Magic Serpent

Anguirus

[GRA] Played by Katsumi Tezuka. It would seem that this suit's floppy carapace was an intentional feature of Anguirus' design, as the manga adaptation of the film portrays Anguirus' carapace as flopping around. Subsequent concept art for the unmade early drafts of Godzilla vs. Destoroyah, Godzilla vs. Ghost Godzilla and Godzilla vs. Barubaroi, shows a design for Anguirus with the halves of his carapace being able to move around, although the latter instances of this concept art may be of the monster Barubaroi mimicking Anguirus.

[The Volcano Monsters]

[DAM] Played by Hiroshi Sekita and Tadaaki Watanabe. Compared to the Godzilla Raids Again suit, the Anguirus built for Destroy All Monsters had a wider, more muscular neck. The eyes were larger, giving Anguirus a more heroic appearance, just like the Godzilla he fought alongside. Except for a pair of fangs, the suit's teeth were shorter than its predecessor's. The carapace, which no longer moved independently of the rest of the suit, was lined with uneven rows of spikes.

[Gigan] Played by Koetsu Omiya.

[Megalon] Actor unknown. The suit's two large front teeth were removed.

[MG] Played by Kinichi Kusumi.

[Wilderness Years] Before his appearance in Godzilla: Final Wars, Toho planned to use Anguirus three times in the Millennium series and twice in the Heisei series. First, he was considered to appear in Godzilla vs. Ghost Godzilla, which was meant to be the last film in the Heisei series. Anguirus' appearance was retained in another concept for the final Heisei film, Godzilla vs. Barubaroi, which also featured a new subspecies of Anguirus called the Anguirus Hound. Both Godzilla vs. Ghost Godzilla and Godzilla vs. Barubaroi were scrapped in favor of Godzilla vs. Destoroyah, which did not feature Anguirus. However, Shinji Nishikawa commissioned concept art of Anguirus for both films. Anguirus was to be one of the Guardian Monsters, the God of the Sea, in Godzilla X Varan, Baragon and Anguirus: Giant Monsters All-Out Attack, the original version of Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. He was cut when Toho insisted that Mothra and King Ghidorah be included in the film instead to increase its marquee value. Anguirus was considered to appear in the following film, Godzilla Against Mechagodzilla, and battle Kiryu, but was removed from this project as well. Anguirus was planned to appear as a corpse in the film's sequel, Godzilla: Tokyo S.O.S., but was replaced with Kamoebas out of fear of fan backlash.

[GFW] Played by Toshihiro Ogura. While distantly resembling the 1955 suit the body of the suit was given a heavier build, as well as spikes on its arms and legs. The head of this Anguirus suit was also given a wider head and lost its crocodile-like snout. It has a pig-like nose with a short horn, and a crown of seven horns instead of seven. The eyes and forehead are now pressed more forward. The spikes of the carapace pointed forward and were arranged in straight rows, like the 1955 suit, and the tail ended in a spiked club, a feature more accurate to real ankylosauruses. The mouth has smaller teeth, and the fangs are not as prominent as in the previous suit. A planned scene in Godzilla: Final Wars of Godzilla destroying Rodan, Anguirus, and King Caesar was not filmed, making Anguirus one of the only five surviving monsters at the end of the film.

CR Godzilla 3S-T Battle

King Kong

[KKvsG] The suit's head had several gorilla-like features, such as a large mouth lined with almost rounded teeth inside the lips, a short nose, regularly-sized eyes, and a pointy tip-of-the-head. The suit also had longer arms than legs. A puppet of Kong's upper body was used for close-ups, while a stop-motion model was used for a sequence where Godzilla drop-kicks Kong.

In 1966, the suit was loaned to Tsuburaya Productions, where it was slightly modified and used to portray the giant monkey Goro in Ultra Q.

[KKE]The suit was returned to Toho the following year for the film King Kong Escapes, where it was modified to resemble the new King Kong suit and used to portray Kong in water scenes.

The GoroKongu looked much like the 1962 King Kong, still covered in brown fur except for the face, chest, hands and feet, and with the most noticeable difference being the suit's head. The head is now bigger, with bigger eyes, mouth and a shorter neck. The suit's arms are longer, and more hair covers the hands. Its legs are somewhat shorter, but the feet show no considerable difference. The suit also seems to be somewhat top-heavy. A second GoroKongu head was created for closeup shots of Kong.

Seven years later, the suit was reused in the series Go! Greenman for the kaiju, Gorilla. To make the suit feel more ape-like, poles were put into the arms of the suit for the suit actor to hold on to. This also helped the suit actor make more natural movements with the suit's long arms. By the time the suit was needed for Go! Greenman, the poles had been removed. Because of this, it was harder for the suit actor to make realistic movements. Throughout the episode the suit's arms would flail around very unnaturally.

For King Kong's first big-screen appearance since Peter Jackson's 2005 remake, the giant ape was given a brand-new design. Rather than the much more anatomically accurate gorilla-like design Kong bore in the 2005 film, the LegendaryKong appears to take cues from the original Kong design from the 1933 film, as well as the Kong designs used in Toho's two films featuring the monster. The LegendaryKong is bipedal and stands upright and like a human rather than on all fours like a gorilla, holding his arms at his sides. The color of Kong's fur is a brown color than the all-black fur of the 2005 Kong, and is based on the coloration of the 1933 Kong seen on official posters. The LegendaryKong is considerably taller than all previous versions of Kong, save for his 1962 Toho incarnation, and stands approximately 104 feet tall. According to director Jordan Vogt-Roberts, the LegendaryKong is meant to look both energetic and young as well as lonely and tired. Vogt-Roberts wanted this version of Kong to elicit sympathy from the audience and allow them to understand his feelings and thought processes.

• When designing King Kong, director Jordan Vogt-Roberts' mandate was to make his shape simple and "hopefully iconic" so that "a third grader could draw that shape and you know what it is," with the original 1933 design as a major source of inspiration. According to Vogt-Roberts, a major part of designing Kong was to give the impression that he was "a lonely God". When designing the titular kaiju, the designers looked to the Kong from the original film as a reference. Vogt-Roberts has said that designing and creating Kong was a huge part of the movie.
• Industrial Light & Magic's design process for Kong took eight months. One of the company's most grueling tasks was creating the 19 million hairs on the character model, a year-long endeavor.
• Kong was realized primarily through key-frame animation, although Toby Kebbell and Terry Notary performed in a facial capture session and movement capture session, respectively.
• Supervising sound editor and sound designer Al Nelson used sounds from lions, gorillas, and monkeys as bases for Kong's roar. The use of lions was inspired by sound editor Murray Spivak's work on the original film.
• Vogt-Roberts has said that the filmmakers intentionally tried to differentiate this Kong design from the design featured in the 2005 film directed by Peter Jackson. Rather than making the design resemble a gigantic silverback gorilla that walks on all four limbs like in Jackson's film, the designers chose to have Kong stand upright like a human. A major reason for this was to show that Kong is his own species that has its "own set of rules, so [the filmmakers] can do what we want and [they] really wanted to pay homage to what came before...and yet do something completely different."
• This is the second King Kong design to be portrayed via computer-generated imagery and motion capture, after the design from the 2005 film.
• According to an interview with Ishiro Honda, an early draft for the 1968 film Destroy All Monsters called for "all monsters" to appear. It's possible that Kong was to be among them, but it is unconfirmed.
• King Kong was also supposed to return in the Heisei era, but Turner Entertainment Inc., by then the copyright owner of the 1933 King Kong film, prevented this by stating that Kong shouldn't be in a Japanese monster film, and even blocked Mechani-Kong's return in the Heisei series.
• In the Toho films, Kong is much taller than the original King Kong, who was said to stand at 50 feet tall in the original 1933 film. Kong is approximately 145 feet tall in King Kong vs. Godzilla, and 60 feet tall in King Kong Escapes.
• Toho's King Kong was the basis for the American/Japanese anime TV Show, The King Kong Show. Toho was not involved in its development, though they later collaborated with the show's makers, Rankin/Bass Productions, to produce the film King Kong Escapes, which adapted several elements from the show.
• There were two known unlicensed Japanese King Kong films produced in the 1930's, Japanese King Kong and The King Kong That Appeared in Edo. Though these films are not official King Kong films, they are notable for being two of the first ever tokusatsu/kaiju films ever made, predating Godzilla by two decades. Unfortunately, all prints of these films are believed lost and very few records of their existence remain.
• In 1998 there was an unlicensed animated King Kong film made entitled The Mighty Kong, which was a family-oriented musical retelling of the original 1933 film. Because this film was not officially licensed, King Kong is never referred to by his full name in the film, only "Kong" or "the Mighty Kong."
• Shunsuke Fujita, the producer of Bandai Namco's Godzilla, stated in an interview that the developers and he "definitely wanted" to include King Kong in the game, but were unable due to licensing issues.

Mothra

• Mothra was the first Toho kaiju Godzilla faced that did not debut in the Godzilla series but was instead incorporated into and absorbed by it, becoming one of the series' recurring characters.
  • Mothra is also the only Toho kaiju to receive films dedicated to herself and her kind (Rebirth of Mothra and its two sequels) after appearing in the Godzilla series.
• Toho had intended to follow Godzilla vs. Biollante with a revival of Mothra in her own spin-off film, Mothra vs. Bagan. However, following the unimpressive box office performance of Biollante, Toho discarded the project in favor of another Godzilla film, Godzilla vs. King Ghidorah. A 1992 survey revealed that Mothra was Toho's most popular kaiju among women, an observation which inspired Toho to again revise its plans, abandoning a proposed direct sequel to King Ghidorah in favor of a Godzilla–Mothra film. Following the end of the Heisei Godzilla series, Toho produced the Rebirth of Mothra trilogy. Mothra thus became the first Toho kaiju to lead its own films after its incorporation into the Godzilla franchise.
• According to an interview with Kenpachiro Satsuma, Koichi Kawakita originally wanted Mothra to be killed in Godzilla vs. Mothra and appear in a sequel as MechaMothra.
• In addition to her appearance on Monster Island via stock footage in Godzilla vs. Gigan, Mothra can be very briefly seen during the film's final battle, dropping down from a bridge while Godzilla walks towards King Ghidorah. This 'cameo' is unintentional, a result of the film's extensive use of stock footage from Ghidorah, the Three-Headed Monster and other Showa Godzilla films.
• Stock footage of this incarnation of Mothra is utilized in Godzilla vs. Gigan to represent Mothra living on Monster Island. Whether the Mothra depicted in this stock footage is meant to canonically be the same Mothra from Destroy All Monsters is unclear.
• It is sometimes mistakenly believed that this incarnation of Mothra reappeared in the 1996 film Rebirth of Mothra. In reality, the 1996 Mothra is an entirely separate incarnation of the character, as the Heisei Godzilla films and Rebirth of Mothra trilogy do not share continuity.
• In Shusuke Kaneko's original vision for Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, titled Godzilla X Varan, Baragon and Anguirus: Giant Monsters All-Out Attack, the roles of Mothra and King Ghidorah were filled by Anguirus and Varan. Toho convinced Kaneko to replace the monsters with Mothra and King Ghidorah, believing the inclusion of two more popular monsters would increase the film's marquee value.
• Mothra's first appearance at Lake Ikeda may be a reference to Issie, a cryptid that is believed to live under the lake.
• Though Mothra's Shobijin are not present in GMK, they are referenced in the form of two twin girls who witness Mothra fly overhead in Yokohama. The two girls in question are portrayed by Ai and Aki Maeda, who portrayed the character Ayana Hirasaka in the film Gamera 3: Revenge of Iris.
• This Mothra's identity is not discussed within the context of Godzilla: Tokyo S.O.S., and it is seemingly implied to be the same Mothra featured in her debut film. Supplementary materials, however, reveal that this Mothra is merely a descendant of the original Mothra.
• During the end credits for Godzilla: Final Wars, Mothra is shown flying to Infant Island. Whether this is meant to indicate that Mothra somehow survived her battle with Gigan, or is simply a deleted scene, is unclear.

Mothra's larval form in the original Mothra was portrayed by a 3 foot-long remote-controlled puppet and a 6 foot-tall, 33 foot-long suit that was operated by eight actors, including Haruo Nakajima and Katsumi Tezuka. The ShodaiMosuLarva is distinct from later Mothra larva designs in that its body is a very light shade of brown, with very pronounced dark spots all over its body. The body is also very elongated and slender. The head is much more rounded than later designs, and features a tall forehead. The ShodaiMosuLarva's eyes are a light blue color and are very small and surrounded by large rounded sockets. The ShodaiMosuLarva's mandibles are relatively small, and the feelers flanking them are thin and located near the bottom of the head.

The ShodaiMosuImago would set the tone for all of the Mothra imago designs to follow. The prop's body is mostly white in color, with several orange spots, most notably on the top of its head. The body is very thick and rounded, and the legs are very thin and scrawny and are held close to the body. The ShodaiMosuImago's face is flat and its mandibles are very small. The eyes are ovular in shape, and are blue and surrounded by a black outline. For scenes of the imago Mothra flying in the distance, Mothra was portrayed through animation.

The ShodaiMosuImago was used in one scene in Mothra vs. Godzilla, during the imago Mothra's battle with Godzilla.

The GojiMosuLarva is much fatter than the previous design, with a shorter body. The body color is a slightly darker shade of brown, while even darker brown spots are still present all over the body. The GojiMosuLarva's skin is wrinkly and has veins visible on it. The head is less rounded, and the sockets around the eyes are not as deep and are less rounded. The eyes are still blue in color, but less plainly visible. The mandibles are quite large, while the feelers flanking them are fatter and located directly parallel rather than below the mandibles.

The GojiMosuImago is very similar to its predecessor, the 1961 Mothra Imago, although there are a few differences. The body of the GojiMosuImago is slightly more slender and less rounded. The legs are much longer and more pronounced, and are clearly visible rather than held close to the body. The colors on the GojiMosuImago are more muted, and the wing design is slightly different. Most of the orange fur on the body has been changed to brown, while the areas that were brown on the ShodaiMosuImago are now a darker shade of brown. The eyes are more rounded and extend further out of the head. The GojiMosuImago's antennae are thinner, while the feelers are now covered in fur. The GojiMosuImago's face is more prognathic than the ShodaiMosuImago's, with the snout extending out from the rest of the face before the mandibles. The mandibles themselves are also larger than those of the ShodaiMosuImago.

The GojiMosuImago puppets were reused for Ebirah, Horror of the Deep two years later. The props had deteriorated slightly, and the wings had become more stiff and frayed. The colors are now faded, while the fur that had once been white is now a dingy light brown tone. For several scenes set on Infant Island, Mothra was simply painted onto the backdrop of the scene. This design is also called the NankaiMosuImago (南海モス成虫,   NankaiMosuSeichū) in Ebirah, Horror of the Deep.

The SanDaikaijuMosuLarva is mostly based on the previous Mothra larva design, as its body proportions and the shape of its face are mostly unchanged. The SanDaikaijuMosuLarva's body is now smooth, without any visible wrinkles or veins, and is a dark brown color all over, with no spots. The eyes are red for the first time instead of blue, and the feelers next to the mouth have returned to a slimmer and more even shape.

The SoshingekiMosuLarva is mostly based on the SanDaikaijuMosuLarva design, featuring the smooth brown body and red eyes. However, this design features some differences of its own. The prop sits much lower off the ground than previous designs and is shorter in length, to match this Mothra's smaller size in the film. The body is an even darker shade of brown than the SanDaikaijuMosuLarva. The head is very small, with the forehead not even coming up to the top of the body. The sockets around the eyes are slightly more rounded but less deep, making the eyes more plainly visible.

Instead of being controlled by wires, this puppet used for Mothra larva in Godzilla vs. Mothra is more mechanical on the inside. When the larva crawls, there are small wheels underneath the puppet. The eyes are lamps which glow sometimes. The prop was later reused to portray Mothra Leo's larval form during water scenes in Rebirth of Mothra.

This Mothra imago puppet is mainly derived from the GojiMosuImago, with some differences. Mothra's body is now much more compact and rounded. Her fur is a brighter color, with most of the brown areas now colored orange. The eyes are slightly smaller and a much brighter blue color, while the antennae are shorter and thicker. This Mothra prop's legs are made to appear shorter and more bird-like. This prop is also called the MogeMosuImago (モゲモス成虫 MogeMosuSeichū?) in Godzilla vs. SpaceGodzilla.

The ReoMosuImago retains many of the key features of the previous Mothra imago design, but has been changed somewhat. The wings now possess a new pattern and now fold and flap more realistically, giving the prop a more lifelike appearance. The prop's face is wider, while the eyes sit further on the sides of the head. The eyes are changed from blue in color to a turquoise shade. The antennae are much longer and thicker, and feature a tuft of fur at their tips, giving them a closer appearance to real moth antennae. The legs retain the birdlike design, but are longer and thicker, with visible white claws on the feet.

The GMKMosuLarva puppet is a bit different from its predecessor, the HeiseiMosuLarva. It has a different shape around the eyes, but like the previous model and its successor, it is remote controlled.

The GMKMosuImago is very different from the previous and later designs. It looks more like like a hornet and Moth hybrid. The eyes are purple instead of the usual blue, the legs are much longer and the wings are pointier. On the wings, it has a similar pattern to Mothra Leo from the Rebirth of Mothra trilogy but with purple on the top, yellow in the middle and red on the bottom instead of orange on the top and green on both the middle and bottom or all seven colors of the rainbow like Rainbow Mothra. CGI used in some scenes.

SOSMosuLarva is similar to the HeiseiMosuLarva design, only darker in color. The other differences is that the lamps for eyes can glow either red or blue. Like the HeiseiMosuLarva and GMKMosuLarva puppets, it is remote controlled instead of being controlled by wires.

The puppet was different from the previous GMKMosuImago, returning to its fluffy and soft look and losing the wasp-like appearance. The puppet kept the slimness of the GMKMosuImago puppet, making it look more real than the other fluffy HeiseiMosuImago and ShodaiMosuImago puppets. This puppet is also called the FinalMosuImago (ファイナルモス成虫 FainaruMosuSeichū?) in Godzilla: Final Wars. Used in the CR Game as well.

Rodan

The ShodaiRado suit featured a large but slim body, enormous wings, and a large jagged-head. This Rodan's face was different from any of the later suits as it had a menacing, angry expression on its face. Also, its beak was broader, more jagged and actually bared teeth inside its mouth. On top of its head, the suit had jagged horns. This suit also had large eyebrows which covered its eyes. It is unknown if this Rodan had pupils, but some models of the design sport distinctive pupils making it a possibility.

The SanDaikaijuRado suit looks very similar to its predecessor, ShodaiRado, but with significant differences. Alterations from Rodan's previous traits include more rounded wings with short claws, a longer neck, a smaller and thinner beak, and large expressive eyes in contrast to the pitch black eyes of the ShodaiRado suit. The suit is also called the DaisensoRado (大戦争ラド?) in Invasion of Astro-Monster.

In Destroy All Monsters, the suit was modified to have a different face and wings. The wings appears to be longer and more pteranodon-like, and the beak is longer and pointed downwards. The face of this particular Rodan also appears to have a droopy-like look to it. The suit is also called the SoshingekiRado (総進撃ラド?) in Destroy All Monsters.

The SanDaikaijuRado suit is the only Rodan suit to be used in more than one movie.

While the body of the suit remained the same, the wings were changed in each movie it appeared in.

After its appearance in Invasion of Astro Monster, one of the DaisensoRado puppets was sent to Tsuburaya Productions. There, it was de-feathered and remade into the giant bird, Litra. Afterwards, the prop was modified again, and given a completely new color scheme and feathers to turn it into the endangered bird kaiju, Larugeus. Finally, the suit was returned to Toho, and was de-feathered again, then redesigned heavily into the puppet used for the Giant Condor.[citation needed]

Unlike most Rodan designs, the HeiseiRado design is the only one to not be a suit, but rather a puppet. This design was given three horns, so that it would appear more pteranodon-like in design. The eyes look very similar to the Godzilla it appeared with, and the stomach is different in design. Originally, the skin-color of this design was brown, but when it was used for Fire Rodan, it was recolored red. A hand puppet of Rodan's upper body, operated by Koichi Kawakita, was employed for close-up shots of Rodan.

In Godzilla: Final Wars, this is the first time Rodan's been portrayed in a suit since 1968's Destroy All Monsters. FinalRado is similar to the 1956 ShodaiRado suit, but with more pronounced arms and a somewhat similar skin-color to Fire Rodan. It also features a longer neck and legs. Unlike the original ShodaiRado suit, the FinalRado suit has fingers at the end of the arms, with the first digit being smaller rather than being equally the same length as the other finger digits. On its chest the plates are larger and more obvious. The horns on this suit are much less jagged, but slant upwards.

The FinalRado suit was also used to characterize Rodan in Toho's CR Godzilla 3S-T Battle game in 2006.

King Ghidorah

Originally, before production of Ghidorah, the Three-Headed Monster, this suit had purple scales and rainbow-colored detail on the wings, but later on, the entire body is recolored into a gold color. The heads of this suit has two curved horns on both sides with a crescent in the middle and a mane on each one, much like the appearance of a Chinese or Japanese Dragon. The actor is inside the middle head, and would hunch over, holding a pole, with the necks and heads being controlled by wires.

In Godzilla vs. Gigan, a stiff prop was used for scenes when King Ghidorah flew. This prop had red eyes and its wings and necks were fixed in place, giving King Ghidorah the bizarre appearance of hovering in the air.

The HeiseiGhido suit is much bigger than that of the ShodaiGhido suit. The heads have no manes of fur surrounding them, the horns are straighter, and the eyes are colored red with a snake-like pupil. Later on, this suit is remolded to create the Mecha-King Ghidorah suit. HeiseiGhido is the only King Ghidorah suit to not feature curved horns with a crescent in the middle on its heads.

In comparison to prior King Ghidorah suits, the HakuAkiGhido bears some marked differences to emphasize the fact that it represents a different form of King Ghidorah. The suit's skin is a dull gold in color. The necks are relatively short but thick and are covered in bright gold spines, while the suit's three heads are proportionally larger than in previous designs. In keeping with the other ancient monsters who appear in the film, the HakuAkiGhido is designed to look more primitive and fierce. The suit also draws on features from theropod dinosaurs, as seen in the suit's legs and faces.

The RaishuGhido suit resembles the HeiseiGhido, but features a more muscular build. The horn arrangement on the heads is similar to that of the ShodaiGhido, with the left and right heads having straight antlers, while the central head possesses forked ones. It also features somewhat shorter and thicker necks than previous suits, as well as more detailed wings.

A separate suit was made for King Ghidorah's younger form, Cretaceous King Ghidorah.

The RaishuGhido appears in a single shot in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, where it is substituted for the GMKGhido when the Satsuma uses thermal imaging.

In Bandai Namco's Godzilla, King Ghidorah was originally meant to be portrayed as the RaishuGhido, but time constraints due to the complexity of his attacks caused the developers to include his 1991 incarnation instead.

The GMKGhido suit is based on the original ShodaiGhido suit, but with more modern updates. The wings are more dragon-like in appearance, the heads looks very similar to that of a mythological dragon, the scales are very dragon-like in appearance as well, and the feet are also very dragon-like in appearance. As with the HeiseiGhido suit, the eyes on the GMKGhido suit are also colored red, but the pupils appear more human-like in appearance, much like the ShodaiGhido suit. One thing to note about the GMKGhido suit is that it has Varan-like fins on each side of all three heads. This is mainly because Fuyuki Shinada, who designed the suits for all the monsters in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, was disappointed that Varan, his all-time favorite monster, wasn't going to be in the film, seeing as Varan, along with Anguirus, were supposed to be in the movie at first instead of Mothra and King Ghidorah, so he compromised by putting Varan's facial fins on each side of all three heads of this suit.

The GMKGhido suit was also used to characterize King Ghidorah in Toho's CR Godzilla 3S-T Battle games in 2006 and 2010.

The GMKGhido suit varies from other King Ghidorah suits as in the odd placement of the heads and its short necks. It is possible that King Ghidorah's side heads might have been controlled by the actor's arms at some points.

Ebirah

The ShodaiEbira suit is a fairly simple one. The suit is fat and unsegmented, its left claw is more massive than the right one, it has crustacean whiskers, eyes on stalks, and about six legs. It also has big eyebrows and spikes on its back, as well as fairly long scythe-like pointy crest, and seems to have a mouth like Mothra's, one that is flipped on its side.

FinalEbira is noticeably different than ShodaiEbira. The dark red suit has a large goblin nose-like crest, one claw that is much longer than the other, eight large legs, and 16-20 spikes along its length. The suit's eyes are set into the head and the suit has crustacean-like antennae and mouth. The suit's underside is a very dark red, almost brown color. The body segments are clearly distinguished and separated, making it look realistic.

Kamacuras

The puppets have big, round yellow buggy eyes, long mouths, some 'whiskers', and six legs. Their front legs are similar to scythes with saw-like spikes. Their four rear legs enable them to walk. Their bodies are segmented and they have an abdomen. They have a purple- and brown-like color to them, similar to Destoroyah. The puppets are also known as AllKaijuKama (オール怪獣カマ?) in All Monsters Attack.

The puppet is very noticeably different from the ShodaiKama suit. This time, the puppet is thicker and shorter, sporting a blueish green all over its body and red over its scythes and spikes. The FinalKama has four insect wings which give it flight, and instead of having whiskers it has antennae. The body is clearly segmented and has spikes on its back. This design also dropped the long mosquito-like mouth in favor of a much shorter ant-like one. Kamacuras retains its 6 limbs, with the front ones being scythes and the two pairs of rear ones sustaining its weight.

Minilla

ShodaiMinira is the same dark green-gray color all over, the only exceptions are the mouth, which is pink, as well as its eyes and teeth, which are white. It has big eyebrows and an almost humanoid nose, somewhat like MusukoGoji's. Its snout is very small, much smaller than the normal Showa Godzilla suits, and it looks humanoid. It seems that the suit has a smile most of the time. The suit has very small dorsal fins in its back as well. This suit is also called the SoshingekiMinira (総進撃ミニラ?) in Destroy All Monsters, and AllKaijuMinira (オール怪獣ミニラ?) in All Monsters Attack.

An animatronic puppet was also created and used to portray Minilla just after he hatches in Son of Godzilla. This puppet bears some marked differences from the suit, including a more spherical head and a lighter skin tone.

FinalMinira is noticeably more detailed than the ShodaiMinira. It retains some superficial features from the previous suit, such as the eye brows, the short snout and a similar overall color. Unlike ShodaiMinira, this suit has irises on the eyes, more noticeable dorsal fins, a peach-like light green color on its belly and the underside of the hands, claws, and multiple teeth.

The FinalMinira suit was also used to characterize Minilla in Toho's CR Godzilla game in 2006.

Kumonga

The ShodaiKumo puppet is much like the the later FinalKumo puppet. It's mostly black and gold, and its eyes are purple. It has a normal spider-like body, complete with a head section and an abdomen and a spider like face with 6 eyes. Its 8 striped legs have three points of articulation. The puppet is also known as SoshingekiKumo in Destroy All Monsters.

It is very similar to ShodaiKumo, retaining the same general appearance and colors. However, the puppet now has much more vivid, bright and numerous gold stripes over it, crossing to make a somewhat complex pattern on the top of the body, not present in the original suit. The body's shape is much more complex, and slightly angular-looking. The body is also slanted towards the ground, which gives this puppet a more sinister look. Its eyes are now blue and have black pupils. The chelicerae are also more detailed and appear far larger with the fangs being smaller and the urticating bristles around the mouth were removed.

Manda

The ShodaiManda is clearly based on Oriental dragons, as it has a long serpent-like body with hair all through its back, two whiskers, four horns on its head, a fairly long snout, reptilian pupils, and four short legs with small claws. The design also has fangs and a reptile-like underbody.

Eiji Tsuburaya's team built ten different Manda props for Atragon, ranging in size from twenty centimeters to five meters. The five-meter Manda had a radio-controlled jaw.

Tsuburaya Productions used a ShodaiManda prop to portray the monster Kai Dragon in episode 6 of Ultra Q, "Grow Up! Little Turtle." As a result, this is the only Manda design to appear in more than one work.

Baragon

The ShodaiBara suit, compared with its Millennium era successor, has more robust, Godzilla-like proportions, with a much smaller head and a longer, thinner neck. This suit's eyes are a good deal smaller than those on the 2001 suit. Each eye's sclera and pupil are cloudy white and the irises are dark blue. The ShodaiBara suit's ears are also significantly smaller and have a less prominent concave notch to them. The structures connecting the main parts of the ears to the sides of the head are much longer, meaning that that the crescent shaped section of the ShodaiBara's ears are not directly attached to the sides of the head. The forehead is larger than the GMK version and the backwards curving spikes are placed farther back on the head. This suit's face is much more wrinkly, the nose is smaller, and the muzzle and upper lip are more prominent. The ShodaiBara suit also has a longer torso, a longer tail, and considerably more back plates. This suit's hands and feet are much smaller and the claws are thinner and sharper than the GMK version. This suit has a much larger amount of teeth and they are all of a uniform size. The teeth are also smaller and more needle-like, and the ShodaiBara suit does not have prominent canine teeth/fangs like its successor. This suit is, with the exception of its forehead horn and claws, uniformly painted a dull, sandy, grayish brown.

When this suit was brought back three years later for Destroy All Monsters, a new head had to be sculpted as a result of the heavy damage inflicted on it from overuse in Ultra Q and Ultraman. This variation, nicknamed the SoshingekiBara, has a larger head, a shorter neck, and bigger eyes. This iteration also has a much smaller and sharper looking forehead horn that curves more upward than the original version and its face, especially the upper lip, is flabbier and sags at a downward angle. The SoshingekiBara's sclera are orange, the pupils are bright red, and its claws are duller. This version's ears are more rabbit-like in shape and their notches have been greatly reduced. The SoshingekiBara is primarily painted a dark shade of brown with the insides of the ears, the spikes on the back of the head, and the back/tail plates being a light, cream-colored brown. This version's head and neck are an even darker, almost tar black, shade of brown. The teeth are also black, making them appear almost nonexistent when viewing the mouth from certain angles.

• The ShodaiBara suit is famous for its extensive reuse and constant reshaping and repurposing in some of Tsuburaya Productions initial Tokusatsu TV shows. The suit was originally supposed to be in more scenes in Destroy All Monsters, but the suit was too damaged, as a result of when Eiji Tsuburaya used it for Ultra Q and Ultraman. The suit was first reused for Pagos in Ultra Q episode 18, then it was used for Neronga in Ultraman episode 3, then it was used for Magular in Ultraman episode 8, and finally, it was used for Gabora in Ultraman episode 9. When Tsuburaya returned the suit to Toho, it becomes very clear that they weren't able to use the suit that much which explains why the suit was used at the very end of the movie when it shows all the monsters living peacefully on Monsterland.
• In spite of Baragon's officially listed height in the films, the ShodaiBara costume is roughly equal in height and length to the Godzilla and Gorosaurus suits used in Destroy All Monsters.
• The ShodaiBara suit's wireframe skull would be later used as the base for the flying Hedorah prop.

Compared with its 1965 and 1968 counterparts, this Baragon design has a more aggressive and somewhat predatory appearance. The head is much larger and the neck is shorter and thicker. The eyes are larger and have dark red irises with black pupils. This version's teeth are less numerous than the Showa suits, but are much larger and bear a slight resemblance to the dentition of carnivoran mammals, including a pair of prominent fangs. This suit's mouth can open much wider than its predecessors, has a wide, flat tongue, and its lips are wavy and wrinkly and the mouth is almost always open, making this design look like it's constantly snarling. The upper lip and muzzle are reduced while the nose has been increased in size. The forehead is reduced and the backwards curving horns are placed closer to the top of the head. The ears are larger, wider, and protrude slightly sideways rather than back towards the head. The ears also have a much more prominent concave notch in them and are directly attached to the sides of the head, unlike the ShodaiBara design. The forehead horn on this suit is considerably larger and has less of a curve to it. The GMKBara is stouter and has thicker, more muscular limbs with larger hands and feet. The undersides of the GMKBara's forearms and heels are studded with small spikes. This suit's torso is shortened and more compact, bringing its limbs closer together. The claws on this suit are much larger, duller, and straighter and the plates on its back and tail are more angular. This suit has a more hunched posture when standing bipedally and the tail is shorter than on the Showa suit. This suit's body was uniformly painted a dark pinkish-red with slight grayish-purple tinges while the horns on its head and its claws are painted a bold amber.

• This Baragon suit was the first suit to be worn by a female actress in the Godzilla series. Actress Rie Ota played the part of Baragon in most of the scenes, though stuntman Toshinori Sasaki also assisted in the role.