An idea familiar not simply to fans of the Godzilla film franchise—wherein a fire-breathing lizard of monstrous proportions makes his destructive way through the city of Tokyo with destructive results—is that the creature is a metaphor for the results of the weaponization of the atom. That is, the monster is the monstrous indifference and the monstrous destructive force of the bombs called Little Boy and Fat Man which were dropped on Hiroshima and Nagasaki respectively, three days apart in August, 1945. In fact, the destruction left in the aftermath of the bombs was still present in the minds of those who made the Godzilla movies. It was a marker for them. They endeavored to create, to recapture the look of that destruction when they made the films. It was always present, always a part of the story.