IN 1954 AD, Ishiro Honda released his film "Godzilla" to the public. When it became a commercial failure he went to directing less ambtious projects. Toho gave all the rights to the Honda family to prevent further distribution of the dismal failure of a fable and to make sure not the make the same mistake again. Honda's career went by but the GODZILLA franchise never came to be.
In the early 1980sAD Honda's grandson Daisuke was left with a sick mother and two ambitious siblings. In order to support his family he quit his career to capatilize on his artistic talents in singing and dancing while honoring what he saw as his grandfather's opus, hoping to score a big deal.
Of all the companies he went to only a small and failing firm decided to respond to his test recordings. Compiling what they saw as one last album, South Osaka Seabeast records released "THE RETURN OF GODZILLA" in 1985AD. It broke numerous records around Japan and earned a worldwide release once Seabeast had recovered and restructured.
Now a new genre of preformers walks the world, under the new gimmick of being a connected musical epic revolving around giant monsters. This is the story of the lives in the world. The preformers, the executives, their fans, and their families.
This is world where there is no king of monsters. However, there is a king of song and dance.