster Warriors used CGI for the monsters with humor in the show.

Original productions

In 1961, England-based filmmakers produced the Godzilla-style film, Gorgo, which used the same situation technique as the Godzilla films. That same year, Saga Studios in Denmark made another Godzilla-style giant monster film, Reptilicus, bringing its monster to life using a marionette on a miniature set. In 1967, South Korea produced its monster movie titled Yonggary. In 1975, Shaw Brothers produced a superhero film called The Super Inframan, based on the huge success of Ultraman and Kamen Rider there. The film starred Danny Lee in the title role. Although there were several similar superhero productions in Hong Kong, The Super Inframan came first. With help from Japanese special effects artists under Sadamasa Arikawa, they also produced a Japanese-styled monster movie, The Mighty Peking Man, in 1977.

Concurrent with their work on Superhuman Samurai Syber-Squad, DIC attempted an original concept based on the popularity of Power Rangers in 1994's Tattooed Teenage Alien Fighters from Beverly Hills. In 1998, a video from an attempted Power Rangers-styled adaptation of Sailor Moon surfaced, combining original footage of American actresses with original animated sequences.

Saban also attempted to make their own unique tokusatsu series entitled Mystic Knights of Tir Na Nog, set in medieval Ireland and featured four, later five knights who transform using the power of the elements (for the most part) at they protected their kingdom from evil. Saban had also produced the live-action Teenage Mutant Ninja Turtles series Ninja Turtles: The Next Mutation, which was known in the turtles' fandom for introducing a female turtle exclusive to that series called Venus de Milo and eliminating the fact that the other turtles were brothers. The show mostly featured actors in costumes, but featured similar choreographed fights like other tokusatsu shows.

Also, like other Tokusatsu Productions, the Syndicated Big Wolf on Campus and Nickelodeon's Animorphs are also described as "American Tokusatsu" due to the techniques they employed. Fujiyama Ichiban is a 2013 web series shot in Los Angeles.

All the other Tokusatsu shows in YTV's Monster Warriors were shot in Barrie, Ontario, Canada. They used CGI for the monsters.

In the 2000s, production companies in other East Asian countries began producing their own original tokusatsu-inspired television series: Thailand's Sport Ranger and South Korea's Erexion in 2006; the Philippines' Zaido: Pulis Pangkalawakan (itself a sanctioned spinoff of Toei's Space Sheriff Shaider) in 2007; China's Armor Hero (Chinese: 铠甲勇士; pinyin: Kǎi Jiǎ Yǒng Shì) in 2008, Battle Strike Team: Giant Saver (Chinese: 巨神战击队; pinyin: Jùshén zhàn jí duì) in 2012, Metal Kaiser (Chinese: 五龙奇剑士; pinyin: Wǔ Lóng Qí Jiàn Shì); and Indonesia's Bima Satria Garuda which began in 2013.

On July the 1st, 2019, Vietnam's Transform Studio co-operating with Dive Into Eden announced their own original tokusatsu series, Mighty Guardian (Vietnamese: Chiến Thần). The first season in the series is Mighty Guardian: Lost Avian (Vietnamese: Chiến Thần Lạc Hồng), using Vietnamese Mythologies as the main concept.

Influence

Kaiju and tokusatsu films, notably Warning from Space (1956), sparked Stanley Kubrick's interest in science fiction films and influenced 2001: A Space Odyssey (1968). According to his biographer John Baxter, despite their "clumsy model sequences, the films were often well-photographed in colour ... and their dismal dialogue was delivered in well-designed and well-lit sets."

Steven Spielberg cited Godzilla as an inspiration for Jurassic Park (1993), specifically Godzilla, King of the Monsters! (1956), which he grew up watching. During its production, Spielberg described Godzilla as "the most masterful of all the dinosaur movies because it made you believe it was really happening." Godzilla also influenced the Spielberg film Jaws (1975).

Japanese tokusatsu movies also influenced one of the first video games, Spacewar! (1961), inspiring its science fiction theme. According to the game's programmer Martin Graetz, "we would be off to one of Boston's seedier cinemas to view the latest trash from Toho" as Japanese studios "churned out a steady diet of cinematic junk food of which Rodan and Godzilla are only the best-known examples."

Homage and parody

In 1998, a Brazilian webcomic inspired by both Power Rangers and Super Sentai entitled Combo Rangers was published on the internet, created by Japanese-Brazilian author Fábio Yabu. The webcomic's popularity allowed the webcomic to become a print comic book until 2004 and having a reboot through Graphic Novels in the 2010s.

In 2001, Buki X-1 Productions, a French fan-based production company, produced its own series, Jushi Sentai France Five (now called Shin Kenjushi France Five), a tribute to Toei's long running Super Sentai series. The low-budget television series Kaiju Big Battel directly parodies monster and Kyodai Hero films and series by immersing their own costumed characters in professional wrestling matches among cardboard buildings. In 2006, Mighty Moshin' Emo Rangers premiered on the internet as a Power Rangers spoof, but was quickly picked up by MTV UK for broadcast. The popularity of tokusatsus in Brazil in the 90s provided many fans in the country who even tried to make indie series, the most notable being Insector Sun (a low-budget tribute to Kamen Rider) and TimerMan.

Peyton Reed, the director of the Ant-Man films in the Marvel Cinematic Universe, said that Ant-Man's costume design was influenced by two tokusatsu superheroes, Ultraman and Inframan.

In 2015, Brazilian indie game studio, Behold Studios, developed a Power Ranger and Super Sentai inspired game, Chroma Squad.

Tokusatsu has also had a large influence on western animation. Artist Thomas Perkins has delved into work that makes reference to tokusatsu. This is most notable in the design of the character Way Big from Ben 10, who bears a striking resemblance to Ultraman.

In March 2024, Oxford English Dictionary included the word Tokusatsu as a loanword along with others from Japanese culture.

References

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  3. "The Invisible Man Appears (1949) | The Invisible Man vs. The Human Fly (1957)". Frame Rated. March 12, 2021. Retrieved July 8, 2021.
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  12. "GMA-7 acquires exclusive rights to "Shaider"". pep.ph. Retrieved 2007-09-20.
  13. Pewarta: Nanien Yuniar (7 May 2013). "Bandai buat mainan BIMA Satria Garuda". ANTARA News. Retrieved 2013-06-08.
  14. Pewarta: Nanien Yuniar (7 May 2013). "BIMA Satria Garuda, Ksatria Baja Hitam Indonesia". ANTARA News. Retrieved 2013-06-08.
  15. "Chiến Thần Lạc Hồng - Mighty Guardian". Facebook. Retrieved 2019-07-08.
  16. "Chiến Thần Lạc Hồng - Dự án phim đang được cộng đồng đặt tên "5 anh em siêu nhân Việt Nam"". Game4V. 2019-09-04. Retrieved 2019-09-26.
  17. CHIẾN THẦN LẠC HỒNG | MIGHTY GUARDIAN: LOST AVIAN | TEASER TRAILER, 10 September 2019, retrieved 2019-09-26
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  25. Sidney Gusman (2002-10-30). "Site dos Combo Rangers retorna com novo visual e pelo UOL" [Combo Rangers website returns with new look and via UOL]. Universo HQ (in Portuguese). Archived from the original on 2010-02-03. Retrieved 2010-05-18.
  26. "Mighty Moshin' Emo Rangers". MTV UK. Archived from the original on 2007-03-19. Retrieved 2013-05-16.
  27. Candido, Junior (2023-01-16). "O Brasil tem um tokusatsu para chamar de seu: o Insector Sun". Arkade (in Portuguese).
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