Ultraman: Rising represents the latest addition to the extensive Ultraman franchise, but it offers a fresh perspective that allows new audiences to dive into the storyline without needing a deep understanding of the existing lore. The series features a compelling new protagonist, Ken Sato, who inherits the Ultraman legacy from his father. This captivating adaptation comes from the creative minds of co-directors Shannon Tindle and John Aoshima, who previously teamed up on the acclaimed 2016 animated film Kubo and the Two Strings, ensuring a high-quality production with emotional depth and artistic flair.

Unlike previous installments in the Ultraman universe that primarily concentrated on battling kaiju, Rising shifts its focus towards the protection and nurturing of these formidable creatures. Following an intense showdown against the kaiju Gigantron, Ken stumbles upon a newly hatched baby kaiju that sees him as its parental figure. This emphasis on familial bonds—both in rearing the kaiju named Emi and Ken’s interactions with other characters—adds a heartfelt dimension to the narrative, garnering critical acclaim for its innovative approach to the long-standing Ultraman legacy.

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Ultraman: Rising Review – Japanese Superhero Is Focused On Family Over Heroics & That’s Perfectly Fine

Netflix’s Ultraman: Rising has many elements working in its favor, including a solid and vibrant animation style and a strong voice cast.

Screen Rant had the privilege of visiting Skywalker Sound & ILM in San Francisco, gaining insights into the passion and dedication that went into the creation of Ultraman: Rising. During this visit, Joe Deckelmeier had the opportunity to interview director Shannon Tindle and co-director John Aoshima. They shared their experiences collaborating on this project, their deep love for anime and manga, and their commitment to establishing a distinctive artistic vision that honors the original material while resonating with contemporary audiences.

Aoshima Infuses Cultural Authenticity into Ken’s Character Development in Ultraman: Rising

“It’s a Privilege to Embrace My Childhood Hero and Step into This Role.”

Screen Rant: Most Ultraman characters have a change device. What led to the decision not to give Ken the change device, and was there any consideration of giving him one at all?

Shannon Tindle: No. I liked the beta capsule in the original series, but I wanted to suggest that it was a mantle passed on or earned, rather than relying on a tool. I believed that introducing an additional object might confuse audiences unfamiliar with the franchise. Therefore, we aimed to eliminate any elements that could complicate the narrative. For instance, in Shin Ultraman, [Hideaki Anno] removed the color timer because it was not part of the original design. However, the beta capsule does appear in the film as an Easter egg, connecting to Ken’s father in a hyperbaric chamber—this idea was John’s.

John, how did stepping in as a co-director for the role for the first time shape your perspective on storytelling and production for Ultraman: Rising?

John Aoshima: It was an incredible honor to take on my childhood superhero and to be entrusted with this role. I knew we had a solid directing partnership, but sharing my vision and working with our talented crew, particularly our Japanese and Asian descent members, was vital in ensuring the project was guided properly. The collaboration became smoother due to our previous experience on Kubo, which gave me confidence that the film was in capable hands, and experiencing every stage of production was invaluable.

Shannon, can you talk about the influence of anime and manga, like Akira and Evangelion, and your decision to pursue a unique animation style for the film?

Shannon Tindle: Growing up during the explosion of manga in the nineties greatly influenced me. I vividly recall walking into a comic shop and being captivated by Frank Miller’s poster for Lone Wolf and Cub. I reread the entire series annually. My exposure to works like Bubblegum Crisis and Akira shaped my artistic vision. As we developed the film, I admired the proportions of the EVAs and wanted to integrate details that honor Ultraman’s legacy. We also aimed to incorporate the distinctive zipatone textures found in manga and works by Masamune Shirow and Katsuhiro Otomo into the film’s art style. This project serves as a tribute to both manga and anime, similar to how Spider-Verse nods to American comics.

John, how did your upbringing between the US and Japan inform your approach to the cultural nuance in Ken’s journey?

John Aoshima: It significantly shaped my perspective. Ken’s character, as a Japanese American returning home to play for the Yomiuri Giants, reflects my own experiences with cultural identity crises. I believe that this film offers a relatable entry point for global audiences to connect with Ken and his journey.

Tindle & Aoshima Express Interest in Future Japanese Adaptations of Iconic Heroes like Spider-Man

Tindle expresses his eagerness to adapt Kamen Rider in the future.

Shannon, in collaboration with Tsuburaya, what measures were taken to honor the legacy of the Ultraman franchise while incorporating fresh storytelling elements?

Shannon Tindle: My passion for Ultraman drove our efforts. We maintained constant communication with Tsuburaya, visiting them in October 2019 to discuss the story deeply, addressing their excitement and concerns. We established regular monthly and bi-monthly calls to ensure they were involved in the creative process. Their role as the guardians of Ultraman is vital, and we aimed to respect that relationship by keeping them informed and engaged throughout the project.

I think Ultraman is brilliant, and Ultraman: Rising is brilliant too. As a devoted tokusatsu fan, I’m excited about the possibility of more adaptations from Japanese culture into American animation. Do you believe this opens the door for more tokusatsu adaptations?

Shannon Tindle: I genuinely hope so. I’d love to adapt Kamen Rider. However, I also envision a reciprocal relationship, where Japanese productions could adapt American heroes, akin to Japanese Spider-Man. There’s a wealth of material to explore on both sides for high-budget adaptations.

John Aoshima: It’s a Marvel property! Yeah, I’ve looked into it. [Laughs]

Can you both share how your longstanding friendship and collaboration have influenced the creative process for Ultraman: Rising?

John Aoshima: The creative trust we share is fundamental in pushing our goals forward. We’re long-time friends and collaborators, which allows us to understand each other’s artistic sensibilities. Healthy creative debates arise from our passion for storytelling, and when disagreements occur, we work through them to align our vision.

Shannon Tindle: Directing a film can feel isolating, so it’s invaluable to have someone like John to connect with each morning, share our stresses, and support one another throughout the process.

Explore More Details About Ultraman: Rising (2024)

As Tokyo faces a surge of monstrous threats, baseball star Ken Sato reluctantly returns home to embrace the legacy of Ultraman. However, the iconic superhero encounters challenges as he takes on the responsibility of raising a 35-foot-tall, fire-breathing baby kaiju. Ken must navigate the complexities of balancing his demanding career and newfound parenthood while safeguarding the baby from sinister forces aiming to exploit her for their nefarious purposes. Collaborating with Netflix, Tsuburaya Productions, and Industrial Light & Magic, ULTRAMAN: RISING is crafted by writer Shannon Tindle and Marc Haimes, directed by Shannon Tindle and co-directed by John Aoshima.

Check out our other Ultraman: Rising interviews here: