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February 20, 2016

Hi, I'm John Ericson and I've just recently graduated from another year at college with a major in film.  To set up where this planned trip is based on, I want to set up a diary with notes on what I find out overseas.  You might have guessed that I'm an enthusiast in film and one of my favorite franchises would be the Godzilla franchise.  it came from long ago when my uncle took me to see Godzilla vs. King Ghidorah at his local Blockbuster when it came out in America and the rest has pretty much been history ever since.  

Every now and again I get bored and search the internet until I inevitably came across the internet favorite sensation known as creepypastas.  If you were guessing again, yes the Godzilla NES creepypasta was a very interesting read for me and personally my favorite.  Some of the story telling at the end might have been a turnoff for many but for me the ideas and the description of the game that Zachary played was so detailed and loaded with a range of references not just from Godzilla but other Toho properties as well to make any fan giddy.  I hope someone makes a recreation of that game one day in rom form so I can try it myself.

I thought about maybe buying the game from Zach but if he's right then maybe the whole mental connection thing the cartridge might have would result in me getting an entirely different game.  That ship has definitely sailed though and someone else bought the game years ago.

One thing I've been very curious about in this creepypasta was the forced meme that some have come to point out.  The parts where Solomon beats a level and says, "Still the best.  1973."  Many readers of this story brush it off as such and apparently Zach had no idea either.  Me?  I wish I knew something everyone else didn't know because I'm not sure what kind of significance 1973 has to the Solomon creature.  For Godzilla though, the most significance I immediately know off hand is that it was the year in Japan where Godzilla vs. Megalon was released.  Even if anyone else did make this connection I'm willing to guess that this was considered too insignificant and just moved on from there.

Now why mention this you might wonder?  Basically I'm planning to write a dissertation on international film making and I think I can use this to meet with the directors of Godzilla Resurgence which is scheduled to be coming out in July of this year.  I'll curb my enthusiasm for the film just this time and try to make a professional interview with Hideaki Anno or Shinji Higuchi depending on who comes first.  After that I think I'll just ask them about some of their Godzilla knowledge and finally ease in some questions about 1973 and the franchise.  This diary is something I wanted to use for that category of the interview so I can keep the two things separate.  Well my flight is the first thing in the morning.  Next time I open this diary it will be for talking about what the Godzilla Resurgence directors have to tell me.

February 22, 2016

I have no idea what I did, but somehow I managed to severely offend Mr. Hideaki Anno.  I was lucky to get an interview as you might be able to tell and thankfully I got my dissertation questions answered, but things when south has soon as I asked about Solomon.  Just to give an idea I asked Mr. Anno if anything significant happened in 1973 Godzilla related that he could think of.  he seemed somewhat happy at first when he told me he won a contest of some kind to get to see the premiere of Godzilla vs. Megalon which sounded like an innocent enough scenario.  

But when I asked him if the folks at Toho ever considered building a kaiju called Solomon, his face went completely blank of emotion.  I was in his house having tea with him but when I asked that question he picked up the cups and tableware and acted like I was on my way out.  I walked behind him when I asked if I did something offensive but he only replied, "Please leave."  every time I said something.  He didn't sound offended or angry, he just kept insisting for me to leave every time I said something.  I tried maybe a dozen times before finally leaving and he didn't even tell me goodbye.  

I can't even guess at this point what I did, I know there are people who would expect Hideaki Anno, the creator of Evangelion himself, to be somewhat of a different person from others.  From what I researched prior I he did have some level of depression when making Evangelion 3.0 but I don't know if it would be right now of all times.  I'll try calling his house tomorrow and see if I can give an apology for what I said.  Hopefully all he needs is some time to himself so he can cool off maybe.

February 23, 2016

It's not good.  Mr. Anno picked up the phone early in the morning but as soon as he heard me he hung up the phone.  I tried calling him again after an hour but he probably left to head out to work.  Here I was with one of the most renowned creators in Japanese history and I seem to have pissed him off beyond an apology I could give.  

I'm really starting to regret asking him about Solomon.  Here I was just thinking I would find myself searching for a red herring as some would call it.  Now here I am at what might be an impenetrable fog being kept from entering.  Even with this being the case I can't help but feel the draw behind this sort of mystery.

Why was Mr. Anno so distant when he heard of the kaiju Solomon?  How did he even know?  This is something I just have to figure out.  Maybe if I give a visit to Toho Studious headquarters I can try and snoop around to find out what was the cause of Mr. Anno's attitude.

February 24, 2016

I think I might be getting somewhere.  I checked one of the financial reports in the Toho records for what happened in 1973 and some of the adjacent years.  '73 was showing the various things happening around Godzilla vs. Megalon as I expected but when I turned back to one year ago I  found something.  There was a project simply titled "UPC Joint Project".

UPC was a distributor of Godzilla films in America back in the United States but I can't recall any joint production between the two.  It was listed about a month after the release of Godzilla vs. Gigan and had a pretty sizable $4 million attached to it.  Just to add to it, the film was apparently supposed to release in the same year as Godzilla vs. Megalon was.  Just for some context, that movie only had a budget of $760,000.

Some of that $4 million was relocated so that filming of the Godzilla movie coming out in '73 but the rest of it appeared to have been relocated into various other assets Toho had by around June of that year.  The report simply listed it as a deal that simply didn't follow through.  There wasn't any sign of Hideaki Anno being mentioned, but I guess there was no reason to expect one.  I'll probably have to put off on this for tonight and maybe I'll be able to find something out when I research a little more.

February 25, 2016

The realization hit me like a brick when I woke up this morning.  The number 4 million was a big part of it when I remembered reading Ed Godziszewski's "Japanese Giants #5" about the report of "Godzilla vs. The Devil".  This couldn't have been the case though.  First off being that this supposed lost project was supposed to be released in 1978, not 1973.  Second, this movie was supposed to be reported as not even being considered by both Japanese Giants and Toho president at the time Tomoyuki Tanaka.

There must be something to this though.  Even if it's completely different from what Japanese Giants reported or only remotely related to Solomon, I might have just made another step towards solving this mystery.  Now I have to find out who I can talk to so I can find out more about this oddity.  

Unfortunately Tomoyuki died in 1997 and most of the people who worked on the Showa Godzilla films are probably the same.  There's probably one way I can hope for a real answer.  Supposedly his sons are still alive.  There has to be at least one I can talk to who would know something about this.  Here goes nothing then.  I'll try finding his three sons and write something the next time I have an update.  Or a brick wall to write.

February 29, 2016

It took a while but here I am again writing in this diary.  The first problem with finding Tomoyuki's children has been the lack of information on even their names online.  After some asking around at Toho headquarters though I was able to find out where one of Tomoyuki's sons lived.  Unfortunately for confidentiality and prevention of rumor spreading, he asked me to keep his name confidential.  The good news is that he told me something I had been wanting to hear.  Something about his father in 1972.

He said that Tomoyuki had arrived home from work one day but was very displeased with something he had just seen.  He said he came home seeing a "repulsive film".  Even calling it an affront to one of his great creations.  He said he also overheard his father talking to his wife telling her, "Shou Takumi will never work with us again.  He will never even be seen as part of Toho."  

This had just given me somewhere to go off of.  I had a concrete name to look for.  Whoever this Shou Takumi was I could now start a search for what he did to evoke Tomoyuki's anger that year.  I asked Tomoyuki's son if he knew where I could meet with Mr. Takumi, unfortunately there was no such luck in that question so it looks like it's back to the search at Toho before I finally figure out who he is.  Even if he's supposed to not be part of Toho history as Tomoyuki might have said, it's the only lead I can think of right now.

March 1, 2016

The good news is I figured out who Shou Takumi was.  I had to do some serious searching through Toho's records but I managed to find out that there was a Shou Takumi who visited Toho back in '72.  At least that's all the attendance records would say.  The records don't really say anything about who he was or what he did though.  

I had to take a trip to one of Japans post offices for a search on who might have had information on that name.  After some searching to the 70s, I found someone named Shou Takumi out in a nearby countryside.  This has built up to something and I'm just a little ways away right now.

March 2, 2016

I found the residence of Shou Takumi, but it looks like I won't be able to talk to him.  I met with the owner of the residence, a Mr. Shichirou Makoto, who told me that the man I was looking for died in 1995.  How he knew about this?  He said that there was a shrine dedicated to him that he kept in the back yard.  

It was fortunate he took me to see it and I got to see a picture of Shou Takumi with an inscription beneath his picture.  "My life is with me.  Look to the Lord to find it within you to give."  I asked what it meant and Mr. Makoto said that Mr. Takumi was a Christian and that it was the most he could tell about the description.  I asked why he would have a shrine dedicated to him if that was the case and it seemed that he had some deep respect for his Japanese roots.

Mr. Makoto even mentioned that Mr. Takumi had a crypt where he was kept buried.  He showed me the way tot he crypt but he told me with specific instruction not to enter.  It was apparently Shou's dying wish that no one visit where he was buried to offer prayers.  I got to see it and I can tell you that it is what you might expected a Japanese structure to look like.  It had the scenery of Eihi-ji but the crypt itself was very small.  It might have been small enough just to enclose the coffin of Shou Takumi inside but that was all Mr. Makoto would show me.  I asked him once if  I could look inside but he simply shook his head in solemn reverence to the grounds.  

That's where my luck ran out.  I can't help but think that the part of "My life is with me" must have something to do with something Shou knew or possibly might still have with him.  I asked Mr. Makoto if he knew anything and he said that Shou had a safe deposit box that he said only "someone to succeed him" should find.  Unfortunately he never left instructions on who it should be or who would be allowed to open it.  This was all he  could give me and now here I am left trying to puzzle out this obstacle course.  I asked him what he thought of Shou's inscription under his photo and told me that he searched Shou's home from top to bottom only to find few things worth any value.  Worst of all, no safe deposit key.  The whole "My life is with me" part still has me wondering though.  Is there any chance at all that Shou is talking about how he literally has something kept close to him?  Does it m have anything to do with that crypt?  All this and more stuff I'll be writing tomorrow night.  Right now I have a crypt to trespass into.

Yeah, sounds like a crazy enough idea that it could get me kicked out of the country or worse, and writing about it is pretty much me giving nothing short of a giant confession.  I'm doing this as a reminder to myself though.  If I break in and out of that crypt, come out alive and back here without a hitch I'm dropping this goose chase.  Breaking the law is bad enough when all of these questions keep gnawing at me.  If I come up empty handed then I'll just have return to the diary whenever  I feel my sense of regret in not solving this mystery.  I'll just have to accept that Hideaki will never let me speak to him again and this whole thing will remain a mystery.  I should probably stop stalling now, at this point I feel like I might be searching for excuses not to go to the crypt.  At least now I get to see if vengeful spirits do exist.

March 3, 2016

Dear God I can't believe I just went through all of that.  Yeah you have the right idea since I'm writing this, I got in and out of that place without any spirits following me or getting myself arrested for trespassing.  It sure doesn't make me feel any easier about what I ended up doing though.  

I got inside and all I had to do was avoid tripping over some strings that warned visitors not to enter.  When I got inside all I found was a stone coffin and nothing else surrounding the room.  That was it.  I was worried it was going to be like this and now here I am about to pry open a coffin.  At least I had prepared for this but it sure didn't make it easy.  After prying it open I saw what I expected.  

There was a corpse inside alright, but not the kind I expected.  If you've ever seen a Buddhist mummy without the decoration, that's what the body of Shou Takumi resembled.  Even covering my mouth I barely was able to handle the smell and the sight of the muddy gray body and didn't make me feel any easier.  I felt like if I kept that coffin open for a second longer I'd see that body spring to life to finish something that would be straight out of a ghost story.  

I would have closed the coffin right away but there was something that stopped me a s soon as it caught my eye.  In the folded hands on his chest he was holding onto a key with the number zero on it and a small piece of paper around it.  It took every bit of will power I had but I managed to grab and slip it out of the hands without damaging the body.  After that I resealed the coffin and got the hell out of there.

I went back to my apartment and took a long warm shower while using every ounce of shampoo, conditioner, body wash, and soap that was available.  I don't care now that I smell like a walking rose garden at this point, as long as the smell of a dead body is nowhere near me I'll be happy.

I ended up sleeping in but I did wake up later in the morning to read the small paper with the key.  It simply read, "Hama-Kawasaki".  It didn't take long for me to realize that the paper was pointing me to head to Hama-Kawasaki station.  I guess if there's one thing I should be thankful for it's being able to head to an unoccupied station so that I wouldn't attract too much attention.  

It took me a few hours but after some searching I found this locker hidden behind a nailed down bench behind a layer of drywall.  I was able to open it after just looking like someone who lost a coin for a few minutes.  

What I found was both a relief and an astonishing discovery.  What I have beside me right now is a letter and a compact disc.  How is the disc a discovery?  Because of what it says on the front.  The kanji for "Gojira" and the letters CD after it.  I have found what I was looking for after all this time.  I found the Godzilla project that Shou Takumi was hiding.  The more humbling part of it is that the letter confirms this and gives several details.

It reads this, "Reader.  You have found my life's work and it is now with you.  It is now up to you to take it and spread its message as I was unable to in life.  This message of the Lord must be one given when humanity is ready to accept it.  I have preserved this message in the best way that I can, in the form of a Mega CD game.  If my message must be given in a different way than I believed then may the Lord accept what I have chosen to do.  All that must matter is that my message is heard.  I wish fortune to you reader.  Please accomplish this in the name of God.  I hope to meet you in heaven when your righteous deed is accomplished."

This letter gave me a lot of context.  I suspected that the CD letters after the kanji might have meant that it was in fact a Sega CD game disc.  And preserving the best way he could?  It made sense if all of this happened: Tomoyuki was as disgusted with the film as his son told me, ordered the film to be discarded but only for the right timeframe that allowed Ed Godziszewski to somehow hear about the movie.  Even then Shou must have been so dedicated to seeing this movie be seen to the public that he would find any way possible to show it.

It probably came down to him trying to get past the obstacle that Tomoyuki was, or finding another way.  Printing it as a video game in Sega CD form.  If you've seen games like Night Trap or Wing Commander 3, you might be familiar with how games heavy in FMV cutscenes worked.  Maybe Shou tried to get his film published as a video game but couldn't find a publisher with Tomoyuki staying in the way.  Hence why "Godzilla CD" never became available to the mass market.

Finally there are the hopes at the end that Shou wrote.  He wants someone to be a messenger?  In the name of the Lord?  What does Godzilla CD have that is supposed to be heard anyway?  I came this far and I can't stop now, that's the only answer I have.  Tomorrow I'm going to get ready and see what this game is for myself.  I'm going to turn this game on and find out what the message really is.

March 4, 2016

I got everything set and my apartment room isn't being inspected.  I spent most of today searching through Tokyo for a console that played Sega CD games and a TV that was compatible with it.  I managed to pick up a Sony KV-13VM40 13" CRT television and then a retro game store where I got a Sega CDX.  Just for appearances I picked up a copy of The Ninja Warriors and Devastator on the Sega CD and Pulseman and Eliminate Down for the Genesis to make it look like I was just picking one up to play legitimate games on.  
I can say that I'm definitely a little jittery at the idea of turning this on.  I've played my fair share of Godzilla games in the past, but now I was going to be able to say that I've played one that probably I and few other people have ever played.  I kind of wished I was able to get a screen capture system ready or have it recorded somehow, but those are not exactly things I really know how to work or a major priority for me.  I'll describe everything as best as a can though.  I don't want to forget what this and maybe I'll share it with the world at some point.  Here goes nothing.  Time to see what almost two weeks of searching has brought me to.
This is the first part in my Godzilla NES fan story titled Godzilla CD.  Due to the character limit of Deviantart, this is only the beginning of the story.  Read the meat of this story in Part 2.  This story was permitted by CosbyDaf.
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Submitted on
September 29, 2016
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