For seven decades, Godzilla has remained a monumental figure in both Japanese and American cinema, captivating audiences with its colossal presence and evolving portrayals. The journey began with the Shōwa era (1954-1975), where the iconic monster faced memorable adversaries in films like “Mothra vs. Godzilla” and “Godzilla vs. Mechagodzilla.” However, this era also experienced less stellar moments, such as “Godzilla’s Revenge.” Nearly a decade later, the franchise was revitalized with the Heisei era, introducing fresh villains in movies like “Godzilla vs. SpaceGodzilla” and reimagining classic foes in titles such as “Godzilla vs. King Ghidorah” and “Godzilla and Mothra: The Battle for Earth.”

America’s first significant attempt at bringing Godzilla to the big screen came with Roland Emmerich’s 1998 film. However, this version diverged significantly from what fans expected, earning the creature the nickname “Zilla.” This reinterpretation will be discussed as we explore the best and worst physical appearances of Godzilla throughout its cinematic history.

The Godzilla franchise may not be grounded in scientific accuracy, but it excels in delivering top-notch cinematic entertainment. The enjoyment is heightened when audiences can appreciate the titular monster’s design, as seriously as one might take a giant atomic creature.

**8 Worst: GyakushuGoji in “Godzilla Raids Again” (1955)**

The kaiju Anguirus is a creature Godzilla should battle or even team up with in the MonsterVerse. However, let’s hope it doesn’t resemble the chaotic skirmish seen in “Godzilla Raids Again.” Despite the brief scene where two puppets appear to flail at each other, it is more engaging than the design of the titular character’s suit.

**What’s With Those Popped-Out Teeth?**

GyakushuGoji shares some traits with the superior suit used in “Gojira,” the preceding film. Notably, it is less bulky than later suits, and close-ups of its face were achieved using a hand puppet. However, the puppet’s face is so different that the close-up shots lose their impact from one film to the next. Additionally, the puppet in “Raids Again” has protruding feet that are absent in full-suit shots, creating a jarring inconsistency.

**7 Best: MinusGoji in “Godzilla Minus One” (2023)**

“Godzilla Minus One” excels in many areas, particularly in embracing Godzilla’s horror elements. The design of Godzilla (officially known only as Godzilla but affectionately dubbed MinusGoji by fans) is no exception. The previous live-action film, “Shin Godzilla,” also achieved this with ShinGoji, but its multiple forms diluted the main form’s presence. In contrast, “Godzilla Minus One” focuses solely on its main iteration, making it more impactful.

**It Looks Like It Could Rip Down a City with Ease**

In a wartime flashback during the first act, MinusGoji is depicted with a hunched stance and slightly more speed than later in the film. This initial agility trades off for increased size later on, a transition beautifully captured by traditional cinematography that emphasizes Godzilla’s immense scale. The standout feature of this Goji is its dorsal fins, which uniquely pop out when it prepares to unleash its atomic ray—a fantastic addition that enhances the visual impact of these iconic blasts.

**6 Worst: MireGoji in “Godzilla 2000” (1999) & “Godzilla vs. Megaguirus” (2000)**

MireGoji marked a necessary transformation following the Heisei era’s conclusion with “Godzilla vs. Destoroyah.” This shift ushered in the Millennium era, characterized by six films featuring a Godzilla with oversized and pointed dorsal spines. The first two Millennium films—”Godzilla 2000″ and “Godzilla vs. Megaguirus”—showcased MireGoji, while subsequent films introduced slight variations like KiryuGoji.

**Trying Too Hard**

The primary difference between MireGoji and KiryuGoji lies in the dorsal fin colors; MireGoji’s distracting purple fins stand out against KiryuGoji’s bone-white ones. This attempt to innovate fell flat as the enormous spines alone were a significant change that didn’t require additional bright purple coloring.

**5 Best: 84Goji in “The Return of Godzilla” (1984)**

A fan-favorite film demands an equally beloved Godzilla suit, and 84Goji from “The Return of Godzilla” fits the bill perfectly. As atmospheric as any Godzilla film since the original, it is meticulously paced, highly entertaining, and features a fearsome mechanical Godzilla for close-up shots. This mechanical version adds a distinct presence that stands out as time goes by.

**Just Stick with the Japanese Version**

Some critiques target the close-up shots, but they distinguish this film within the franchise by using a mechanical model instead of solely relying on suits or CGI. Similar to the 1976 remake of Kong, this approach offers an irreplicable presence unique to mechanically crafted monsters. Moreover, this movie successfully reestablishes Godzilla as a menace, with an ultra-grumpy face that marks a clear tonal shift from later Shōwa era films.

**4 Worst: ToraGoji in “Godzilla” (1998)**

More than 25 years after Roland Emmerich’s “Godzilla,” opinions on the 1998 film have softened somewhat, even among die-hard G-Fans. This shift is partly due to Legendary’s MonsterVerse offering a more faithful American version of Godzilla. However, Emmerich’s adaptation should be viewed as its own entity and a late ’90s cultural artifact.

**Jurassic Zilla**

Emmerich’s design diverges drastically from Toho’s traditional Godzilla. ToraGoji—or GINO (Godzilla In Name Only)—resembles a T-Rex from “Jurassic Park” rather than Toho’s Godzilla. This makes sense given that the 1998 film aimed to emulate mid-’90s blockbuster vibes rather than faithfully adapt a G-film. Additionally, ToraGoji is dark blue and runs frequently—something unheard of in Japanese films—often seen sprinting more than performing any other action.

**3 Best: ShodaiGoji in “Gojira” (1954)**

Ishiro Honda’s “Gojira” set the benchmark for all subsequent kaiju films and remains a favorite among G-fans and cinephiles alike. With meticulous attention to both character development and destruction sequences, it offers a balanced experience filled with iconic scenes.

**The Original Godzilla Design**

The design elements that define Godzilla originated with ShodaiGoji. Astonishingly, even after 70 years, this suit still looks impressive. The puppet used for close-ups of Godzilla’s head maintains its credibility, especially when snapping at journalists’ flashing cameras in one of the film’s most memorable scenes.

**2 Worst: MusukoGoji in “Son of Godzilla” (1967)**

MusukoGoji’s design fits well with the tone of “Son of Godzilla,” but this film isn’t regarded as a highlight of the Shōwa era. While not as low as “All Monsters Attack,” it is still far from peak Godzilla cinema.

**DadbodGoji**

The only thing “All Monsters Attack” did right was replace this suit with the less goofy SoshingekiGoji for publicity stills. However, MusukoGoji made a comeback in the 12th Shōwa movie for an infamous scene where Godzilla and Anguirus have a full conversation while swimming to Japan—a particularly silly moment made even more absurd in its dubbed version.

**1 Best: MosuGoji in “Mothra vs. Godzilla” (1964)**

MosuGoji from “Mothra vs. Godzilla” hits all the right notes. From its emergence from radioactive dirt to its formidable presence, this version of Godzilla commands attention like few others can. With a slender face, pronounced brow ridge, and perpetual scowl, it presents an intimidating figure that perfectly suits its role as an antagonist against the beloved Mothra.

**It Looks Like It’ll Eat Ya**

This same suit was reused in “Ghidorah, the Three-Headed Monster,” albeit with a less intimidating face to fit narrative shifts in the third act—a wise choice but one that slightly diminished its effectiveness.

In summary, while Godzilla’s appearance has varied greatly over the years—from terrifying to occasionally laughable—each iteration has contributed to the enduring legacy of one of cinema’s most iconic monsters.