broken it." For the scene of Gamera recovering underwater, a 20 centimeter prop was built and filmed in a fish tank. Lighting up Gamera's leg sockets for flying scenes cost ¥12,000 ($33) per socket. Gyaos' beam required optical work that cost ¥3,500 per cut. English versions Following the film's completion, Daiei commissioned Axis International to produce an English dub. This dub was recorded in Hong Kong and was used as a "sales marketing tool" to attract international distribution. That same year, American International Productions Television acquired the film, along with Gamera vs. Barugon and Gamera vs. Viras, for the American television market and commissioned a new English dub. Journalist James Flower deduced that the AIP–TV version may have been dubbed by the English Language Dubbers Association (ELDA) due to Gamera's name being mispronounced as "Guh-MER-ah", a fluke that is consistent in ELDA's dub of Gamera vs. Barugon. AIP–TV retitled the film as Return of the Giant Monsters, left it uncut, and added two brief insert shots replacing Japanese protest signs with English signs. Gamera's Song was cut from the AIP–TV version. Release Theatrical and television Gamera vs. Gyaos was released theatrically in Japan on March 15, 1967, on a double bill with Chiisai Tôbôsha. Attendees were given Gyaos glider cutouts made out of construction paper and paper toy versions of Gamera and Barugon. A Manga adaptation was published in Shōnen comics as a special volume release. As a publicity stunt, a press conference was held featuring Gyaos promoting its involvement with the film, however, the stunt angered reporters called to the conference. The split car was displayed at the conference with Reiko Kasahara behind the wheel. The film was never released theatrically in the United States, and was released directly to television by American International Television in 1967 as Return of the Giant Monsters. In 2015, a digital restoration of the film was screen at the Tokyo International Film Festival. Critical response Variety reviewed the film after a screening in Tokyo, stating, "Gyaos is true to his own nature. Which is more than one can say for the now thoroughly domesticated and completely undignified Gamera. Perhaps it is because the man inside the suit swooping on wires or carefully crunching models of Nagoya is a born actor. Gyaos exhibits a strong sense of timing. A good deal of projection and consequently, generates an amount of empathy. He is obviously a