Intro:
In the fifty-eight years since Ultraman shows began airing, their artistic influence has been impactful. Setting aside the obvious influences on kaiju media, Ultraman media has an often overlooked card up its sleeve. That overlooked card is the series’ religious imagery. Each era of shows is rife with religious references spanning over several decades. Predominantly featured in the Showa Era, the Reiwa Era continues to explore these themes. This author seeks to explain the gradual shift in these themes through eras and their influences on other media. Such influences extend even to Evangelion’s creator, Hideaki Anno, making them timeless.
Eiji Tsubaraya’s Roman Catholic Influence:
According to the book “Eiji Tsubaraya: Master of Monsters” by August Ragone, Eiji Tsubaraya, Ultraman’s creator, was Roman Catholic. As such, religious themes span throughout his work and the subsequent work of Tsubaraya Productions (aka TsuPro). While the intent of TsuPro was to create a studio for practical effect shows, the religious influence is undeniable.
Ultraman Ace:
The most notable examples of Ultraman’s religious imagery appear in Ultraman Ace. In episode thirteen of the series, Alien Yapool chains several Ultra Brothers to a cross. While an obvious reference to the crucifixion of Christ, there are deeper subtextual themes. Alien Yapool is forcing Ace’s closest friends to serve as martyrs for their cause of protecting the galaxy. It’s a horrific image of forced sacrifice juxtaposing the violence of Ace fighting off against Ace Killer. Religious references like these define the Showa Era. However, imagery is not the end all be all of these references. The structure of the Land of Light itself functions similarly to Heaven. Ultras are thus portrayed as angels protecting Earth and its people. With this allegory comes the question of Ultras who defect to darkness. In this regard, the answer is in the name of the ‘fallen Ultras’ category.
Ultraman Belial:
The most notable case of Ultra corruption is Ultraman Belial. Blinded by his desire for power, Belial tried to steal the Land of Light’s power source (the plasma spark). His descent from the Land of Light is a direct allegory for being cast out of Heaven. Tsupro portrays the Land of Light as a utopia and home for all Ultras. As such, the idea of being cast out suggests a descent into Hell. After his exile, Belial forms a pact with Alien Reiblood and ceases to be an Ultra in the traditional sense of the word. Returning for revenge several times in the series, Belial is bitter about his descent from the Land of Light. His attitude towards being made a devil contrasts with later villains like Ultraman Tregear, who embraces his own descent.
Ultraman Tregear:
“I’m but a lowly devil nowadays” (Ultraman Tregear, “Ultraman Taiga (2019)”, Episode 5).
While not the first to descend from the Land of Light, Tregear stands out in his complete embrace of corruption. Unlike Belial, Tregear isn’t necessarily saddened or bitter over his exile, as his fall was self-imposed. Rather, Tregear serves more as a trickster devil. In contrast to Belial’s destructive bitterness at the Land of Light, Tregear is a corrupting force. As such, Tregear can be seen as an allegory for the snake in the Garden of Eden. The fact that he quite literally calls himself a devil confirms this. That, combined with the visceral imagery of his pact with Grimdo in his side story, showcases a cautionary tale. While Tregear’s story is also one of bitterness, it is similarly one depicting the failures of the Land of Light and the destructive pursuit of knowledge. Tregear ceases to be an Ultra in the same way Belial does for vastly different reasons.
Influence on Neon Genesis Evangelion:
It’s no secret that Hideaki Anno is a huge fan of Ultraman. Ignoring the obvious with his film “Shin Ultraman (2022)”, Anno has been a fan of Tsubaraya’s work for a long time. Having created “Daicon Film’s Return of Ultraman” in 1983, the inspiration Anno took from Ultraman can be seen throughout Evangelion. Crucifixion imagery is rife within the series.
Many fans speculate that this imagery has a specific meaning. However, it is likely that Anno just included it as a love letter to Tsubaraya. In a since archived EvaOtaku.com article discussing it, Kazuya Tsurumaki, one of Evangelion’s directors, said, “There is no actual Christian meaning to the show; we just thought the visual symbols of Christianity look cool. If we had known the show would be distributed in the US and Europe, we might have rethought that choice” (Tsurumaki, 2007). This denouncement of deeper subtext all but confirms Hideaki Anno’s long-standing love of Tsubaraya’s religious imagery.
Conclusion:
The Ultraman series is full of subtextual themes, which means a religious reading of the series would not be far-fetched. Tsubaraya’s influence spans multiple generations. As such, it’s no surprise that his Catholic beliefs bleed into his work and serve as creative inspiration. While ultimately, these themes are secondary to Ultraman’s thesis, they are interesting to explore. Most Ultraman series can be found on Tubi. Ultraman Merchandise can be found here.
