Editing Gamera (section)

==Relationship with Godzilla==
===Overview===
Both ''Gamera'' and ''[[Godzilla]]'' franchises have played significant roles in expanding modern culture in Japan, influenced various other productions, and influenced each other on various occasions.<ref name=Perfection /><ref name=Denner /> Both along with other [[tokusatsu]] productions, most notably ''[[Daimajin]]'' and ''[[Ultra Q]]'' and ''[[Ultraman]]'' franchises, formed the "First Kaiju Boom" ([[:ja:第一次怪獣ブーム|jp]]), which became the basis for the "Second Kaiju Boom" ([[:ja:第二次怪獣ブーム|jp]]) and the "[[Yōkai]] Boom".<ref name=Ono2018 /><ref name=BraveGuide /><ref name=KaijuYokai>Gigan Yamazaki ([[:ja:ガイガン山崎|jp]]), 25 February 2021, [https://mediag.bunka.go.jp/article/article-17473/ 妖怪に息づく怪獣王ゴジラの遺伝子 - 後編　怪獣化する妖怪、妖怪化する怪獣], Media Arts Current Contents, [[Agency for Cultural Affairs]]</ref><ref>{{cite web |author=Shīsāpenta |date=2015-01-07 |url= https://bookstand.webdoku.jp/cinema/review/202501/07134604.html |title=無観客！ 誰も観ない映画祭 第39回】『蛇娘と白髪魔』|website=BOOKSTAND ([[:ja:BOOKSTAND.TV|jp]])|access-date=2025-01-21}}</ref>

[[Daiei Film]]'s objective was not to surpass the ''Godzilla'' franchise, but to coexist with it, and the ''Gamera'' franchise achieved differentiation from [[Toho]] productions, and gained popularity notably among children and rivaling Toho productions.<ref name=Karasawa>[[:ja:唐沢俊一|Shunichi Karasawa]], 14 April 2006, '' Gamera Genesis: Movie Director Noriaki Yuasa'', p.20, pp.64-67, p.79, p.83, pp.92-96, pp.111-113, p.124, p.135, p.143, p.219, pp.266-268, pp.273-274, pp.281-286, pp.291-292, pp.295-303, [[Enterbrain]]</ref><ref name=Yanagita />

While Gamera has been described as being a [[Dupes|rip-off]] of Godzilla by some authors,{{sfn|Kalat|2010|p=178}}<ref name=deusner>{{cite news|last=Deusner|first=Stephen M.|author-link=Stephen Deusner|url=https://www.washingtonpost.com/express/wp/2010/05/17/gamera-the-giant-monster-dvd-review/|title=Turtle Soup: 'Gamera, the Giant Monster'|date=17 May 2010|newspaper=The Washington Post|access-date=7 July 2019}}</ref><ref>{{cite web|last=Orr|first=Christopher|author-link=Christopher Orr (film critic)|url=https://www.theatlantic.com/entertainment/archive/2014/05/why-you-should-watch-the-actual-original-godzilla/371389/|title=Why You Should Watch the (Actual) Original Godzilla|date=22 May 2014|work=The Atlantic|access-date=7 July 2019}}</ref> Godzilla films including later Showa films,<ref name=Denner /><ref name=Karasawa /><ref name=Ono2018 /><ref name=Ryfle /><ref name=Scified />{{refn|The 1956 film ''[[Warning from Space]]'' might have influenced Toho productions such as ''[[Invasion of Astro-Monster]]'' and ''[[Gorath]]'',<ref name="dark">{{cite book|last=Derry|first=Charles|date=2009|title=Dark Dreams 2.0: A Psychological History of the Modern Horror Film from the 1950s to the 21st Century|page=78|location=Jefferson|publisher=McFarland|isbn=978-0-7864-3397-1|url=https://books.google.com/books?id=loUaJC9VBMUC&q=dark%20dreams%202.0&pg=PA78|access-date=28 April 2011}}</ref><ref name=Erickson>{{cite web |author= [[Glenn Erickson]] |date=2020-09-29 |title=Warning from Space |url=https://trailersfromhell.com/warning-from-space/ |website=[[Trailers From Hell]] |access-date=2025-01-18}}</ref> where its director [[Koji Shima]] is the uncle of [[Noriaki Yuasa]] and Yuasa participated in the film as an extra,<ref name=Invincible>Steven Sloss, 2021, [https://www.arrowfilms.com/blog/features/the-invincible-noriaki-yuasa/ The Invincible Noriaki Yuasa], [[Arrow Films]]</ref> and expertise and sound effects from ''Warning from Space'' were used for ''Gamera'' films. A script based on a scrapped ''Gamera'' film to feature both Gamera and Pairan was published on the book, which was advised by Yuasa and others,<ref name=OFS1995 /> and an extraterrestrial race based on Pairan appeared in the 1994 comic series ''Giant Monster Gamera''.<ref name=Kaneda />|group="note"}} ''[[Godzilla vs. SpaceGodzilla]]'' (1994),<ref name=Biodrowski /> ''[[Godzilla vs. Destoroyah]]'' (1995),<ref name=Biodrowski>Steve Biodrowski, 20 November 2004, [http://new.hollywoodgothique.com/godzilla-masaaki-tezuka-interview/ Godzilla Director Masaaki Tezuka Interview], Hollywood Gothique</ref> ''[[Godzilla 2000]]'' (1999),<ref name=Scified>G. H. (Gman), 15 March 2014, ''[https://www.scified.com/news/remember-when-godzilla-ripped-off-gamera Remember When Godzilla "Ripped Off" Gamera?]'', Scified</ref><ref name=Biodrowski /> ''[[Godzilla vs. Megaguirus]]'' (2000),<ref name=Scified /><ref>[[Toho]], 2000, ''SPECIAL EDITION ゴジラ×メガギラス―G消滅作戦'', 東宝SF特撮映画シリーズ, pp.10-12, "Main Staff Interview on [[Shōgo Tomiyama]]"</ref> ''[[Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack]]'' (GMK) (2001), ''[[Shin Godzilla]]'' (2016),<ref name=Ono2018 /> ''[[Godzilla Minus One]]'' (2023),<ref name=CinemaToday>{{Cite web |last=Mibu |first=Tomohiro |date=15 September 2023 |title=樋口真嗣、山崎貴監督と熱いゴジラトーク『ゴジラ-1.0』に期待と嫉妬「ゴジラ映画やれていいな」 |url=https://www.cinematoday.jp/news/N0139003 |url-status=live |archive-url=https://web.archive.org/web/20230917072148/https://www.cinematoday.jp/news/N0139003 |archive-date=17 September 2023 |access-date=8 October 2023 |website=Cinema Today ([[:ja:シネマトゥデイ|jp]]) |language=ja}}</ref> and [[MonsterVerse]] series by [[Legendary Pictures]] have been pointed out to be influenced by Showa Gamera films and [[Shusuke Kaneko]]'s Heisei Gamera Trilogy and ''[[Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack|GMK]]''.<ref name=Kinema>Sekiguchi Y., 2014, [[Kinema Junpo]], No.1666, p.48, ASIN B006CDA5BI</ref><ref name=Eiga>Eiga Hihō ([[:ja:映画秘宝|jp]]), July 2019 Special, 2019, p. 2 and p.8, Yosensha, ASIN B07RQ3VBFM</ref><ref>BANGER, 2019, [https://www.banger.jp/movie/11966/ ネタバレ全開！ 徹底解説『ゴジラ キング・オブ・モンスターズ』は「平成ガメラ」から「ストレンジャー・シングス」までオマージュだらけだ!!]</ref> Gamera was represented within a concept art of ''[[Godzilla: King of the Monsters (2019 film)|Godzilla: King of the Monsters]]'',<ref name=Bernstein /><ref name=Peters>Megan Peters, 4 June 2019, ''[https://comicbook.com/anime/news/godzilla-king-of-the-monsters-gigan-kumonga-gamera-art-book/ Godzilla: King of the Monsters Art Book Reveals Gigan, Classic Kaiju Designs]'', ComicBook.com</ref> and Kaneko himself acknowledges similarities between his films and MonsterVerse films<ref name=Kinema /><ref name=Eiga /> where the scrapped 2011 project ''Gamera 3D'' by [[Yoshimitsu Banno]] served as one of predecessors of the 2014 film ''[[Godzilla (2014 film)|Godzilla]]''.<ref name=Joblo /><ref name=THKingdom /><ref name=Plan01>[https://web.archive.org/web/20101114022732/http://www.aap-inc.jp/plan01.html Plans01 of Advanced Audiovisual Productions Inc.]</ref> According to Jared Krichevsky, "Shimo" appeared in ''[[Godzilla x Kong: The New Empire]]'' was partially inspired by Barugon.<ref name=Krichevsky>Jared Krichevsky, 2 April 2024, [https://x.com/Monstermash042/status/1775311840895217890 i did try a version that was based on this one yes, it wasn't selected but it did lead to the final version of Shimo], X (Twitter)</ref> Shusuke Kaneko utilized some aspects of Showa Gamera and his Heisei Gamera trilogy for ''[[Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack|GMK]]'' such as "[[submarine]] within kaiju's body" from ''[[Gamera vs. Jiger]]'', and Kaneko reused ideas which he originally wanted for the Heisei trilogy and its cancelled sequel(s).<ref name=Ono2018 />

[[Eiji Tsuburaya]]{{refn|[[#Productions|As below mentioned]], Tsuburaya had repeatedly associated with [[Masaichi Nagata]] and Daiei Film since 1930s, and Tsuburaya and Sadamasa Arikawa ([[:ja:有川貞昌|jp]]) and Shuzaburo Araki ([[:ja:荒木秀三郎|jp]]), known for ''[[Godzilla (1954 film)|Godzilla]]'' and other Toho tokusatsu productions, originally intended to join Daiei Film in late 1940s.<ref name=TohoSF93>Toho SF Tokusatsu Series, 11 December 1993, ''Godzilla vs. Mechagodzilla II'', p.165, vl.8, Toho</ref><ref name=Godzilla60>Magazine House Mook, 22 July 2014, ''Godzilla 60: Complete Guide'', p.36, [[Magazine House]]</ref> Additionally,  [[#Participants|various members among Tsuburaya's coworkers and students]] from ''Godzilla'' and other productions later participated in ''Gamera'' and ''[[Daimajin]]'' and other Daiei productions.<ref name=Ui />|group="note"}} depicted [[Godzilla]] to be more heroic and to bleed in later Showa films despite disliking bleeding [[kaiju]], and having avoided this in previous Showa films due to his belief in [[Christianity]].<ref name=OFS1995 /> Later Showa Godzilla films featured more child-friendly aspects, introducing theme songs,{{refn|Particularly, the ''Kaiju March'' by [[Shinichi Sekizawa]] was influenced by the ''[[Gamera March]]'' ([[:ja:ガメラマーチ|ja]]) where Noriaki Yuasa and Sekizawa were students of [[Hiroshi Shimizu (director)|Hiroshi Shimizu]], and both favored child-friendly directions. Titles of these songs were also presumed references to the "Kaiju Daisenso March" by [[Akira Ifukube]] where Ifukube participated in ''[[The Whale God]]'' and the ''[[Daimajin]]'' franchise, and Ifukube's students such as Tadashi Yamanouchi ([[:ja:山内正|jp]]) worked for ''Gamera'' and other Daiei Film productions.<ref name=Ono2018 />|group="note"}} depicting kaiju as characters than monsters with increased scenes to zoom in on kaiju, increasing the number of scenes involving kaiju, and adding more fancifully designed kaiju. [[Yoshimitsu Banno]], who later planned to direct ''Gamera 3D'',<ref name=Joblo /> made Godzilla to fly{{refn|''Godzilla vs. Hedorah'' was Banno's debut as a film director, and Banno devised the idea for Godzilla to fly. However, [[Tomoyuki Tanaka]] was suddenly hospitalized when Banno was about to ask Tanaka to get permission of his idea. Therefore a chief director Kazuo Baba ([[:ja:馬場和夫|jp]]) was instead delegated, and Baba permitted Banno's idea. However, Tanaka was dissatisfied with both Banno and his idea, and Banno was left out from directing Toho tokusatsu films, where his next Godzilla film was also scrapped due to this.<ref>[[Dengeki Hobby Magazine]], 19 November 2014, ''Godzilla Toho Champions Festival Perfection'', pp.94–95, [[ASCII Media Works]], Kadokawa</ref>|group="note"}} in his ''[[Godzilla vs. Hedorah]]''.{{refn|The film was released a week after ''[[Gamera vs. Zigra]]'' where both films focused on environmental affairs.<ref name=Ono2018 />|group="note"}}<ref name=Yanagita>Rikao Yanagita ([[:ja:柳田理科雄|jp]]), 3 November 2021, [https://news.yahoo.co.jp/expert/articles/9ee571e441d8d04aa97b8b04f5d82c749d15c8fc 『ゴジラ』公開から67年目の今日、考えたい。ゴジラとガメラが戦ったら、勝つのはどっちだ?], Yahoo! News ([[:ja:Yahoo!ニュース|jp]]), [[Yahoo! Japan Corporation]]</ref> These later Showa Godzilla films were presumably influenced by Gamera.<ref name=Denner /><ref name=Ono2018 /><ref name=BraveGuide>[[ASCII Media Works]], 2006, ''Gamera the Brave Official Guide Book'', p.13, p.19, p.25, p.32, pp.36-38, pp.42-44, pp.50-57, pp.62-66</ref><ref name=Karasawa /><ref name=Scified /> <!--Tsuburaya often visited [[Keizō Murase]] during filming to discuss [[tokusatsu]] techniques and to advise Murase, although most of Tsuburaya's suggestions were not utilized due to budgetary problems.<ref name=Karasawa /> Murase's interview on p.291 was confusing that which of Godzilla or Gamera productions he was referring to.--> The creations of [[Minilla]] (a child-friendly son of Godzilla) and [[Kamoebas]] ([[:ja:カメーバ|jp]]), Toho's own turtle kaiju, were also possibly influenced by the ''Gamera'' franchise<ref name=Denner /><ref name=Ono2018 /><ref name=Ryfle>{{cite book |title=Japan's Favorite Mon-Star: The Unauthorized Biography of the Big G |last=Ryfle |first=S. |year=1998 |publisher=[[ECW Press]] |isbn=1550223488 |pages=[https://archive.org/details/japansfavoritemo0000ryfl/page/139 139–43] |url-access=registration |url=https://archive.org/details/japansfavoritemo0000ryfl/page/139 }}</ref> while Toto in the 2006 film ''[[Gamera the Brave]]'' in return bears physical and conceptual similarities to Minilla, [[Godzilla Junior]] in the 1994 film ''[[Godzilla vs. SpaceGodzilla]]'', and ''[[Daigoro vs. Goliath]]'' by Toho and [[Tsuburaya Productions]].<ref name=Perfection /> While ''Gamera the Brave'' re-used the original script of ''[[Gamera: Guardian of the Universe]]'', which also affected productions of ''[[Digimon Tamers]]'' ([[Toei Animation]]) and ''[[Ultraman Tiga]]'' ([[Tsuburaya Productions]]), the plot of the 2006 film was also influenced by the Heisei [[Mothra]] trilogy where crews such as Nippon Eizo Creative ([[:ja:日本映像クリエイティブ|jp]]) had participated in both productions.<ref name=Perfection /><ref name=NEC>{{cite web |title= Works |url=https://nikkuri.co.jp/category/works/ |publisher=Nippon Eizo Creative ([[:ja:日本映像クリエイティブ|jp]]) |access-date=2024-12-14}}</ref>

[[Ishiro Honda]] highly praised the 1967 film ''[[Gamera vs. Gyaos]]'', pleasing [[Niisan Takahashi]] greatly and freeing him from his feeling of inferiority towards the ''Godzilla'' franchise, and Honda suggested Takahashi to work together in the future.<ref name=Fantasy /> There was a failed attempt to produce a ''[[Daimajin]]'' film involving Honda in 1980s,<ref>Steve Ryfle, Ed Godziszewski, 2017, ''Ishiro Honda: A Life in Film, from Godzilla to Kurosawa'', p.285, [[Wesleyan University Press]]</ref><ref name=Sloss>Steven Sloss, 2023, [https://www.arrowfilms.com/blog/features/idol-threat-daimajins-colossal-cultural-footprint/ Idol Threat: Daimajin's Colossal Cultural Footprint], [[Arrow Films]]</ref> and Takahashi later sent his script for the cancelled 1994 film, which later became the basis of the novelization ''Gamera vs. Phoenix'', to several [[tokusatsu]] film makers including Honda; however, despite Honda's encouragement, Takahashi's attempt failed to materialize.<ref name=Stuart>Galbraith IV, Stuart, 2020,  ''Gamera vs. Gyaos Audio Commentary'', 01:25:02, [[Arrow Video]]</ref><ref name=DaieiScripts />

During the production of ''[[Gamera: Guardian of the Universe]]'' in 1995, [[Yasuyoshi Tokuma]] ([[:ja:徳間康快|jp]]), the founder of [[Tokuma Shoten]], expressed his interest in producing ''Godzilla vs. Gamera'' and proposed a [[Crossover (fiction)|crossover]] to Toho, however this attempt failed to materialize, and Yasuyoshi's death in 2000 and financial situation of Tokuma Shoten eventually resulted in the disposal of Daiei Film properties,<ref name=Nikkei /> along with the cancellation of "Gamera 4" due to the plot of ''[[Gamera 3: Revenge of Iris]]'' and the planned plot of the scrapped sequel.<ref name=MWP /><ref name=Kaneda>Kenichiro Terasawa (as Masumi Kaneda) ([[:ja:金田益実|jp]]), 15 July 2024, [https://x.com/KanedaMasumi/status/1812547641424937247 徳間康快社長が平成ガメラ第1作発表会で突然「ゴジラ対ガメラも考えている」といったのは漫画の後書きに関連。], Twitter (X)</ref><ref name=MagMix>Tatsuji Nagano, 2 May 2023, [https://magmix.jp/post/153699/2 夢の対決「ゴジラvsガメラ」は実現するか? BS12で、『ゴジラ』『ガメラ』一挙放映], MAG MIX ([[:ja:メディア・ヴァーグ|jp]])</ref>

In 2002, [[Kadokawa Corporation|Kadokawa]] acquired the copyrights of Daiei Film properties from [[Tokuma Shoten]], and [[Kazuo Kuroi]] ([[:ja:黒井和男|jp]]) announced a [[Crossover (fiction)|crossover]] plan between Gamera and Godzilla, along with a plan to reboot ''[[Daimajin]]''.<ref name=Zakzak>ZAKZAK, 13 November 2002, [https://web.archive.org/web/20021114151942/http://www.zakzak.co.jp/top/t-2002_11/2t2002111304.html 角川大映、「ゴジラvsガメラ」製作へ - 「大魔神」のリメーク版も], FUJI Evening News ([[:ja:夕刊フジ|jp]])</ref> The company approached Toho to achieve it, however the latter turned down the offer and Kadokawa therefore produced ''[[Gamera the Brave]]'' instead<ref name=Aiken /> as Toho temporary ceased Godzilla productions after ''[[Godzilla: Final Wars]]''{{refn|''Gamera the Brave'' Heisei [[Mothra]] trilogy (which affected ''Gamera the Brave'') and ''Godzilla: Final Wars'' share crews such as Nippon Eizo Creative ([[:ja:日本映像クリエイティブ|jp]]).<ref name=NEC /> |group="note"}}.<ref name=BraveGuide /><ref name=Karasawa /> Zedus, the main antagonist of the 2006 film was intentionally designed to resemble Toho monsters<ref name=Perfection /> such as [[Varan]]<ref name="HeiseiModels">[[Tomoo Haraguchi]] ([[:ja:原口智生|jp]]), 1 September 2023, ''平成ガメラ造型写真集'', p.174, pp.198-202, pp.208-217, [[Hobby Japan]]</ref> and [[Gorosaurus]],<ref name=HeiseiModels /> [[TriStar Pictures]]' [[Zilla (Godzilla)|Godzilla]],{{sfn|Mamiya|2006|p=54}} and it notably resembles both Toho's Godzilla<ref name=BraveGuide /> and [[Jirahs]],<ref name=HeiseiModels /> the Godzilla-based kaiju from ''[[Ultraman (1966 TV series)|Ultraman]]''.{{refn|Both ''Gamera the Brave'' and the cancelled sequel of the 1998 film ''[[Godzilla (1998 film)|Godzilla]]'' by [[TriStar Pictures]] feature the titular monsters to be raised by human protagonists, and civilians protecting the titular monsters from military forces at the end of each respective film.<ref>{{cite web|url=https://www.scifijapan.com/content/godzilla-2-story-treatment|title=Godzilla 2 Story Treatment|last=Murphy|first=Tab|work=[[SciFi Japan TV|SciFi Japan]] |date=19 October 1999|access-date=22 April 2021|archive-date=13 July 2021|archive-url=https://web.archive.org/web/20210713222248/https://www.scifijapan.com/content/godzilla-2-story-treatment|url-status=live}}</ref> According to [[Tomoo Haraguchi]] ([[:ja:原口智生|jp]]), many of early designs of Zedus coincidentally resembled [[MUTO]] in [[MonsterVerse]] series by [[Legendary Pictures]] which made its debut in 2014.<ref name=HeiseiModels />|group="note"}} [[Shogo Tomiyama]] was aware of the demand for the crossover, however clarified it lacking merits for filmmakers.<ref>{{cite web|author=Brett Homenick |year=2021 |title=CARRYING ON GODZILLA'S LEGACY: Producer Shogo Tomiyama on Guiding the Godzilla Series into the New Millennium! |url=https://vantagepointinterviews.com/2021/05/19/carrying-on-godzillas-legacy-producer-shogo-tomiyama-on-guiding-the-godzilla-series-into-the-new-millennium/ |website=Vantage Point Interviews |access-date=2025-01-28}}</ref> Additionally, [[Shusuke Kaneko]] has also expressed his interest in producing a crossover.<ref>{{cite web|author=David Wilentz |year=2007 |title=Roman-Porno to Desu Noto - The Odyssey of Shusuke Kaneko |url=https://brooklynrail.org/2007/09/film/i-roman-porno-i-to-i-desu-noto-i-the-ody/ |website=[[The Brooklyn Rail]] |access-date=2025-01-19}}</ref>

In 2023, the [[Netflix]] series ''[[Gamera Rebirth]]'' was directed by [[Hiroyuki Seshita]] ([[:ja:瀬下寛之|jp]]) who previously directed the [[Godzilla (franchise)#Reiwa era (2016–present)|anime Godzilla trilogy]]. This time, Toho instead proposed an offer for a crossover due to a large number of requests from players of the mobile game ''Godzilla Battle Line'',<ref>Official Godzilla Channel, 1 September 2023, [https://www.youtube.com/watch?v=ByZ3qd942ss 第9回 ゴジバトサミット ～怪獣大進撃スペシャル～], at 50:40, Youtube</ref> and an official collaboration between the Netflix series and the mobile game was made where Seshita's incarnation of Godzilla was chosen for the key art, and Gamera and [[Gyaos]] ([[:ja:ギャオス|jp]]) and Guiron appeared in the game as playable characters, followed by Showa incarnations of Gamera and Gyaos.<ref name=ScifiJapan>[[SciFi Japan TV|SciFi Japan]], [https://www.scifijapan.com/godzilla-toho/godzilla-vs-gamera-in-new-godzilla-battle-line-gamera-rebirth-collaboration Godzilla vs Gamera in New GODZILLA BATTLE LINE/GAMERA -Rebirth- Collaboration]</ref><ref>Godzilla Game Portal, 28 June 2024, [https://godzillagames.jp/battle_line/news/en/news/game/2024062801.html Part 2 of the GAMERA -Rebirth- Collab!]</ref><ref>Godzilla Battle Line Official X Account, 3 November 2024, [https://x.com/Gz_battleline/status/1852937426823725457 【ゴジバトサミット 速報】映画『大怪獣空中戦 ガメラ対ギャオス』より「#ガメラ(1967)」「#ギャオス(1967)」が11/5(火)よりゴジバトに参戦決定！], X (Twitter)</ref>

Additionally, Masaaki Tezuka ([[:ja:手塚昌明|jp]]) once suggested using Gamera instead of the aforementioned [[Kamoebas]] ([[:ja:カメーバ|jp]]) for the 2003 film ''[[Godzilla: Tokyo S.O.S.]]'',<ref>Dave Fuentes, 3 September 2015, [https://terrordaves.com/2015/09/03/masaaki-tezuka-the-proper-etiquette-for-accepting-a-godzilla-movie/ Masaaki Tezuka & the Proper Etiquette for Accepting a Godzilla movie!], Terror from Beyond the Dave</ref>{{refn|The novelization of [[Godzilla (franchise)#Reiwa era (2016–present)|anime Godzilla trilogy]] by [[Hiroyuki Seshita]] ([[:ja:瀬下寛之|jp]]), who later directed ''[[Gamera Rebirth]]'', made a possible reference to both Kamoebas in the 2003 film and Gamera as the "Kamoebas IV" slain by Godzilla.<ref name=MonsterApocalypse />|group="note"}} and Gamera was at one point considered to appear in the 2007 video game ''[[Godzilla: Unleashed]]''. The 1999 video game ''Gamera Dream Battle'' was able to connect to ''Mothra Dream Battle'' in which [[Mothra]] and [[King Ghidorah]] appeared as playable characters.<ref name=IGN2022 />

Gamera's voice effect was used in ''[[Godzilla vs. King Ghidorah]]'',<ref name="Wong">{{cite book|last1=Wong|first1=Kin Yuen|title=World Weavers: Globalization, Science Fiction, and the Cybernetic Revolution|date=2005|publisher=Hong Kong University Press|location=Hong Kong|isbn=9789622097216|page=182|url=}}</ref> and Gamera was represented within a concept art of ''[[Godzilla: King of the Monsters (2019 film)|Godzilla: King of the Monsters]]'',<ref name=Bernstein>Abby Bernstein, 2019, ''The Art of Godzilla: King of the Monsters'', p.11, Titan Books</ref><ref name=Peters /> and several Godzilla productions have presumed references to Gamera.<ref name=TheSeries>[https://tvtropes.org/pmwiki/pmwiki.php/Characters/GodzillaTheSeries Characters / Godzilla: The Series]</ref><ref name=FinalWars>[https://tvtropes.org/pmwiki/pmwiki.php/Film/GodzillaFinalWars Film / Godzilla: Final Wars]</ref><ref name=MonsterApocalypse>Renji Ōki, 2017, ''GODZILLA: Monster Apocalypse'', pp.114–115, [[Kadokawa Corporation|Kadokawa]].</ref><ref name=Squires>John Squires, 13 March 2017, [https://bloody-disgusting.com/news/3428029/kong-skull-island-tease-future-gamera-movie/ Did 'Kong: Skull Island' Tease Future 'Gamera' Movie?], [[Bloody Disgusting]]</ref>

Gamera and Godzilla and other monsters from respective franchises co-appeared in several exoteric productions and events such as stage shows,<ref name=26Facts>{{cite web |author= |url=https://www.scifijapan.com/kaiju-monsters/shout-factory-tv-presents-gamera-marathon-26-gamera-facts |title=Shout! Factory TV Presents Gamera Marathon + 26 Gamera Facts |website=[[SciFi Japan TV|SciFi Japan]] |access-date=2025-04-19}}</ref><ref>[[Haruo Nakajima]], 2010, ''怪獣人生 元祖ゴジラ俳優・中島春雄'', pp.173-176, Yosensha</ref><ref name=Koganemushi>Atelier Koganemushi, 22 December 2017, [https://x.com/AtelierGodziban/status/944025983224442881 21年前の懐かしい記念写真が見つかりました。], X (Twitter)</ref> a television show ([[:ja:ゴジラ・ガメラ・ウルトラマン!怪獣クイズだ大集合!!|jp]]), ''[[Dr. Slump]]'' and ''[[Dragon Ball]]'',{{sfn|Padula|2015|p=224–225}} ''[[The Simpsons]]'',<ref name=Simpsons /> ''[[Urusei Yatsura]]'',{{refn|As below mentioned, Gamera and Gyaos and Daimajin made cameo appearances in ''Urusei Yatsura'' which also had influences on the productions of the Heisei Gamera trilogy,<ref name=Ono2018 /><ref name=Visual /> and a minor crossover with ''[[Inuyasha]]'' was also made in ''USO Makoto Yōkai Hyaku Monogatari''.<ref name=Kyogoku />|group="note"}} ''[[Daicon III and IV Opening Animations]]'',{{refn|Later mentioned [[Hideaki Anno]] was involved in ''Daicon III'', and Daicon Films ([[Gainax]]) produced the 1985 [[fan film]] ''[[Yamata no Orochi no Gyakushū]]'', the first kaiju career of [[Shinji Higuchi]].|group="note"}} ''[[MegaTokyo]]'', ''[[City Shrouded in Shadow]]'',<ref name=Ono2018 /> ''[[Robot Chicken]]'',<ref name=RobotChicken>[https://www.behindthevoiceactors.com/characters/robot-chicken/ Robot Chicken Characters], Behind The Voice Actors</ref> ''The Slammie Brothers vs. Godzilla and Gamera'',<ref name=Noma /> and ''USO Makoto Yōkai Hyaku Monogatari''.<ref name="Kyogoku" /> Several franchises such as ''[[Dr. Slump]]'',<ref name="Gatchan">[[MyAnimeList]], [https://myanimelist.net/character/18063/Gajira_Norimaki Gajira "Gatchan" Norimaki]</ref> ''[[Case Closed|Detective Conan]]'',<ref name="Conan" /> ''[[Sailor Moon SuperS]]'',<ref name="Sailor">Sailor Moon Trivia, 13 December 2020, [https://x.com/sailortrivia/status/1337916254397616128 In episodes 141 & 143, "Gazulla" plays at the movie theater. The title character is a combination of kaijū Gamera and Godzilla.], Twitter (X)</ref> and ''Jumbo Monster GOMERA'' ([[:ja:バ怪獣 ゴメラ|jp]])<ref name=ITmedia /> have characters with the names "Gamera" and "Godzilla". In 2005, [[Shusuke Kaneko]] directed the 11th episode on ''[[Ultraman Max]]'', choosing to include a scene of children playing with toys of Gamera and Godzilla as a reference to the films he had directed in both franchises.{{refn|Kaneko received permission from both Kadokawa and [[Shōgo Tomiyama]] for this scene; however, due to copyright issues, the scene was removed from the DVD release.|group="note"}} [[Ayako Fujitani]] also made an appearance as a guest in the episode.<ref name=UltramanMax>[[Uchusen]], 30 October 2006, ''ウルトラマンマックス マックス!マックス!マックス!怪獣大画報'', pp.52-53, [[Tsuburaya Productions]], [[Asahi Sonorama]]'s Fantastic Collection</ref><ref>[[Uchusen]], 20 April 2006, ''Uchusen Year Book 2006'', p.58, [[Asahi Sonorama]]'s Sonorama Mook</ref><ref name=MagMixMax /><ref name=Visual /> On the other hand, Kaneko's attempt to make Gamera to appear in his live-film adaptation of ''[[Minna Agechau]]'' (1985), which includeds various vulgar references to classic characters such as [[Godzilla]], [[King Ghidorah]], Mother of Ultra]] ([[:ja:ウルトラの母|jp]]), ''[[Indiana Jones (character)|Indiana Jones]]'', and below-mentioned [[Bruce Lee]], however Tokuma Shoten turned down this.<ref name=UltramanMax />

The 1998 [[Shochiku]] film ''[[Daikaijū Tōkyō ni arawaru|Giant Monsters Appear in Tokyo]]'' represented off-screen appearances of two battling kaiju, the "jet-flying turtle appeared on [[Fukuoka]]" and the "80 meters tall, fire-breathing, bipedal, carnivorous dinosaur-like lizard appeared on the port of [[Tokyo Bay]]", clearly referencing Gamera in ''[[Gamera: Guardian of the Universe]]'' and [[Godzilla]] in ''[[The Return of Godzilla]]'' where several casts from the Heisei Gamera Trilogy such as [[Hirotarō Honda]] and [[Tomorowo Taguchi]] appeared in the film.<ref name=Ono2018 /><ref name=Noma>Norikazu Noma, Seinosuke Ito, Jinni Tohmon, 25 January 2001, ''ガメラ 完全化読本'', p.124, p.145, pp.160-164, p.191, [[Paradigm (publisher)|Paradigm]]</ref><ref>[http://home.f05.itscom.net/kota2/jmov/1999_04/990430.html 大怪獣東京に現わる]</ref>

===Productions===
{{see also|Five-Company Agreement|Keizō Murase}}
{{multiple image
 | width = 150
 | image1 = King Kong japanese poster 1.jpg
 | alt1 =
 | image2 = Genshikaijuarawaru poster.png
 | alt2 =
 | footer = Japanese posters of the re-released edition of ''[[King Kong (1933 film)|King Kong]]'' in 1952 and ''[[The Beast from 20,000 Fathoms]]'' in 1954 by Daiei Film. The former was the first [[post-war]] release of [[Monster movie|monster films]] in Japan.<ref name=Noma /><ref name=Ui>Hisayuki Ui, 1 January 1994, ''From Gamera to Daimajin: all of Daiei tokusatsu films'', p.27, pp.58-63, [[:ja:近代映画社|Kindaieigasha]]</ref>
}}

[[Daiei Film]] produced and [[Film distribution|distributed]] films that played major roles in forming [[tokusatsu]] and [[kaiju]] genre under [[Masaichi Nagata]], one of creators of Gamera.

Nagata's intentions made the company to distribute foreign films, such as [[Disney]] productions due to Masaichi's connections with [[Walt Disney]],<ref name=Ui /><ref>Isao Ogawa ([[:ja:小川功 (経営学者)|jp]]), June 2015, [https://cir.nii.ac.jp/crid/1050282677716756736?lang=en The Study of Fictitiousness in Theme Parks : True-False Discussion of Nara Dream Land from a Tourism-Sociological Viewpoint], The Hikone ronso, vol.404, pp.64-79, [[Shiga University]]</ref> and to produce innovative productions, resulting in the productions of the first post-war [[science fiction]] [[tokusatsu]] films in Japan; ''Rainbow Man'' ([[:ja:虹男|jp]]) and ''[[The Invisible Man Appears]]'' in 1949. [[Eiji Tsuburaya]], who had repeatedly associated with Masaichi Nagata since early 1930s,{{refn|In 1930, Masaichi Nagata from [[Nikkatsu]] suggested Eiji Tsuburaya and [[Minoru Inuzuka]] from [[Shochiku]] to Nikkatsu. However, they eventually quitted Nikkatsu due to various troubles. In 1948, Nagata from Daiei Film again approached Tsuburaya, who was exiled from [[Toho]] due to the [[Purge (occupied Japan)|purge]]. and suggested that if it goes well, Tsuburaya will be able to join Daiei Film.<ref name=Cercle />|group="note"}} and Sadamasa Arikawa ([[:ja:有川貞昌|jp]]) and Shuzaburo Araki ([[:ja:荒木秀三郎|jp]]) participated in these and other Daiei productions before the signing of the [[Five-Company Agreement|Six-Company Agreement]] in 1953 (which was also led by Masaichi),{{refn|Tsuburaya's other Daiei careers include ''Kakute kamikaze wa fuku'' in 1944, ''Ikeru Isu'' in 1945, ''Ghost Train'' in 1949, and so on.|group="note"}} and they intended to join Daiei Film with the 1949 films after Tsuburaya's exile from [[Toho]] because of the 1948 [[Purge (occupied Japan)|purge]] due to his involvements in war [[propaganda]]s, and Arikawa and Araki's voluntary resignations after [[Toho strikes]]. However, Tsuburaya was rather dissatisfied with the tokusatsu production (or effects) in ''The Invisible Man Appears'' (or their attempts to join the company didn't materialize), and eventually didn't join Daiei Film. Tsuburaya and Arikawa and Araki later participated in ''[[Godzilla (1954 film)|Godzilla]]'' and various other Toho tokusatsu productions.<ref name=Ui /><ref name=TohoSF93 /><ref name=Godzilla60 /> The 2020 biopic ''[[Nezura 1964]]'' ambiguously portrayed Tsuburaya's association with Daiei Film before ''Gamera''.<ref name=Furuya>{{Cite web|title=古谷敏インタビュー|url=https://www.nezura1964.com/news-11|access-date=2021-05-09|website=映画『ネズラ1964』公式サイト|language=ja|archive-date=2023-03-16|archive-url=https://web.archive.org/web/20230316212212/https://www.nezura1964.com/news-11|url-status=dead}}</ref>

Daiei Film, along with its own productions of various tokusatsu films, also distributed the re-released edition of ''[[King Kong (1933 film)|King Kong]]'' in 1952, making it the first [[post-war]] release of monster movies in Japan, and also distributed ''[[The Beast from 20,000 Fathoms]]'' in Japan in 1954, and these presumably influenced the productions of the 1954 film ''[[Godzilla (1954 film)|Godzilla]]'' by [[Toho]] and Daiei Film's own tokusatsu productions including the ''Gamera'' franchise.{{refn|The term "appear" (現わる, ''arawaru'') were repeatedly used by Daiei Film at that time, for the Japanese title of The Beast from 20,000 Fathoms and aforementioned ''[[The Invisible Man Appears]]'' and ''[[Warning from Space]]''.<ref name=Ono2018 />|group="note"}}<ref name=Noma /><ref name=Ui />

The [[Five-Company Agreement|Six-Company Agreement]] led by [[Masaichi Nagata]] prevented other companies from easily chasing after the success of Toho, and the ''Godzilla'' franchise didn't have notable competitors until the ''Gamera'' franchise;{{refn|As below mentioned, Non-Toho kaiju productions suddenly increased after Daiei's ''[[The Whale God]]'' and early Gamera films.|group="note"}} the agreement ironically made Daiei Film's own ''Dagora'' and ''[[Nezura]]'' to fail by using live animals ([[octopus]]es and [[rat]]s) to avoid the Toho-style, and Daiei Film changed the direction for ''Gamera, the Giant Monster''.<ref name=Karasawa /><ref name=BraveGuide />

Due to the [[Five-Company Agreement|Six-Company Agreement]], other companies, including Daiei Film itself, could not "openly" use [[tokusatsu]] techniques and staffs and actors of [[Toho]]. However, according to [[Keizō Murase]], [[Eiji Tsuburaya]]'s teams were secretly appointed for ''[[Gappa: The Triphibian Monster]]'' by [[Nikkatsu]] and ''[[The X from Outer Space]]'' by [[Shochiku]],{{refn|Eiji Tsuburaya and [[Minoru Inuzuka]] once joined Nikkatsu due to the invitation from [[Masaichi Nagata]], when they were in Shochiku.<ref name=Cercle />}} and other subsequent productions, and Toho's techniques were secretly used in these films. For ''[[Gamera, the Giant Monster]]'', some crews who had previously participated in ''[[Godzilla (1954 film)|Godzilla]]'' and other Toho kaiju films{{refn|Such as [[Keizō Murase]], Masao Yagi ([[:ja:八木正夫|jp]]), Fuminori Ohashi ([[:ja:大橋史典|jp]]), Toru Suzuki ([[:ja:鈴木昶|jp]]), and Michio Mikami ([[:ja:三上陸男|jp]]).|group="note"}} joined its production despite the agreement, and [[Eiji Tsuburaya]] gave a tacit approval to their actions. However, while there had been suggestions to seek Tsuburaya's help, even by an executive who is a friend of the father of Yonejiro Saito ([[:ja:斉藤米二郎|jp]]) and Tsuburaya,<ref name=Treasured /> filmmakers intentionally avoided receiving any technological assistances from Tsuburaya for the ''Gamera'' franchise to differentiate their productions from Toho, and produced ''Gamera'' and other tokusatsu films without Toho-based techniques, choices of materials, direction, and so on.<ref name=IGN2022 /><ref name=Karasawa />

Successes of ''[[Gamera, the Giant Monster]]'' and ''[[Gamera vs. Barugon]]'' resulted in sudden increases of non-Toho kaiju productions, such as afroementioned ''[[Gappa: The Triphibian Monster]]'' and ''[[The X from Outer Space]]''.<ref name=Karasawa /> Film makers were suspicious of Tsuburaya's involvements to these non-Daiei productions{{refn|Aside from Tsuburaya, Fuminori Ohashi ([[:ja:大橋史典|jp]]), who has participated in various Daiei Film tokusatsu productions, and [[Shinichi Sekizawa]] participated in ''[[Giant Phantom Monster Agon]]'' by [[Nippon Television]], and Toho withdrew a complaint against the tv series regarding close resemblances of Godzilla and Agon the titular monster, due to the involvements of the two. Agon was presumably a reused idea of the kaiju Aron from ''[[Ambassador Magma]]'' by Ohashi himself; these two productions involved Sekizawa and Ohashi and Tomio Sagisu ([[:ja:うしおそうじ|jp]]) and others, who had direct and indirect connections with ''Gamera'' and ''Daimajin'' and ''[[The Whale God]]'' and other Daiei Film productions.<ref>TV Magazine ([[:ja:テレビマガジン|jp]]), 25 September 1988, ''TV Magazine Special Edition: Gigantic Hero Complete Works'', p.224, [[Kodansha]]</ref><ref>[http://park8.wakwak.com/~tokusatsu/agon.htm アゴン]</ref>|group="note"}} despite the [[Five-Company Agreement|Six-Company Agreement]] because of sudden increases in non-Toho kaiju productions after Gamera films, despite the only non-Toho [[tokusatsu]] film of that time before the 1965 Gamera film to feature gigantic creature was [[Daiei Film]]'s ''[[The Whale God]]'' (''Killer Whale'') in 1962.<ref name=Karasawa />{{refn|''[[The Whale God]]'' was written by [[Kōichirō Uno]], and ''[[Kōichirō Uno's Wet and Swinging]]'' was the first career of [[Shusuke Kaneko]] as a film director.<ref name=Ono2018>Shuntaro Ono ([[:ja:小野俊太郎|jp]]), 28 December 2018, ''[[Geistesgeschichte]] of Gamera: From Showa to Heisei'', pp.8-9, pp.11-14, pp.21-23, p.29, p.41, p.43, p.78, pp.97-98, p.112, pp.115-126, p.140, p.190-193, pp.196-197, p.199-205, p.207-208, p.218, pp.221-222, Takanashi Shobou ([[:ja:小鳥遊書房|jp]])</ref> Fuminori Ohashi ([[:ja:大橋史典|jp]]) and Ryosaku Takayama ([[:ja:高山良策|jp]]) co-participated in ''The Whale God'', and Ohashi lessoned Takayama for [[Tsuburaya Productions]]'s ''[[Ultra Q]]'' after ''The Whale God''.<ref>[[Kodansha]], 1988, ''テレビマガジン特別編集 巨大ヒーロー大全集 (TV Magazine Special Edition: Giant Heroes Compendium)'', p.224</ref>|group="note"}}{{refn|''[[Gamera 3: Revenge of Iris]]'' had presumably tried to insert a reference to the 1962 film for Gamera to briefly interact with a cow-calf pair of [[North Pacific right whale]]s.<ref name=Perfection /> Additionally, the 1995 book, in which [[Noriaki Yuasa]] and [[Niisan Takahashi]] and Masao Yagi ([[:ja:八木正夫|jp]]) participated, features a scenario based on a scrapped film due to the bankruptcy of Daiei Film for Gamera and Whale God along with [[Warning from Space|Pairan]] and [[Nezura]] and some resurrected kaiju to protect the Earth.<ref name=OFS1995 />|group="note"}}

Involvements of foreign cast members and enhanced childish direction began in ''[[Gamera vs. Viras]]'' due to requests from global buyers, because of governmental attempt to acquire foreign currencies<ref name=Futaesaku>Masamitsu Futaesaku, February 11, 2023, [https://news.yahoo.co.jp/expert/articles/91110ba8b3b98f4ce0b63db01be51948d87b055d 【なぜゴジラやガメラはアメリカで支持された？】日本の怪獣映画が受け入れられた知られざる背景とは？], Yahoo! News ([[:ja:Yahoo!ニュース|jp]]), [[Yahoo! Japan Corporation]]</ref> and to support struggling Japanese film industries of that time, partially due to the recession of Japanese economy and the prosperity of [[television]] including Tsuburaya's ''[[Ultraman]]''<ref name=Denner /> by increasing film exports to global market;<ref name=Fantasy /> ironically [[#History|the success of the ''Gamera'' franchise indirectly contributed in this situation]] and the arise of the "Yokai Boom" for cost-effectiveness.<ref name=Ono2018 /> {{Nihongo|The Japanese Film Export Promotion Association|日本映画輸出振興協会|Nihon Eiga Yusyutsu Shinkō Kyōkai|lead=yes}} was established, and ''[[Gamera vs. Gyaos]]'' obtained a loan from the association.<ref name=Fantasy /> The establishment of the association was largely influenced by Daiei Film's [[Masaichi Nagata]] who had connections with political circles,<ref name=IGN2022 /> and the subsequent kaiju and tokusatsu films, not only ''Gamera vs. Gyaos'' and ''Wrath of Daimajin'' and other Daiei Film productions, but also others such as aforementioned ''[[Gappa: The Triphibian Monster]]'' and ''[[The X from Outer Space]]'' by [[Eiji Tsuburaya]]'s team, obtained tax-based loans from the association.<ref name=Tanigawa>Takeshi Tanigawa, August 2014, 海外輸出向けコンテンツとしての怪獣映画と日本映画輸出振興協会（輸振協）の活用, [[International Research Center for Japanese Studies]]</ref><ref name=Cercle>{{cite web |author=Kazuyuki Suzuki |date=2024-03-01 |title=日本映画輸出振興協会 怪獣映画製作に税金が使われた時代 |url=http://www.cercle.co.jp/blogs/?p=1028 |website=Cercle |access-date=2024-12-20}}</ref>

Showa Gamera films, especially since ''[[Gamera vs. Gyaos]]'', were intended to appeal to children. This was to deal with budgetary problems and the [[Five-Company Agreement|Six-Company Agreement]] to differentiate from the ''Godzilla'' franchise. Due to the agreement and the direction to differentiate from Toho, Gamera's characteristics such as to [[fire-breathing monster|breathe traditional non-atomic fire]], occasional [[quadrupedalism]] along with his foes and brutal and animalistic fight scenes,{{refn|Showa Gamera films intentionally featured quadruped antagonists; Barugon, Guiron, and Jiger.<ref name=Treasured /> Noriaki Yuasa also prioritized these aspects to not to personify monsters easily.<ref name=YuasaInterview />|group="note"}} his personality as both a friendly creature and a hero rather than [[Godzilla]]'s theme to represent a "[[Shinto#Kami|god of destruction]]",{{refn|Filmmakers paid attentions to zoom in on Gamera to feature as a character with personality, and his roars were designed to emotional with several variations to depict his emotions.<ref name=Treasured /> During the production of the 1965 film, [[Noriaki Yuasa]] and others "became fond of" Gamera, therefore they decided not to kill him and developed a friendly side of him. A number of crews and audiences initially did not favor the idea of Gamera becoming a hero, as [[kaiju]] were generally regarded to be fearsome beings at that time.<ref name=BraveGuide />|group="note"}} Material choices for suits and miniature models were devised to avoid duplicates with the Toho productions. Plots of Showa Gamera films intentionally avoided to focus on "standards" of kaiju films by Toho, such as [[Japan Self-Defense Forces|the JSDF]] and other military forces, weapons, scientific explanations, destructions of urban areas, and so on. Instead, subsequent films since ''[[Gamera vs. Viras]]'' featured simple, childish, and eccentric plots for young audiences.{{refn|Filmmakers focused on how not to bore child audiences, and scenes depicting Gamera performing bizarre behaviors such as [[Horizontal bar|acrobatic]] (due to the popurarity of the [[1964 Summer Olympics]]<ref name=YuasaInterview />) and musical acts, and [[Everyday life|daily life]] of people, such as having [[meal]]s, were also inserted to attract attentions of children.<ref name=Karasawa />|group="note"}} In the films, children play significant roles with the eccentric ideas presented, and children, unlike adults, always believe in Gamera,<ref name=Karasawa /><ref name=OFS1995 /> partially due to [[Noriaki Yuasa]]'s [[antithesis]] against war and political [[propaganda]]s and [[nationalism]].<ref name=YuasaInterview /> This direction was initially decided because a number of children watching ''[[Gamera vs. Barugon]]''{{refn|The only Showa Gamera film being not directed by Noriaki Yuasa, and the only Showa film not specifically involving children.|group="note"}} got bored with the plot and left their seats,<ref name=IGN2022 /> and also to deal with drastically decreased budgets due to the financial situation of Daiei Film; the budget of ''[[Gamera vs. Viras]]'' was ¥24 million compared to budgets of ''[[Gamera vs. Barugon]]'' (¥80 million) and ''[[Gamera vs. Gyaos]]'' (¥60 million), with limitations of further elements such as designs and abilities of monsters, amounts of [[special effect]]s, destructions of urban areas, limited locations,<ref name=Denner>{{cite web |author=Elwood Red Denner |date=2025-01-20 |title=Gamera - Celebrating 60 Years of the Kaiju Genre's Invisible Hand |url=https://kaijuunited.com/2025/01/20/gamera-celebrating-60-years-of-the-kaiju-genres-invisible-hand/ |website=Kaiju United |access-date=2025-01-22}}</ref> and so on.<ref name=Karasawa /><ref name=Treasured /> Yuasa and others didn't intend to make ''Gamera'' films to be "good in quality", but being "good in performances", by appealing to young audiences for additional revenues.{{refn|Unlike today where sales of video and DVD also contribute, theater attendances were more important at that time, therefore child-friendly films were effective to attract additional audiences (accompanying adults), and margins between tickets for children and adults were recoverable with sales of merchandise and snacks and drinks.<ref name=Karasawa />|group="note"}}

On the other hand, a number of new tokusatsu expertise were obtained through productions of Showa Gamera films to compensate for lack of resources and avoiding Toho-based techniques and materials,<ref name=Treasured /> however those were lost due to the bankruptcy of the company and influenced the production of the Heisei trilogy; expertise from the ''Ultraman'' franchise, most notably ''[[Ultraman 80]]'' in which Noriaki Yuasa participated in as one of directors, were instead used for the production of the trilogy.<ref name=EigaHiho2021 />

As below mentioned, declined public recognition of the franchise due to repeated hiatuses in productions and limited marketing and media attentions,<ref name=Perfection /> along with misconceptions among new audience segments, such as Gamera being a cheap and inferior imitation of Godzilla and Gamera belonging to the Toho franchise, might have negatively affected box office results of the post-Daiei productions by [[Tokuma Shoten]] and [[Kadokawa Corporation]].<ref name=Vanishing /><ref name=KanekoDiary /> Additionally, negative reactions by global audiences towards the franchise in comparison to the Toho franchise were also presumably influenced by the ''[[Mystery Science Theater 3000]]''.<ref name=EigaHiho2021 />

[[Shusuke Kaneko]], and [[Shinji Higuchi]], who have previously participated in ''[[The Return of Godzilla]]'', respectively directed ''GMK'' and ''Shin Godzilla''<ref name=Ono2018 /> where Kaneko and [[Kazunori Ito]] originally wanted to take the 1992 film ''[[Godzilla vs. Mothra]]'' (the relationship between [[Mothra]] and Shobijin ([[:ja:小美人|jp]]) might have influenced the depictions of Gamera and Asagi Kusanagi in the Heisei Gamera trilogy),<ref name=Ono2018 /><ref name=GMK /> however Kaneko and Ito and Higuchi's preferences of ''Godzilla'' and other Toho productions, along with their disfavor of Showa Gamera and dissatisfactions for the Heisei Godzilla continuity, resulted in [[#Influences of the Heisei Trilogy|controversial outcomes of the Heisei trilogy]].<ref name=Perfection />

===Distributions and releases===
One of factors restricting revenues from Daiei Film productions was the company's weak distribution system including limited theater chains; releases of Daiei Film productions relied on movie theatres by [[Toho]], [[Shochiku]], and [[Toei Company]]. Daiei Film later launched the {{Nihongo|Daiei Industrial Enterprise Co.,Ltd.|大映興業株式会社|Daiei Kōgyō Kabushiki Gaisha|lead=yes}} to gain directly managing movie theaters, however the attempt failed as feasible properties were already acquired by other companies, further accelerating financial difficulties of Daiei Film. The deterioration of the company including its distribution system was partially caused by rather prodigal operations by [[Masaichi Nagata]]; his extensive achievements granted him the title '''''"Father of Japanese film industry"''''', however his career ironically formed a dictatorial company culture which even restricted executives, and [[Noriaki Yuasa]] described [[Hidemasa Nagata]] being "too artistic" to run a company. On the other hand, it was also Masaichi who pushed ahead to produce ''[[Gamera, the Giant Monster]]'', and Masaichi's authority rather compulsively overturned overall negative pre-release reviews of the 1965 film within Daiei Film as he complimented it, and the first Gamera film indeed succussed where even Yuasa anticipated it to fail since the beginning and couldn't understand why it didn't flop.<ref name=IGN2022 /><ref name=Ono2018 /><ref name=YuasaInterview />

Ever since ''[[Gamera vs. Zigra]]'', the last film by Daiei Film, was distributed by [[Dainichi Eihai]] for financial reasons,<ref name=OFS1995 /> Daiei Film productions by [[Tokuma Shoten]] and [[Kadokawa Corporation]] have always relied on other companies to distribute, restricting revenues.<ref name=IGN2022 /> The Heisei trilogy was distributed by [[Toho]] as Daiei Film lost its theater chains after its bankruptcy. However, the trilogy was distributed by Toho Western Films unlike ''Godzilla'' films, and the number of movie theatres for the trilogy was much smaller than ''Godzilla'' films, further reducing potential box office results.{{refn|As aforementioned, the Heisei Gamera trilogy was presumably aimed to avoid a direct competition against the Heisei Godzilla continuity, which was originally supposed to end with ''[[Godzilla vs. Mechagodzilla II]]''.<ref name=Perfection /><ref name=BraveGuide /><ref name=Gakken93 />|group="note"}}<ref name=Shiraishi>[[:ja:白石雅彦|Masahiko Shiraishi]], [[Shōgo Tomiyama]], 20 January 2003, ''Heisei Godzilla Encyclopedia'', "Godzilla vs. Space Godzilla: close encounter Godzilla vs. Gamera !?", pp.256-257, [[Futabasha]]</ref> However, [[Shōgo Tomiyama]] noted that he did not perceive the ''Gamera'' franchise as a rival, but was instead happy to see its revival along with the ''Godzilla'' franchise which was the sole support the kaiju genre received for years.<ref>[[Hobby Japan]], 19 December 2017, ''Godzilla vs. Destoroyah Completion'', "Staff interview - Shōgo Tomiyama", p.86,</ref> Filming of ''Gamera: Guardian of the Universe'' was also affected by the 1994 film ''[[Godzilla vs. SpaceGodzilla]]'' as both films were filmed in [[Fukuoka]].<ref name=Shiraishi />

Global distributions of videos of the franchise was also affected by the ''Godzilla'' franchise. [[Daiei Film]] avoided the market in the [[United States]] and instead focused more on [[Europe|European countries]] to decrease competition with Toho productions. Foreign cast members became increasingly well-represented due to requests from European buyers; however, these buyers also requested to avoid hiring [[black people|black]] cast members. Daiei Film obliged, though some criticized Daiei Film for this decision.<ref name=Karasawa /> On the other hand, its increasingly childish direction along with involving foreign cast members were also prompted by the Japanese Film Export Promotion Association under the Japanese government where Daiei Film's [[Masaichi Nagata]] contributed in its establishment, and governmental policy to export tokusatsu films to the global market also boosted serializations of ''Gamera'' and ''[[Daimajin]]'' franchises.<ref name=IGN2022 /><ref name=Fantasy /><ref name=Tanigawa /><ref name=Cercle /><ref name=Futaesaku /> ''Gamera'' franchise's child-friendly directions, limited productions, and much smaller global expansions than the ''Godzilla'' franchise, presumably restricted public recognition of the Daiei franchise and established inferior public impressions on it globally to the Toho productions.<ref name=EigaHiho2021 />

After the bankruptcy of Daiei Film, the franchise increased its efforts avoid direct competition against the ''Godzilla'' franchise, including the Heisei trilogy,{{refn|The Heisei Godzilla continuity was originally scheduled to end with ''[[Godzilla vs. Mechagodzilla II]]'' in 1993,<ref name=Gakken93>ゴジラ大百科, 1993, p. 96, "Interview on Shōgo Tomiyama - Future of Godzilla films", [[Gakken]]</ref> corresponding with the timing of launch of ''[[Gamera: Guardian of the Universe]]''.<ref name=Perfection /> The Godzilla continuity was further continued up to ''[[Godzilla vs. Destoroyah]]'' (1995) due to the postponement of the [[Godzilla (1998 film)|American film]] by [[TriStar Pictures]].<ref>[[Hobby Japan]], 31 March 2021, ''[[Godzilla vs. SpaceGodzilla]] Completion'', pp. 76–77, "Interview on Shōgo Tomiyama", ISBN 9784798624631</ref>|group="note"}} and ''[[Gamera: Super Monster]]'' by [[Tokuma Shoten]] and ''[[Gamera the Brave]]'' by [[Kadokawa Corporation|Kadokawa]] were released in 1980 and 2006 respectively because Toho temporary ceased producing Godzilla films due to declined box office results.{{refn|Box office results of ''Gamera: Super Monster'' and ''[[Gamera 3: Revenge of Iris]]'' and ''Gamera the Brave'' might have been negatively affected by the timings of their releases when the popularity of kaiju genre itself stagnated.<ref name=IGN2022 /><ref name=Vanishing />|group="note"}}<ref name=IGN2022 /><ref name=BraveGuide /><ref name=Karasawa /> While the franchise was not rebooted after the 1980 film,<ref name=Ui /> there also existed scrapped projects in early 1990s prior to the Heisei trilogy{{refn|A [[Direct-to-video#OVA and V-Cinema in Japan|V-cinema]] project in 1991, and [[Niisan Takahashi]]'s script which was later redeveloped as the 1995 novelization ''Gamera vs. Phoenix''.<ref name=EigaHiho2021 /><ref name=DaieiScripts />|group="note"}}, where the Heisei Godzilla continuity had been continuously developed since ''[[Godzilla vs. Biollante]]'' (1989).<ref name=EigaHiho2021 /> After the commercial failure of the 2006 film, which was originally launched as a proposal for a crossover with Godzilla in 2002,<ref name=Aiken /> Kadokawa [[#Influences of the Heisei Trilogy|cancelled various projects]], including reboot attempt(s) in 2010s,<ref name=CGWORLD /><ref name=Suzumura /><ref name=ANN /><ref name=Nezura1964>{{cite web|author=Keith Aiken |url=https://www.scifijapan.com/kaiju-monsters/nezura-1964-exclusive-first-look-at-concept-art-for-new-kaiju-movie|title=NEZURA 1964 -- Exclusive First Look At Concept Art For New Kaiju Movie!|website=[[SciFi Japan TV|SciFi Japan]] |access-date=2024-12-09}}</ref> and instead released a short film for the 50th anniversary of the franchise in 2015;<ref name=WebNewType /> [[MonsterVerse]] by [[Legendary Pictures]] (which was at one point a Gamera project ''Gamera 3D''<ref name=THKingdom />) began in 2014, and subsequent Godzilla productions were continuously developed among theatrical releases and [[streaming media]]. ''[[Shin Godzilla]]'' and [[Godzilla (franchise)#Reiwa era (2016–present)|anime Godzilla trilogy]] were directed by filmmakers who have either previously or subsequently participated in Gamera productions.<ref name=Ono2018 /><ref name=ScifiJapan /> ''[[Gamera Rebirth]]'' was released on [[Netflix]] in 2023 after ''[[Godzilla Singular Point]]'' in 2021. ''[[Gamera: Super Monster]]'', ''[[Gamera 3: Revenge of Iris]]'', and ''[[Gamera the Brave]]'' were also released during "winters" of the kaiju genre when the popularity of ''Godzilla'' productions were also declining.<ref name=IGN2022 /><ref name=BraveGuide />

===Participants===
While [[Eiji Tsuburaya]] and Sadamasa Arikawa ([[:ja:有川貞昌|jp]]) and Shuzaburo Araki ([[:ja:荒木秀三郎|jp]]) eventually didn't join Daiei Film, a number of Tsuburaya's coworkers and students, who had previously participated in ''[[Godzilla]]'' and various other Toho productions, participated in ''Gamera'' and ''[[Daimajin]]'' and other Daiei productions,<ref name=Ui /> and a number of staffs involved in ''Gamera'' productions later participated in various ''Godzilla'' and ''[[Ultraman]]'' productions, including ''[[Gamera the Brave]]'' and ''[[Ultraman Tiga]]'' (and ''[[Digimon Tamers]]'') reusing the same early script for ''[[Gamera: Guardian of the Universe]]''.<ref name=Perfection />

A number of crews and filmmakers,{{refn|Such as [[Noriaki Yuasa]], [[Shusuke Kaneko]], [[Shinji Higuchi]], [[Hiroyuki Seshita]] ([[:ja:瀬下寛之|jp]]), [[Keizō Murase]], [[Akira Ifukube]], [[Shunsuke Kikuchi]], Fuminori Ohashi ([[:ja:大橋史典|jp]]), Ryosaku Takayama ([[:ja:高山良策|jp]]), Toshio Miike ([[:ja:三池敏夫|jp]]), Michio Mikami ([[:ja:三上陸男|jp]]), Toru Suzuki ([[:ja:鈴木昶|jp]]), Makoto Kamiya ([[:ja:神谷誠|jp]]), Eizo Kaimai ([[:ja:開米栄三|jp]]), Toru Matoba ([[:ja:的場徹|jp]]), [[Yoshiyuki Kuroda]], [[Tomoo Haraguchi]] ([[:ja:原口智生|jp]]) and other crews from the Heisei Gamera trilogy, Isao Kaneko, Shinichi Wakasa ([[:ja:若狭新一|jp]]), Ex Productions ([[:ja:エキスプロダクション|jp]]), Monsters ([[:ja:モンスターズ (製作会社)|jp]]), Nippon Eizo Creative ([[:ja:日本映像クリエイティブ|jp]]),<ref name=NEC /> HIRUMA MODEL CRAFT Production ([[:ja:ヒルマモデルクラフト|jp]]),<ref name=Tomoi /> and so on. Additionally, [[Yonesaburo Tsukiji]] and Yoshio Watanabe ([[:ja:渡辺善夫|jp]]) were also [[Eiji Tsuburaya]]'s students.|group="note"}} actors, voice actors, [[Extra (acting)|extras]], and [[suit actor]]s{{refn|Such as Eizo Kaimai ([[:ja:開米栄三|jp]]), [[Hurricane Ryu]], Teruo Aragaki ([[:ja:荒垣輝雄|jp]]), Umenosuke Izumi ([[:ja:泉梅之助|jp]]), [[Hirofumi Fukuzawa]], Toshinori Sasaki ([[:ja:佐々木俊宜|jp]]), Tomohiko Akiyama ([[:ja:秋山智彦|jp]]), Masaki Onishi ([[:ja:大西雅樹|jp]]), [[Mizuho Yoshida]], [[Toru Kawai]], and [[Akira Ohashi]].|group="note"}} have participated in both and related franchises (including other Tsuburaya works).<ref name=MangaBoys /><ref name=HurricaneRyu /> [[Keizō Murase]] and Masao Yagi ([[:ja:八木正夫|jp]]){{refn|His father Kanju and uncle Yasuei participated in various Godzilla and [[Mothra]] films.<ref name=HobbyJapanMook /><ref>[https://moviewalker.jp/person/287164/ 八木勘寿の映画作品]</ref><ref>[https://moviewalker.jp/person/287163/ 八木康栄の映画作品]</ref><ref>[https://mykaiju.com/the-yagi-brothers/ The Yagi Brothers]</ref> Masao's sons Tsutomu ([[:ja:八木功|jp]]) and Hiroshi have also participated in the Ex Productions ([[:ja:エキスプロダクション|jp]]) and Gamera and Godzilla productions.<ref>Media Arts Current Contents, March 2014, [https://mediag.bunka.go.jp/projects/project/tokusatsu-2014.pdf 日本特撮に関する調査], [[Mori Building Company]] and [[Agency for Cultural Affairs]]</ref>|group="note"}} and Toru Suzuki ([[:ja:鈴木昶|jp]]) and Michio Mikami ([[:ja:三上陸男|jp]]), who have previously participated in ''Godzilla'' and other Toho kaiju films and worked with [[Eiji Tsuburaya]], and Akira Takahashi ([[:ja:高橋章|jp]]) and Nori Maezawa ([[:ja:前澤範|jp]]) founded the tokusatsu modelling company the Ex Productions ([[:ja:エキスプロダクション|jp]]) after ''[[Gamera, the Giant Monster]]''. Murase also founded another tokusatsu related company called 20Twenty ([[:ja:ツエニー|jp]]) afterward.{{refn|Keizō Murase's sons Fumitsugu and Naoto have also participated in the 20Twenty, and Fumitsugu later founded another tokusatsu company named Frees.<ref>Frees Inc., [https://www.frees.shop/company.html 会社概要]</ref>|group="note"}} These companies contributed in various tokusatsu productions including ''Gamera'' and ''[[Daimajin]]'', and non-Daiei franchises by Tsuburaya such as ''[[Godzilla (franchise)|Godzilla]]'' and its related ''[[Zone Fighter]]'', ''[[Ultraman]]'', ''[[Kamen Rider]]'',{{refn|There exist [[Ultraman vs. Kamen Rider|several crossovers between ''Ultraman'' and ''Kamen Rider'']]([[:ja:ウルトラマンVS仮面ライダー|jp]])([[:ja:スーパー特撮大戦2001|jp]]), including a puppet show which involved Gamera.<ref name=Koganemushi />|group="note"}} and so on.<ref name=HobbyJapanMook>Hobby Japan Mook, 28 March 2016, ''[[Uchusen]] Extra Volume: Kamen Rider Kaijin Daigahō 2016'', "Masao Yagi and the Ex Productions", p.53, [[Hobby Japan]]</ref>

===P Productions===
As aforementioned, there have been [[#Conception|contradicting theories regards the original conceptor of Gamera]] where even [[Noriaki Yuasa]] and [[Niisan Takahashi]] and Yonejiro Saito ([[:ja:斉藤米二郎|jp]]) weren't truly aware of. Tomio Sagisu ([[:ja:うしおそうじ|jp]]), a student of [[Eiji Tsuburaya]] and the founder of [[P Productions]], had repeatedly participated in Daiei Film productions most notably ''[[The Whale God]]'' and ''Buddha'' ([[:ja:釈迦 (映画)|jp]]). Sagisu claimed that his 1962 demo reel{{refn|About "a giant, monstrous turtle which flies by emitting flames from its retracted limbs".|group="note"}} for the project ''STOP Series'', could be the original idea of Daiei's Gamera. Sagisu initially showed the demo reel to Eiji Tsuburaya, and [[Toho]] paid attention to it, and the company later brought the project to [[Fuji Television]], however ''STOP Series'' was eventually cancelled. Later, Sagisu instead brought the reel to Daiei Film to launch a project, and believed that this eventually became the prototype of Gamera. Sagisu once inquired [[Yonesaburo Tsukiji]], another student of Tsuburaya and participated in both ''[[Nezura]]'' and ''Gamera'', however Tsukiji didn't agree with Sagisu's claim and instead noted [[Hidemasa Nagata]] as the inventor.<ref name=Ushio />

There is also a testimony about the development of Gamera by the designer Akira Inoue ([[:ja:井上章|jp]]), which might not entirely correspond with Sagisu's claim; Inoue designed over 50 different designs of Gamera for the 1965 film, including drastically different ones from the final version, such as a limb-less monster to crawl on the ground like a centipede.<ref name=Ui />

Despite this, [[P Productions]] and Daiei Film retained a tie and shared various crews{{refn|Such as [[Noriaki Yuasa]], [[Niisan Takahashi]], [[Shunsuke Kikuchi]], [[Tomoo Haraguchi]] ([[:ja:原口智生|jp]]), Nippon Eizo Creative ([[:ja:日本映像クリエイティブ|jp]]),<ref name=NEC /> HIRUMA MODEL CRAFT Production ([[:ja:ヒルマモデルクラフト|jp]]), Fuminori Ohashi ([[:ja:大橋史典|jp]]), Ryosaku Takayama ([[:ja:高山良策|jp]]), Yoshio Watanabe ([[:ja:渡辺善夫|jp]]), Eizo Kaimai ([[:ja:開米栄三|jp]]), Toru Matoba ([[:ja:的場徹|jp]]), Tamotsu Taga, and so on.|group="note"}} where [[Eiji Tsuburaya]]'s co-woker and student from Daiei Film, Ryosaku Takayama ([[:ja:高山良策|jp]]) and Yoshio Watanabe ([[:ja:渡辺善夫|jp]]), were two of founders of P Productions. Additionally, Shinsuke Kojima ([[:ja:小嶋伸介|jp]]) and Tamotsu Taga and others abandoned Daiei Film, which was already at the brink of bankruptcy, and joined P Production after the failure and aftermaths of ''[[Nezura]]''.<ref name=Tajima /> Crews of ''Gamera'' and other Daiei productions including [[Noriaki Yuasa]] later participated in projects by P Productions{{refn|Such as ''[[Denjin Zaborger]]'', ''[[Kaiju ouji]]'', ''[[Ambassador Magma]]'', ''[[Spectreman]]'', and so on.|group="note"}} since before the 1968 incidents on P Productions, and increased their involvements afterward where P Productions was no longer able to produce tokusatsu productions by itself and was forced to make its staffs as contract employees,{{refn|In 1968, P Productions was forced to sell its main studio due to a [[labor dispute]], and its entire office building was lost because of an accidental fire.<ref name=Tajima /> Afterward, the company focused on subcontract tokusatsu productions by other companies.<ref name=Tomoi />|group="note"}} and crews from P Productions projects later joined ''Gamera'' films.<ref name=Ushio /><ref name="Tomoi">Kento Tomoi, Seiji Yamada, 14 November 2011, ''Denjin Zaborger and P Productions Tokusatsu Encycropedia'', "P Productions works 2: tokusatsu subcontracts" (p.64), "Interview on Shinji Hiruma" (p.87), "Interview on [[Tomoo Haraguchi]] ([[:ja:原口智生|jp]]) and Osamu Kishikawa ([[:ja:岸川靖|jp]])" (pp.144–145), Bessatsu Eiga Hiho ([[:ja:映画秘宝|jp]]), Yosensha MOOK, Yosensha ([[:ja:洋泉社|jp]])</ref>

Aforementioned crews, who once abandoned near-bankrupt Daiei Film for P Productions due to multiple troubles and confusions of ''[[Nezura]]'',<ref>{{cite web |author= Michihiro Amano |date=2020-02-04 |title= 第90回『大群獣ネズラ』|url=https://bookstand.webdoku.jp/cinema/amano/202002/04142221.html |website=Book Stand, HAKUHODO Kettle ([[:ja:ケトル (雑誌)|jp]]) |access-date=2024-12-21}}</ref> such as a [[labor dispute]] and near-fatal [[dust mite allergy]] on Michio Mikami ([[:ja:三上陸男|jp]]) and others{{refn|Michio Mikami developed a rodent allergy and was traumatized due to this incident. He later participated in ''Gamera'' and various tokusatsu productions as a member of the Ex Productions ([[:ja:エキスプロダクション|jp]]), however he thoroughly avoided to associate with any rat-based [[kaijin]] ([[:ja:怪人|jp]]) for ''[[Kamen Rider]]'' and other dramas.<ref>Toru Hirayama ([[:ja:平山亨|jp]]), 20 January 1998, ''仮面ライダー名人列伝: 子供番組に奇蹟を生んだ男たち'', pp.153-154, Fujinsha ([[:ja:風塵社|jp]])</ref> [[Noriaki Yuasa]] repeatedly refused Daiei Film's requests to reuse Nezura's model for his Gamera films.<ref name=YuasaInterview />|group="note"}} which were caused by using live rats,{{refn|[[#Productions|As aforementioned]], Daiei Film used live animals for ''Dagora'' and ''Nezura'', presumably due to their attempts to avoid [[Toho]]-styles to deal with the [[Five-Company Agreement|Six-Company Agreement]] led by Daiei Film's [[Masaichi Nagata]] himself.<ref name=Karasawa />|group="note"}} later participated in ''Gamera'' and other Daiei productions. For instance, Tamotsu Taga, along with Noriaki Yuasa and other ''Gamera'' crews, co-participated in projects such as ones by Daiei TV-Film ([[:ja:大映テレビ|jp]]),{{refn|Such as ''[[The Fiend with Twenty Faces]]'' ([[:ja:怪人二十面相 (1977年のテレビドラマ)|jp]]) and ''GO!GO Skyer'' ([[:ja:GO!GOスカイヤー|jp]]) and ''White Fang'' ([[:ja:白い牙 (テレビドラマ)|jp]]).|group="note"}} and ''[[Gamera: Super Monster]]'' after the bankruptcy of Daiei Film.<ref name=Tajima>Osamu Tajima, 13 March 2016, ''Bessatsu Eiga Hiho: Tokusatsu Hiho'', vol.3, pp.102-109, "Timelines of Souji Ushio and P Productions", Eiga Hiho ([[:ja:映画秘宝|jp]]), Yosensha ([[:ja:洋泉社|jp]])</ref>

[[Shirō Sagisu]], the son of Tomio and the current owner of the company, has also participated in several Daiei TV-Film dramas after the bankruptcy of Daiei Film,{{refn|Such as ''Aoi Hitomi no Sei Life'' ([[:ja:青い瞳の聖ライフ|jp]]) and ''Tears of Swan'' ([[:ja:青春オーロラ・スピン スワンの涙|jp]]).<ref>{{cite web |date= 25 April 1989|title= 仲村知夏 – ひとりぼっちに帰らない 〜I Think We're Alone Now〜|url=https://www.discogs.com/release/21027121-%E4%BB%B2%E6%9D%91%E7%9F%A5%E5%A4%8F-%E3%81%B2%E3%81%A8%E3%82%8A%E3%81%BC%E3%81%A3%E3%81%A1%E3%81%AB%E5%B8%B0%E3%82%89%E3%81%AA%E3%81%84-I-Think-Were-Alone-Now |website= [[Discogs]] |access-date=2024-12-21}}</ref>|group="note"}} and Shirō, [[Hideaki Anno]],{{refn|He has directed the ''[[GAMERA 1999]]'' ([[:ja:GAMERA1999|jp]]) and below-mentioned ''[[Shiki-Jitsu]]'', and Gamera appeared in ''[[Daicon III and IV Opening Animations]]''.|group="note"}} and [[Shinji Higuchi]] co-participated in [[Toho]] and [[Tsuburaya Production]] projects, which [[#Legacy|have been influecned by the ''Gamera'' franchise]]; ''[[Shin Godzilla]]'', ''[[Shin Ultraman]]'', ''[[Attack on Titan (film)|Attack on Titan]]'', the ''[[Neon Genesis Evangelion (franchise)|Neon Genesis Evangelion]]'' franchise, and the ''[[Gridman the Hyper Agent|Gridman]]'' franchise. Shirō also introduced Higuchi to the pianist Junko Miyagi ([[:ja:宮城純子|jp]]) during the production of ''[[Evangelion: 3.0 You Can (Not) Redo]]'' because Miyagi is also a fan of the Heisei Gamera trilogy.<ref>{{cite web |author=[[Shirō Sagisu]] |title=『新世紀エヴァンゲリオン』オリジナルサウンドトラック |url= http://www.ro-jam.com/info_past.html |website=Shirō Sagisu Official Website |access-date=2024-12-21}}</ref>