การกลับมาของอุลตร้าแมน

การกลับมาของอุลตร้าแมน (แจ็ค)
超人力霸王傑克
O Regresso de Ultraman
monster The Return of Ultraman　

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ความสูง : 40 เมตร
น้ำหนัก : 35,000 ตัน
อายุ : 17,000 ปี
ความเร็วในการบิน : 5 มัค
พลังกระโดด : 400 เมตร
ดาวบ้านเกิด: ดาวอุลตร้า นครแห่งแสง เนบิวล่า M78
อาวุธ&ท่าไม้ตาย : ลำแสงสเปเซี่ยม,อุลตร้าเบรชเล็ท,อุลตร้าสปาร์ค,อุลตร้าครอส,ซีเนราม่าช๊อต,อุลตร้าฟ็อกบีม
การป้องกัน : อุลตร้าแบริเออร์
มาโลกครั้งแรก : ค.ศ 1971
การแปลงร่าง : โดยการรวบรวมพลังจิตแล้วชูมือขึ้น
ร่างมนุษย์ : ฮิเดกิ โก สมาชิกหน่วย MAT

The Return of Ultraman (Kaettekita Urutoraman) is a tokusatsu SF/kaiju/superhero TV series, and is the 4th Ultra Series.
Eiji Tsuburaya had originally intended for the Ultra Series to end with the 1967 series Ultraseven (Urutora Sebun, 1967), but Ultraman (Urutoraman, 1966) proved to be too popular a character to keep down. After Eiji Tsubaraya's death in 1970, his son Hajime Tsuburaya (who took over Tsuburaya Productions until his own death in 1973) revived the Ultra Series with Return of Ultraman.

Featured in this show is a new Ultraman named "New Ultraman" (Shin Urutoraman), or just "Kaettekita Ultraman", like the show's title. In 1984, however, he was renamed "Ultraman Jack" (Urutoraman Jakku) due to licensing issues, after Tsuburaya and Bandai (which had just bought the Ultraman toy license in Japan) held a contest for children to pick a new name for this Ultraman.

Although he is called "Ultraman Jack" for licensing in and out of Japan, he is still sometimes referred to as "New Ultraman"/"Kaettekita Ultraman," by some fans (and also in some official sources). This change was done due to a last minute decision as the original plan for this series was for the original Ultraman to return to Earth to resume the fight against aliens and monsters.

While nearly identical in appearance to the original Ultraman, the red pattern on his silver suit is slightly different, and he can be distinguished by his shorter "pants," fuller "sleeves" and "kneepads," and pinstripes along the red areas.
Also of note is that Ultraman Jack is one of the few Ultra-Crusaders who requires no device (like the "beta capsule") to transform. Hideki Gô, the human host for New Ultraman, simply raises his hands to transform at will when New Ultraman signals him to do so--or, sometimes, against his will in a very desperate situation. Also there are times when Hideki Gô tries to transform only to have the process blocked due to New Ultraman refusing to transform under the circumstances.

For the first time, Ishirō Honda, best known for his work on the Godzilla movies and other classic Toho tokusatsu, worked on the Ultra Series, and directed some of the episodes of this series, including the first episode (titled "All Monsters Attack" (Kaijū Sōshingeki), which is the same as the Japanese title for the film All Monsters Attack).


This series is a follow up to the original Ultraman and Ultraseven. The first episode begins with a fight between two giant monsters Takkong and Zazahn in Tokyo. Amid the monster destruction, young race-car driver Hideki Go is killed while trying to rescue a little boy and a dog from the falling rubble. His valiant sacrifice is noted by everyone, even his friends and the new defense force MAT (Monster Attack Team), but an unseen being also takes notice. Looking over him is "New Ultraman (Ultraman Jack)," who is so touched by his heroics that he decides to combining his own life-force with Hideki's, thus bringing him back to life (just like the original Ultraman did with Shin Hayata), much to everyone's astonishment. MAT asks him to join the team, which he does, especially since, in this frightening new "Age of Monsters," Earth will need a savior.

In times of crisis, Hideki Go will raise his right arm and, by force of will, transform into Ultraman Jack to fight monsters.
Ultraman Jack is also the first Ultra-Crusader to suffer many types of humiliation, from having his Color Timer ("warning light") torn off to being decapitated.

Specium Ray: Jack can fire the Specium Ray by crossing his arms in a lower case "t" shape. It is exactly like the original Ultraman's Specium Ray. It can obliterate monsters in one shot.
Ultra Slash: Jack can fire the Ultra-Slash from his hand. Same as Ultraman's and Zoffy's. Can slice through monsters easily.
Ultra Bracelet: A multipurpose weapon that can be used like the Eye Slugger, but can also transform into a lance, a cross, shield, and light reflector. It can even piece back together a dismembered Ultraman.

Cinerama Shot: L-styled beam fired from his right arm.
Fog Beam: Jack can fire a stream of energy from his hand when he places his other hand above it. Similar to Ultraman's Slash Ray.
Eye Beams: Jack can fire powerful energy beams from his eyes.
Ultra Barrier: A telekinetic barrier that is powerful enough to turn back a tidal wave. Possibly one of the most elaborate display of movements for any Ultra ability.

Ultra-Frost: Jack can fire an ice beam attack that can defrost any freeze monsters.
Body Spark: Jack can send electric shock waves though his body. Used to shock monsters who are grabbing hold of Jack.
Palm Fireball: Jack can send out a fireball from his palm.
Finger Shot: Godai can smoke a strong crusher from his finger in a dragon rice as the Codenic Crusher, but counter than usual Codenic crusher.

เพลงของอุลตร้าแมน

Kaiju 怪兽 Кайдзю Monster สัตว์ประหลาด 괴물 Canavar Szörny Skrímsli Munstro
Kaijū Монстр Hirviö Монстр Monstro Potwór Monstrum Uhyre
Monstre מפלצות וחיות אגדיות Anime أنمي อะนิเมะ 动画 動畫 ऐनिमे Аниме انیمه Ανιμέ אנימה Аниме अॅनिमे Անիմե 일본의 애니메이션 Kaijū est un terme japonais pour désigner des créatures étranges, particulièrement des monstres géants des films japonais appelés kaijū eiga. La notion japonaise de monstre est différente de celle des Occidentaux, un kaijū est plutôt vu comme une force de la nature devant laquelle l'homme est impuissant et non pas une force du mal. Le kaijū eiga est un genre de film japonais qui emploie des maquettes de villes en carton et des acteurs costumés en grands monstres de latex. Les premiers kaijū eiga furent réalisés dans les années 1950, dans le contexte d'un Japon post-Hiroshima – ces premiers films mettaient souvent en scène le pouvoir de destruction de masse figuré par des kaijū qui détruisaient les cités –, et certains films de ce genre sont encore réalisés de nos jours. La plus connue de ces créatures cinématographiques est Godzilla, mais Gamera, Mothra, Rodan, Guidorah, Ebirah, Yonggary et même King Kong sont d'autres kaijū célèbres. Ishirō Honda, auteur des premiers Godzilla, fut un des plus prolifiques et célèbres réalisateurs de kaijū eiga.