Thread:Shanethefilmmaker/@comment-397235-20140904033414/@comment-397235-20141029113023

See, I'm the opposite. The thing I liked about any movie Ifukube scored is how each character had their own theme. I mean, you hear the chaotic whirlwind that signifies Rodan, the ominous brass for Ghidorah, the heroic strains of Mothra's theme, or the majestic strings of Godzilla's, and you know what's coming. I've heard Godzilla film scores described as operatic, and it's true.

I'm hit and miss (mostly miss) with the newer films. I didn't like the Heisei series in the first place (so watching that Godzilla, who, being so overpowered I didn't care about in the first place, die didn't really bug me). I was glad they discontinued it and took things in a different direction for 2000, which was decent, and Megaguirus, which most assuredly was not. GMK and the two Kiryu films are still three of my favorites, but I prefer the black or white approach to Godzilla. The nihilistic "force of nature" BS never rang true for me because, A, that's not true to Godzilla's character, B, it smacks of laziness on the writers' part (they never had to give him a motivation; he can just show up whenever the plot requires), and C, it makes him way overpowered (as in he kills King Ghidorah, his arch enemy, in under three minutes).

The burning of the school is entirely members of the two previous classes. They get involved because they figure it'd be safer for them than anyone still in the class. The only person from the current 319 present (so far as I've gotten in my head) is their current Countermeasures Head.