Entities as cultural ambassadors and memorable components of universal art are few and far between. The iconographic tour-de-force of Godzilla is one of the significant, defining assets Japan wields. We may not see anything as bold as the trusting bond between film and country than this example here, not in our lifetimes. With that bond comes inevitabilities, the commercialisation and corruption, liquidating the valuable message and core of a film into its few, vague tropes. Happenstance inclusions of entertainment that spilt over and festered on the deeper, rewarding elements of the initial creation found within Ishirō Honda’s original Godzilla. But perhaps that was just a lucky flare that captured his usual humdrum monster movie madness he helmed throughout his career. Ghidorah, The Three-Headed Monster would certainly be an argument to consider when discussing the commercialisation of the popular King of Monsters.