2017年、『ゴジラ』は新たな領域へ足を踏み入れた。全三部作で描かれる、アニメーション映画『GODZILLA』（通称：アニゴジ）の誕生である。

昨年11月に公開された第一章『GODZILLA 怪獣惑星』はゴジラ映画史上初の3DCGアニメーション作品であり、その映像体験は大きな驚きと称賛をもって迎えられた。アニゴジ全三部作で描かれるのは二万年もの間、地球に君臨し続けてきた＜ゴジラ＞と絶滅の縁に追い詰められながらもそれに抗う「人類」の物語。

監督は、昨年公開の劇場版『名探偵コナン から紅の恋歌（ラブレター）』で邦画年間興行収入ランキング1位を獲得し、確かな演出力を遺憾なく『怪獣惑星』でも発揮した静野孔文、3DCGの第一線で培われた手腕を『シドニアの騎士 第九惑星戦役』、『亜人』、『BLAME!』で磨きあげ、余すことなくその魅力をフィルムに焼きつけた瀬下寛之が務める。ストーリー原案はシリーズを通して、『魔法少女まどか☆マギカ』や『PSYCHO-PASS サイコパス』などで知られる虚淵玄が担当。前作のラスト、観る者全てを出し抜いた突破力抜群のアイデアに今作も驚かされるのは間違いない。

制作は『スター・ウォーズ：クローンウォーズ』等に加え、昨年『Lost in Oz』でも米国エミー賞最優秀賞（デイタイム・エミー賞アニメーション番組特別部門最優秀賞）の通算4度目の受賞を果たした国内最高峰の3DCGスタジオ、ポリゴン・ピクチュアズ。元富士山麓で繰り広げられる壮絶な決戦をダイナミックな描写で表現する。劇中音楽は本年の『映画ドラえもん のび太の宝島』でも“未知の世界”を大胆かつ繊細に奏でる服部隆之が、前作に引き続き、二万年後の地球に響き渡る＜ゴジラ・アース＞の咆哮に匹敵する圧倒的な存在感で音を奏でます。

第二章『決戦機動増殖都市』では、体高300メートルを超える歴代最大のゴジラ＜ゴジラ・アース＞を倒すためにシリーズ不動の人気を誇る＜メカゴジラ＞が新たな姿で現れる。

In 2017, Godzilla trampled over new ground with the birth of a three-part, fully animated movie series, GODZILLA (aka. “Anigoji,” a portmanteau of “anime” and “gojira”).

Chapter 1, Godzilla: Planet of the Monsters, was the first-ever 3DCG animation in Godzilla franchise history, and the cinematic experience was met with enormous delight and praise when it was released in November 2017. The “Anigoji” trilogy is set some 20,000 years into the future and depicts an Earth that has been ruled by Godzilla. Humanity finds itself on the verge of extinction, and is fighting for its survival.

The film has two directors: Kobun Shizuno, who left nothing on the table in directing his vision for Godzilla: Planet of the Monsters” while also scoring the number one box office smash last year in Japan with his theatrical release of Detective Conan: The Crimson Love Letter; and Hiroyuki Seshita, another proven talent on the cutting edge of 3D computer graphics who honed his craft with the TV series, Knights of Sidonia: Battle for Planet 9 (’15), Ajin (’16) and Blame! (’17) and is leaving a captivating mark now on film. The story from its inception as an idea straight through to the completed series comes from the creative mind of Gen Urobuchi, best known for Puella Magi Madoka Magica (’11) and Psycho-Pass (’12), who thoroughly defied viewer expectations with the last scene in Planet of the Monsters, and is certain to bring his powerful storytelling ideas to this next iteration.

The production company is 4-time Emmy award winning Japanese 3DCG animation studio, Polygon Pictures, including “Star Wars: The Clone Wars”, and a daytime Emmy for Outstanding Children’s Animated Program last year with Lost in Oz. The dynamic depiction of a mind-blowing battle that unfolds at the base of what was once Mt. Fuji is breathtaking.

Creating a brave new world soundscape with his bold yet delicate film score is Takayuki Hattori, who composed music for Doraemon the Movie: Nobita's Treasure Island (’18). And returning to perform the theme song is recording artist, XAI, first winner of the "Artist" category in the 8th Toho Cinderella Audition, who sings with a diva like power to complement a Godzilla roar that has shaken the Earth for 20,000 years.

This second chapter, City on the Edge of Battle features a return of a perennial favorite in the Godzilla franchise, “Mecha-Godzilla,” raised to do battle with a 300-meter-high and largest ever monster, “Godzilla Earth.”

21世紀初頭、人類はゴジラに蹂躙された地球に多くの人命を残し、選ばれし者達だけで恒星間移民船・アラトラム号に乗って移住可能な「約束の地＝タウ星e」を目指した。しかし計画は失敗し、人類は再び地球へと舞い戻ることになってしまう。そして、長距離亜空間航行によって生じた時空の歪みは、人類が戻るべき場所を「二万年後の地球」に変えてしまっていた。その地球で主人公・ハルオたちはゴジラの攻撃を受けながら、20年間考え続けた「対ゴジラ戦術」をエクシフとビルサルド、2種族の異星人と共に実行し、決死の戦闘でゴジラを倒すことに成功する。

しかし、喜びも束の間、地中深くから真のゴジラ＜ゴジラ・アース＞が姿を現す。二万年もの間成長を続け生き永らえ、体高300メートル、質量10万トンを超える姿へと進化した超巨大ゴジラの圧倒的な破壊力を前に、ハルオたちは散り散りになってしまう。

そしてハルオを救ったのは、人類の生き残りと目される「フツア」の民、ミアナだった。フツアはこの地球で初めて出会った人型の生命種族である。彼らは人類の子孫なのか―――。「フツアの神もゴジラに破れ、今は卵を残すのみ。挑むもの、抗うもの、すべて炎に呑まれて消える」という彼らにハルオは、「これは、人類の手に地球を取り戻す、最後のチャンスなんだ」と語り返す。

一方、ビルサルドの指揮官・ガルグは、フツアの持つ矢じりが“自律思考金属体＝ナノメタル”でできている事に気がつき歓喜する。それは、21世紀に彼らが富士山麓で「対ゴジラ決戦兵器」として開発するも、起動寸前で破壊された＜メカゴジラ＞を構成するものと同じ物質であり、その開発プラントが今もなお、残っている証だった―――。

By the advent of the 21st century, much of humanity was dead, having been trampled over by a new master, Godzilla. A select few among mankind took to the stars in a spacefaring vessel called the Aratrum in search of “the promised land,” the planet Tau-e that could sustain human life. But the migration plan fails, and the remnants of the human race decide to return to Earth. But the distortions in space-time and the distance traveled means that mankind is returning to a completely changed Earth some 20,000 years later. The returnees, led by hero Haruo, prepare to take the fight to Godzilla based on a strategy that has been 20 years in the making. Carried out with the help of two alien species, the Exif and the Bilusaludo, the humans succeed in defeating Godzilla in a costly battle to the death.

But the victory is short-lived. Rising from the depths of the planet is a new breed of monster, dubbed “Godzilla Earth.” Evolving for 20,000 years, the creature stands 300 meters high, weighs over 100,000 tons and wields such overwhelmingly destructive power that Haruo and company have no choice but to run for their lives.

Coming to Haruo’s rescue, however, is Miana, a member of an aboriginal tribe called the Houtua. They are the first humanoid people the returnees have encountered. Could they descend from humans? “Our tribal god was destroyed by Godzilla. All that we have left are these eggs. Anyone who has tried to fight or resist him has been drowned in fire,” the tribespeople say to Haruo, who responds with: “This is our last hope of recovering our home.”

Meanwhile, Bilusaludo commander, Galu-gu is elated to discover that the Houtua tribe’s arrowheads are made of a nanometal or a self-sustaining metal. It had been developed in the 21st century as an “anti-Godzilla” killer weapon deployed at their decisive battle fought at the foot of Mt. Fuji, but had been destroyed before it could be activated in the form of a “Mecha-Godzilla.” The nanometal was its base substance, and proof that the manufacturing plant can still be used.