Quick Shin Godzilla thoughts

Shin Godzilla, directed by Hideaki Anno and Shinji Higuchi, is the newest reboot of a 60-plus year franchise. In between, he’s been portrayed as a walking nuclear bomb, a superhero, and for a short while, a Cold War allegory. Shin Godzilla most closely echoes the roots lay down by the original film, but it rather excellently manages to carve itself a new path on the same fears and questions, but with a modern face and references.

The film opens without ceremony in a way that many modern found footage horror movies do, but within minutes we’re away from ground level, getting our first glimpse of the titular monster in the form of a bloodied oil slick staining Tokyo bay. Godzilla films throughout the decades have (for the most part) maintained a strong theme of ecological horror, the worst practices of modern science transformed in a lumbering, physical presence, and Shin Godzilla delivers that tradition in spades.

The human cast can barely be registered in individual characters, more as differing committees. Shin Godzilla may have invented a new sub genre: the giant monster procedural. The cast almost never act with Godzilla on a tactile level, always through camera footage and mile-a-minute data streams. Large portions of the film are devoted to government officials measuring responses, scientists sleuthing through the unknowable. In one slightly comical scene, a pair of Tokyo inhabitants wander into the firing line between a squadron of attack helicopters and Godzilla, and the various government functionaries one after the other after the other after the other all the way up the chain of command, request permission to fire. Bureaucracy vs Godzilla. The film still manages to hustle along at an electric pace, however, a testament to the skill of the directors. It’s an odd feeling knowing that there are more tense board room meetings in a Godzilla movie than your average political thriller.

Godzilla himself has undergone a fairly radical makeover. His first nascent form is equal parts ludicrous and terrifying, like a deep-sea creature dragged to the surface and viewed in harsh daylight. He’s a gibbering, clumsy mess of an organism, seemingly in complete agony just due to his very existence, one of the many committees even arguing to the proto-Godzilla’s plausibility, suggesting that he could never support his own weight. Its design, its movement, everything about it is unnatural and is one of the most effective creature designs in recent memory.

Godzilla’s second appearance is more familiar. The lumbering brute returns, this time looking like he’s been cast in leaking bloody resin. The madness caused by his earlier growing pains has now passed, or at least hidden, giving way to Godzilla’s signature cold and implacable stride. The stoney outward facade only barely covers the impossible inner agony however, the throbbing exposed flesh and stunted naked arms looking like a painful evolutionary afterthought. No amount of outward firepower leveled on it can contend with what’s happening within, but when American bombs finally do manage to pierce Godzilla’s hide, all that is unleashed in one incredibly brutal instant. It’s a scene that instantly brought up the feelings I had when I first read the famous destruction scene in Otomo’s Akira, the catatonic armor of a god-like being momentarily broken, the pain and power within surging without, more instinctual than a measured response.

But, whereas the original 1950’s film made the human cost real, echoing the disturbing imagery of walking wounded Japanese civilians from the all too recent and horrifying Hiroshima and Nagasaki bombings, Shin Godzilla’s destruction is almost entirely infrastructural. Off hand mentions are made to the casualties inflicted, but the real cost is calculated in real estate, in measures of Godzilla’s radioactive half life on the surrounding livable area.

In the end, after all of the bombs, tanks, and implements of war have failed to do anything but cause more destruction, Godzilla is finally defeated by a fleet of cranes, trains, and other symbols of reconstruction. It’s a strong, rather in your face metaphor that goes against the grain of these types of alien disaster films, where a secret military weapon is the normal monster foil. But still, Shin Godzilla retains a franchise norm and is not a wholly optimistic film, more cautionary. The last few shots are framed with a frozen-in-time Godzilla amidst the ruins of a Tokyo district, the right set of circumstances ready to unleash him and the world’s misguided response right where they were halted. Godzilla and all he represents is a ticking clock that can only be paused, never truly stopped.

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The Dirty Thirties






Collab w/ Steve Orlando for Think of a City


Godzilla in Hell #1godzillainhell-cover

godzillainhell-01 godzillainhell-02-03 godzillainhell-04 godzillainhell-05 godzillainhell-06

Silver Surfer Battleworld shortsilversurfercover4



Covers n thingsbirthrightmodokcover hulkcover devildinocover drax howardcover gwendusa pokerface dredd gojirahc-cover screamer warhammerpencils-01 warhammer-02



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Nukes Knives Sharp Sticks

















Posted in Illustrations, Orc Stain | 12 Comments

He was a good cop… until a Trancer killed his wife.












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Stork Stain




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Needs More Butthole: The James Stokoe Story


Alternate cover to What If? Age of Ultron #2 written by my good pal Joe Keatinge, with art by Ramon Villalobos.






Monster cover roughs.



More Dionysus.


First stab at the V/H/S/2 poster.





Godzilla HCW pencils.

Posted in Godzilla, Illustrations, Other Comics | 4 Comments

Laconic Shit

Wonton Soup is getting a collected rerelease.


Covers for the new IDW Rogue Trooper series.




Promo poster for the new Ninja Gaiden game.


Guest pages for a Prophet issue.


Bips and blops










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Update time, hold on to your asses. Put your butts in your butt-holsters.


My Godzilla series wrapped up quasi-recently, and the trade is out now. I had tons-o-fun working on that book, and am finally allowed into the official Godzilla clubhouse parties they throw every year at Bohemian Grove! After a brief break to sort some shit out, I’m back to working on Orc Stain the 7000 page Selfish Dolphin tome, but I’ve got new things to show.

First off, I was lucky enough to snag another movie poster from that gang of ruffians at Magnet. This time it was V/H/S/2, more specifically the Gareth Evans and Timo Tjahjanto directed ‘Safe Haven’ segment. I got pretty stoked for this one after seeing the screener, as it turned to be the best horror story I’ve seen for at least a decade.



My friend, Robin Bougie, also let me do a cover for his excellent Cinema Sewer magazine, so I put down my snifter of 20 year scotch, removed my velvet smoking jacket and did this.


I really love all the raw enthusiasm Bougie puts into this book, and he draws some fine smut as well.

Here’s a cover I did for the reprint of Cullen Bunn and Joelle Jones Helheim #2.


And some other shit (most of it from my now defunct tumblr harhar)…






And a horse, of course.


Posted on by James Stokoe | 10 Comments


Hi, all. I’ve been getting a lot of questions about it lately, so I just wanted to make a quick clarification about my involvement with the Sullivan’s Sluggers Kickstarter. I’ve been content to be silent on my end, but after the second KS campaign went up and things are coming to a head, I feel I need to clear up a couple things up.

First off, I want to make abundantly clear that I’m in no way involved with the direction of either of the Kickstarters, or any other other outlet where that book is sold. The Writer and myself had breifly talked about working together on the KS, but due to some disagreements, I decided to remove myself from it completely.

There’s been talk on my behalf about fair compensation from the KS earnings, but I have to say that it personally doesn’t bother me. I have been paid what I was contracted for, and I’ve been very content to keep my nose out of anything involving the book post-Kickstarter. In other words, there’s really no reason to be offended on my behalf. I’m doing fine. I understand that some backers may feel mislead in that they were supporting me financially by backing the book, and for that I apologize. There was very little I could do once the ball started rolling in that regard, shy of shitting on the whole parade.


Lastly, I’ve asked The Writer to remove my name from any future Sullivan’s Sluggers related product. It’s not a book that I feel good about endorsing, and I’d prefer not to be associated with it any longer.

I wish The Writer all the best in getting out all the remaining books to the backers in the quickest and most ethical way possible. I’m sure he has no intention of stiffing anybody on their orders, and I’m positive that you will receive your book at some point if you have not already.


–James Stokoe

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Every day I’m Tumblin’

Helloooooooooooooooooooooo cowboys,

I have finally joined the innumerable ranks of the Tumblrites. They are Legion, and there is no hope of resisting them. I’ll be posting mostly sketchy/unfinished/older stuff on there, while keeping this blog for shiny, new, clean things. Go check it out!


Haha, nevermind.

Posted in Godzilla, Illustrations, Orc Stain, Other Comics, Shorts | 12 Comments