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VARAN
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VARAN (Versatile Automation Random Access Network) is a Ethernet-based Fieldbus industrial communication system.
VARAN is a wired data network technology for local data networks (LAN) with the main application in the field of automation technology. It enables the exchange of data in the form of data frames between all LAN connected devices (controllers, input/output devices, drives, etc.). VARAN includes the definitions for types of cables and connectors, describes the physical signalling and specifies packet formats and protocols. From the perspective of the OSI model, VARAN specifies both the physical layer (OSI Layer 1) and the data link layer (OSI Layer 2). VARAN is a protocol according to the principle master-slave. The VARAN BUS USER ORGANIZATION (VNO) is responsible for the care of the Protocol.[1]
References
[edit]- ^ "VARAN BUS USER ORGANIZATION". varan-bus.net. Retrieved 22 March 2016.
VARAN
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Varan (Japanese: バラン, Hepburn: Baran) is a fictional amphibious reptile kaiju created by Toho Company, first introduced as the titular antagonist in the 1958 tokusatsu film Varan the Unbelievable, directed by Ishirō Honda.[1] The creature is portrayed as a massive prehistoric survivor, emerging from a remote lake in Japan's Tohoku region to terrorize villages and urban areas, blending elements of horror, science fiction, and disaster cinema in the post-war Godzilla-inspired tradition.[2]
In the original film, Varan is awakened by scientific expeditions studying rare butterflies near the Kitakami River, where it is revered by locals as the mountain god Baradagi.[2] Standing approximately 50 meters tall and weighing 15,000 metric tons, the monster demonstrates triphibious capabilities, navigating land, water, and air with ease.[2] Its most distinctive ability is gliding at speeds up to Mach 1.5 using expansive membranes stretched between its elongated arms and legs, resembling a flying squirrel, while armed with sharp claws, fangs, and a row of dorsal spines.[2] Varan rampages through rural areas before advancing to Tokyo, where it is ultimately defeated by scientists deploying explosive light bombs filled with special gunpowder.[1]
Varan reappeared in a redesigned form in the 1968 Toho film Destroy All Monsters, as a specimen measuring 10 meters in height and 60 tons, housed on Monsterland before being mind-controlled by aliens known as the Kilaaks.[2] In this incarnation, it retains its gliding prowess but gains poisonous spines along its back, though these are not utilized in combat.[2] The creature attacks Tokyo under mind control before joining Earth's monsters to repel the alien invasion.[2] Stock footage of Varan from Destroy All Monsters was later incorporated into the 2004 film Godzilla: Final Wars, marking its most recent cinematic role.[2]
Beyond films, Varan has featured in various Toho media, including the 2007 video game Godzilla: Unleashed, where it aligns with heroic Earth Defenders against destructive foes.[3] The suitmation design, originally performed by actors Haruo Nakajima and Katsumi Tezuka, draws inspiration from prehistoric monitor lizards, emphasizing Varan's status as a lesser-known but enduring figure in the kaiju genre.[2]
Appearances
Films
Varan debuted in the 1958 Toho film Varan (original Japanese title Daikaijū Baran), directed by Ishirō Honda.[1] In the story, the creature emerges as a massive prehistoric reptile from a remote valley in northern Japan after an expedition of entomologists disturbs the area while investigating rare butterflies, prompting it to demolish a local village guarded by indigenous people who revere it as a deity before gliding toward the sea and assaulting Tokyo.[4] The production was initially conceived as a television project for American broadcast but was expanded into a feature-length film, marking Toho's last black-and-white kaiju entry and incorporating suitmation techniques supervised by Eiji Tsuburaya.[1] The film received an international release in the United States on December 7, 1962, retitled Varan the Unbelievable and substantially re-edited by producer Jerry A. Baerwitz for Crown International Pictures.[5] This version discarded much of the original Japanese narrative, replacing it with new footage featuring American actors, including scenes of military desalination experiments on an island that inadvertently awaken the monster from hibernation, alongside added narration and a more simplified plot focused on the creature's rampage and confrontation with a giant condor.[5] The alterations aimed to appeal to Western audiences but resulted in a runtime of 70 minutes, significantly altering the tone from the original's emphasis on scientific exploration and cultural reverence.[5] Varan returned in the 1968 Toho film Destroy All Monsters (original Japanese title Kaijū Sōshingeki), again directed by Ishirō Honda, as part of an ensemble of Earth monsters confined to Monster Island for study. Under mind control by the invading alien Kilaaks, Varan is deployed to briefly terrorize Tokyo by gliding through the city and causing destruction before the aliens' influence is severed, allowing it to join Godzilla, Anguirus, Rodan, and others in a climactic assault on King Ghidorah at Mount Fuji, though its participation remains peripheral. The appearance utilized a modified suit from the 1958 film, emphasizing Varan's gliding ability in stock-like sequences amid the multi-monster spectacle. Stock footage from the 1958 film has been repurposed in subsequent Toho kaiju productions, including brief Varan-specific clips in compilations that recycle monster action sequences for efficiency.Literature
Varan's literary portrayals extend beyond its cinematic origins into novels and comics, where authors have explored expanded narratives, alternate abilities, and mythological ties. In Marc Cerasini's 1997 young adult novel Godzilla 2000, published by Random House as the second installment in his Godzilla series, Varan emerges as one of several ancient kaiju roused from slumber amid global chaos. The book provides a scientific rationale for Varan's gliding mechanism, attributing it to evolutionary adaptations featuring helium-filled sacs within its skin lumps that enable buoyant, flight-like descent from heights. This depiction positions Varan as a formidable, iguana-like reptile with toad-like legs and webbed claws, contributing to the story's ensemble of monsters including Godzilla, King Ghidorah, Mothra, and Rodan, as humanity grapples with extraterrestrial threats.[6][7] Varan receives further development in IDW Publishing's comic series Godzilla: Rulers of Earth (2014–2015), a 25-issue run by writers Chris Mowry and Mairghread Scott with artists Roi Mata and others. Introduced in issue #5, Varan hails from a saltwater lake in China's Kunishiroshima valley, revered by locals as the god Baradagi-Sanjin, echoing Tohoku region's folklore of the Baradagi mountain deity. Portrayed as a territorial guardian aligned with Earth's elemental balance and the water domain, Varan initially clashes with other kaiju like Rodan and Gaira before allying with Godzilla and the Earth Defenders coalition. Throughout the series, Varan aids in repelling alien invaders—the Cryog civilization and their bio-engineered Trilopods—establishing it as a protective force in a world-spanning conflict among ancient monsters.[8] A darker, supernatural iteration appears in IDW's five-issue miniseries Godzilla in Hell (2015), specifically issue #2 written by Lonnie Nadler and illustrated by Bob Eggleton. Here, a demonic variant of Varan manifests as a hellish guardian within the Eternal Ocean, one of Hell's infernal realms. This grotesque, otherworldly form—complete with exaggerated reptilian ferocity and infernal aura—ambushes Godzilla during his psychedelic journey through the afterlife, symbolizing resurfaced traumas and monstrous adversaries in a narrative blending horror, theology, and kaiju lore. The encounter underscores Varan's role as a spectral enforcer in Godzilla's descent, amplifying the series' themes of resurrection and damnation.[9][10] In the 2024 IDW miniseries Godzilla: Skate or Die by writer-artist Louie Joyce, Varan drives the central conflict in a contemporary, irreverent tale set in central Australia. Awakening abruptly, the kaiju rampages toward a DIY skatepark cherished by four punk skaters, prompting Godzilla's arrival from the coast to intercept it. The story weaves Varan's destructive path through urban and outback environments with the youths' defiant efforts to safeguard their haven, infusing skate-punk culture, friendship, and high-stakes monster clashes into a fresh, youthful lens on kaiju antagonism. This five-issue arc, collected in 2025, highlights Varan's raw ferocity against Godzilla's overwhelming power, questioning the monsters' motivations amid human resilience.[11][12]Other media
Varan has appeared in several video games as part of the Godzilla franchise, often emphasizing its triphibian nature and gliding abilities. In the 2007 video game Godzilla: Unleashed for the Wii and PlayStation 2, Varan serves as an unlockable playable character aligned with the Earth Defender faction, purchasable for 30,000 points after defeating it in the "On the Mothership" stage.[13] The character features unique gliding mechanics, allowing indefinite flight or midair ramming attacks with claw swipes, alongside combos such as rapid strikes and ground pounds that leverage its speed and agility against other kaiju opponents.[14] Earlier appearances include a boss role in the 1988 NES game Godzilla: Monster of Monsters!, where Varan assaults the player with melee attacks on the second world stage.[15] Varan also appears in the Toho web series Godziban (2019–2025), portrayed through puppetry in episodes 21, 54, and 55, as well as special episodes 10 and 11. These segments feature Varan in comedic and adventurous scenarios alongside other kaiju, contributing to the series' lighthearted take on the monster universe.[15] Varan is also featured in trading card games produced by Bandai, integrating it into collectible formats with defined statistics. In Bandai's Godzilla Card Game, launched in 2019, Varan appears as a card in Booster Set 1: Godzilla VS. Godzilla (EBP01-069), depicted with attributes highlighting its attack power, gliding capability, and weaknesses to energy-based foes, enabling players to build decks around its amphibious and aerial traits for strategic battles.[16] Merchandise featuring Varan includes figures from Bandai's Movie Monster Series line, which recreates the kaiju in soft vinyl for display and play. The 2024 release of the Varan figure, exclusive to the Godzilla Store and measuring approximately 18 cm in length, captures its spiked, gliding form from the original 1958 film, complete with articulated limbs for posing in dynamic scenes; it was developed following fan voting in Toho's "You Choose! Toho Monster New Soft Vinyl Figure" campaign.[17] This figure joins other kaiju in the series, emphasizing Varan's role as a lesser-known but iconic Toho creation.Concept and creation
Development and design
Varan originated in 1957 when Toho Studios planned a low-budget kaiju film as a follow-up to the success of Godzilla (1954) and Rodan (1956), initially conceived as a three-part television pilot for American broadcast in collaboration with AB-PT Pictures Corporation. The project emphasized a natural monster emergence without the radiation themes of prior entries, focusing instead on ecological disruption caused by human scientific expeditions, such as H-bomb tests disturbing ancient habitats. This conceptualization drew inspiration from pterosaur fossils for the creature's gliding anatomy and Japanese folklore depicting mountain guardians, portraying Varan as the feared Baradagi deity protecting a remote Tohoku village.[4][18] The initial story treatment was penned by Ken Kuronuma, known for his work on Rodan, which established Varan as a prehistoric reptile awakened from a sacred lake beneath a mountain, emphasizing themes of harmony with nature disrupted by modern interference. Shinichi Sekizawa adapted Kuronuma's outline into the screenplay, incorporating urban destruction sequences in Tokyo to heighten dramatic stakes after the project shifted from television to theatrical release when the U.S. partner withdrew, prompting Toho to expand the scope for Japanese cinemas despite tight scheduling. This evolution retained the black-and-white format for cost efficiency, marking Toho's last such kaiju production.[2][19] Design responsibilities fell to special effects supervisor Eiji Tsuburaya's team, with Teizo Toshimitsu sculpting the head and Yasuei and Kanju Yagi constructing the body suit, resulting in a 50-meter-tall, 60 meters long, 15,000-ton triphibian kaiju featuring bat-like membrane wings for gliding flight, evoking a blend of Archaeopteryx-like avian traits and local reptilian forms such as monitor lizards. Budget constraints, estimated lower than previous kaiju films, necessitated practical effects innovations like wire-guided models for Varan's aerial sequences and stock footage from earlier Godzilla entries for military scenes, distinguishing its gliding spectacle from the fire-breathing pyrotechnics of predecessors. Akira Ifukube composed the score, enhancing the monster's mythical aura without direct involvement in visual design. Early suit tests by actor Haruo Nakajima influenced refinements to the gliding mechanics before principal photography.[2][20][4]Portrayal
In the 1958 film Varan the Unbelievable, the titular kaiju was brought to life through suitmation techniques pioneered by Toho's special effects team, with Haruo Nakajima serving as the primary suit actor responsible for the creature's agile movements during key action sequences.[21] Nakajima, known for his work in multiple kaiju roles, navigated the suit's physical demands, including explosive stunts that once resulted in minor burns during filming.[1] In the 1968 film Destroy All Monsters, Varan appeared in ensemble group scenes using a refurbished prop, with minimal dynamic interactions amid the chaotic battle sequences.[2] The original suit for the 1958 production was constructed from latex, featuring a thinner surface layer compared to earlier kaiju designs like Godzilla's, which allowed for greater flexibility in depicting Varan's quadrupedal and bipedal locomotion.[21] Under director Ishirō Honda's guidance, the suit incorporated basic internal ventilation to mitigate overheating during prolonged shoots, though actors still endured significant physical strain. For later appearances, such as in Destroy All Monsters, the suit was iterated with lighter materials to facilitate wire work simulating Varan's gliding ability, enhancing the illusion of aerial maneuvers without relying solely on animation.[2] Special effects supervisor Eiji Tsuburaya oversaw the practical realization of Varan's rampages, employing detailed miniature sets to depict the kaiju's attacks on villages and urban areas, a hallmark of Toho's tokusatsu methodology that integrated suit performers with scaled environments for realistic destruction.[22] Tsuburaya's team used dry ice to generate mist effects during Varan's emergence from the lake, creating an eerie atmospheric reveal, while practical extensions on the suit's membrane wings, combined with wire suspension, produced convincing flight illusions in scenes of the monster soaring over Tokyo.[2] Varan's vocalizations were crafted through layered sound design, blending animal recordings to evoke a prehistoric menace, with roars derived from modified alligator and eagle calls to emphasize the creature's reptilian yet avian traits. The film's score, composed by Akira Ifukube, integrated these effects seamlessly, using orchestral swells to heighten tension during monster sequences and underscore Varan's mythical presence.[23] International releases of Varan the Unbelievable, particularly the 1962 American version distributed by Crown International Pictures, introduced significant alterations that disrupted the original pacing, including added English narration, new footage with Western actors, and substantial cuts to condense the runtime from 87 minutes to around 70 minutes. These changes, aimed at appealing to U.S. audiences by reframing the plot around desalination research, often hurried monster action scenes and diluted the suspenseful buildup characteristic of Honda's direction.[24]Abandoned projects
In 1957, Toho collaborated with AB-PT Pictures, a division of the American Broadcasting Company (ABC), on a pilot episode for a potential television series featuring Varan, originally titled Giant Monster Varan. The script, written by Shinichi Sekizawa from a story by Ken Kuronuma, centered on folklore researchers investigating the mountain god Baradagi in Japan's Tohoku region, leading to the awakening of the prehistoric creature Varan, who rampages through a village before being confronted by Japanese military forces using experimental weapons.[25] This international co-production effort collapsed due to the withdrawal of U.S. funding support from ABC, prompting Toho to repurpose the existing footage and script elements into a standalone theatrical feature film released in 1958.[25] The project's failure highlighted early challenges in cross-cultural kaiju ventures but influenced subsequent Toho-Hollywood partnerships, such as those for Godzilla films in the 1970s. During the mid-1990s, Toho developed a script for an unproduced sequel titled Godzilla vs. Giant Monster Varan, conceived by producer Yosuke Nakano and intended for release around 1995. Set in 1999, the story portrayed Varan as an apocalyptic harbinger awakening to ravage the world, opposed by Godzilla and his son Minilla in a climactic battle that introduced Minilla's atomic breath ability, culminating in the duo departing as the millennium approached.[26] The project was ultimately scrapped amid Toho's shifting focus toward other Godzilla entries in the Heisei era, such as Godzilla vs. Destoroyah (1995), prioritizing established franchise continuity over reviving lesser-known kaiju like Varan.[27] Another unrealized effort came in 2001 with Godzilla X Varan, Baragon and Anguirus: Giant Monsters All-Out Attack, an ensemble script that positioned Varan alongside other Earth defenders against invading aliens and their monsters. This concept, which emphasized Varan's gliding abilities in team-based action, was abandoned as Toho opted for the standalone Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), streamlining production around core Godzilla lore rather than expanding the supporting cast. These abandoned initiatives underscore Varan's recurring consideration for revival but ultimate marginalization in favor of Godzilla-centric narratives.Characteristics
Physical appearance
Varan is a massive bipedal reptile measuring 50 meters in height when standing upright—though it frequently adopts a quadrupedal stance at 30 meters—and weighing 15,000 metric tons, featuring an elongated snout reminiscent of a lizard, powerful clawed limbs for gripping terrain, and expansive bat-like wing membranes stretching from its arms to its legs for gliding capabilities. Its anatomy reflects triphibian adaptations suited to land, sea, and air environments, including a long prehensile tail that aids in swimming. The creature's hide is thick and leathery, covered in scales that provide natural armor, with a prominent row of dorsal spines extending from the crown of its head down its back to the tail tip.[2][15] Varan's coloration is typically mottled in earthy tones of brown and green to facilitate camouflage in forested or mountainous habitats, occasionally accented with grayish-blue splotches on its back and sides as depicted in promotional materials, while its piercing red eyes contribute to a menacing, aggressive glare. In its debut film, the black-and-white presentation obscured precise hues, but later color appearances, such as in Destroy All Monsters, portray it in dominant brown shades with subtle variations. The overall build emphasizes agility over brute mass, rendering Varan slightly shorter yet more nimble than the contemporaneous Showa-era Godzilla due to its comparatively lighter frame and gliding physiology.[2] Depictions of Varan exhibit notable variations across media. A juvenile form, standing 10 meters tall and weighing 60 metric tons, appears in Destroy All Monsters, retaining the adult's core anatomy but with added poisonous spines along its back for defense. In the 2015 IDW comic miniseries Godzilla in Hell, a demonic iteration emerges with an infernal redesign, including orange eyes and exaggerated, hellish features while preserving the triphibian structure.[2][28]Powers and abilities
Varan's primary mode of aerial locomotion is gliding, facilitated by thin membranes stretched between its limbs, allowing it to launch from elevated positions such as cliffs or mountains and achieve speeds of up to Mach 1.5.[2] This capability enables short bursts of flight for traversing distances or executing ambushes, as demonstrated when the creature glides from its habitat to coastal areas in pursuit of prey or during rampages.[4] In combat scenarios, Varan deploys this gliding to gain altitude for diving attacks, leveraging momentum to enhance strikes against larger threats or structures. Complementing its aerial prowess, Varan exhibits strong amphibious adaptations, functioning effectively in aquatic environments with powerful limbs suited for propulsion through water.[2] It can submerge for extended periods in lakes or oceans, using its habitat for concealment and surprise assaults, such as emerging to overwhelm vessels or land targets.[15] On land, Varan's quadrupedal stance provides stability for rapid charges, while its claws and fangs deliver devastating slashes and bites capable of demolishing buildings and military installations.[4] The creature's tail serves as a whipping weapon to generate forceful impacts, and its overall mass—estimated at 15,000 metric tons for the first-generation specimen—confers immense durability against conventional armaments like tanks and artillery, though it remains susceptible to high-yield explosives.[2] Despite these strengths, Varan possesses exploitable vulnerabilities that limit its effectiveness in prolonged engagements. Its gliding membranes, while agile, are prone to damage from sharp or piercing attacks, potentially grounding the kaiju if torn.[29] Additionally, Varan displays a sensitivity to bright lights, which can lure it into traps, as seen in its defeat via flares loaded with detonative gunpowder that exploded internally after ingestion.[4] The creature's internal physiology offers less protection than its armored exterior, making it vulnerable to ingested or penetrating ordinance that bypasses its hide.[30] In various media adaptations, Varan's abilities receive minor enhancements while retaining its core predatory traits. The second-generation Varan in Destroy All Monsters (1968) features poisonous spines along its back for potential impalement attacks, though these are not prominently utilized in combat.[31] Video games such as Godzilla: Unleashed introduce sonic beams and energy projectiles from its mouth, expanding its ranged options beyond physical assaults, but these deviate from the film's natural arsenal.[32] Across depictions, Varan lacks energy-based weapons like beams, emphasizing instead its role as a triphibious hunter reliant on speed, strength, and environmental adaptation.Reception and legacy
Critical reception
Upon its release, the 1958 film Varan the Unbelievable received mixed reviews from Japanese critics, who praised director Ishirō Honda's atmospheric direction and the monster's unique gliding ability but criticized the low budget, which resulted in subpar special effects and a formulaic kaiju narrative that echoed earlier Toho entries like Rodan.[33] In the United States, the edited version was dismissed as a campy B-movie, with Variety calling it an "uninspired monster meller for saturation supporting niches" that paled in comparison to more polished imports like Godzilla. Retrospective analyses have noted its cult appeal among kaiju enthusiasts for introducing Varan as a triphibian reptile, though its overall execution was seen as lackluster, earning a 27% approval rating on Rotten Tomatoes based on limited reviews.[34] Varan's appearance in the 1968 ensemble film Destroy All Monsters drew mixed fan responses, with appreciation for the monster mash-up spectacle but frequent complaints about its underutilization, as the creature received less than a minute of screen time amid the crowded cast.[35] Godzilla scholars and fans have echoed this sentiment, describing Varan as a "filler monster" that added little beyond visual variety to the alien invasion plot, though its inclusion helped cement its status in Toho's shared universe.[36] In comic book adaptations, Varan has fared better critically, particularly in IDW Publishing's series, where fresh interpretations highlight its gliding attacks and reptilian ferocity; for instance, its role in Godzilla: Rulers of Earth was lauded for reviving underused kaiju with engaging team-up dynamics.[37] The 2015 miniseries Godzilla in Hell featured a horror-infused variant of Varan that Comic Book Resources praised for amplifying the creature's eerie, otherworldly presence in a surreal narrative.[38] Fan discussions on platforms like Toho Kingdom forums have similarly commended these takes for breathing new life into the character, often ranking its comic portrayals above its film ones for creative depth.[39] Overall, Varan consistently places in the mid-to-lower tiers of kaiju popularity polls due to sparse utilization. For example, its debut film ranked #9 in Toho Kingdom's 2020 fan survey movie category with minimal points.[40] G-Fan magazine reader polls have echoed this by consistently ranking the film Varan the Unbelievable in the lower echelon of Toho kaiju films.[41] Modern retrospectives in 2025, including a Basement of the Bizarre analysis, highlight its enduring cult status despite initial flaws, while the IDW comic Godzilla: Skate or Die (2024–2025) has been positively reviewed for showcasing Varan's comedic potential in inventive skate-punk battles against Godzilla, earning a 7/10 from Comic Book Roundup for dynamic action sequences.[42][43]Cultural impact
Varan played a pivotal role in the early development of the kaiju genre as Toho's third standalone monster film, following Godzilla (1954) and Rodan (1956), and helped expand the archetype beyond purely terrestrial or aerial threats by featuring a triphibian creature capable of gliding, swimming, and terrestrial movement.[44] This design innovation influenced the versatility seen in later kaiju, emphasizing adaptability across environments rather than reliance on mutation from atomic testing, positioning Varan as a more naturalistic antagonist in contrast to its predecessors.[45] The monster's global reach expanded through its 1962 American adaptation, Varan the Unbelievable, which was heavily edited and rescored for theatrical and television syndication by Crown International Pictures, exposing U.S. audiences to Japanese kaiju cinema during the burgeoning sci-fi TV era.[5] This syndication contributed to the inspiration for American low-budget monster productions in the 1960s, broadening the genre's international appeal beyond elite theatrical releases.[46] In contemporary culture, Varan's legacy endures through niche fan appreciation and modern media revivals, notably its prominent role in IDW Publishing's 2024 comic series Godzilla: Skate or Die, where it serves as a central antagonist rampaging across Australia alongside Godzilla.[47] This series has revitalized interest in the character, portraying it in fresh narratives that highlight its underdog status among more iconic kaiju and driving merchandise and discussions within enthusiast communities.[48]References
- https://wikizilla.org/wiki/Godzilla:_Unleashed
- https://strategywiki.org/wiki/Godzilla:_Unleashed/Varan
- https://wikizilla.org/wiki/Varan
- https://wikizilla.org/wiki/List_of_unmade_giant_monster_films
- https://wikizilla.org/wiki/Demon_Varan
- https://wikizilla.org/wiki/Varan_%28film%29