
Starlight Runner Entertainment's Jeff Gomez and Mefilas, a race of recurring aliens from the planet Mefilas that appeared in the Ultraman TV series.
Superheroes come in all shapes, sizes, genders, and even nationalities. In 1966, East met West when U.S. TV viewers were introduced to the red and silver garbed robotic-looking superhero and title character in Ultraman. Created and executive produced by the Japanese special effects (SFX) director Eiji Tsuburaya and produced by Tsuburaya Productions, the TV series is a follow-up to Ultra Q, the first installment in the Ultra Series, which encompasses dozens of series and feature films produced by Tsuburaya Productions and featuring the numerous incarnations of Ultraman and his monstrous adversaries. United Artists Television originally bought the rights for Ultra Q (which was filmed in black and white) and Ultraman, but the former never aired in America as TV networks were focused more on providing their audiences with color shows.
When, in Ultraman, Earth comes under attack by extraterrestrial invaders and gigantic monsters called Kaiju, an organization called the Special Science Search Party (or Science Patrol) steps up to the plate and deploys its array of high-tech weapons and vehicles to combat these various threats. When the Patrol’s resources are unable to sufficiently handle the situation, one of its members, Shin Hayata, secretly transforms into the giant alien Ultraman and proceeds to do battle with whatever monster of the week is trying to smash, gnash and ferociously stomp its way to victory. Growing up, Jeff Gomez, CEO of Starlight Runner Entertainment, took a keen interest in Ultraman’s arrival on the scene.

Our towering hero Ultraman.
“As a young child I lived in the inner city and was a Puerto Rican kid just trying to get by,” says Gomez. “I experienced some bullying and, honestly, life in the Lower East Side of Manhattan was a little rough, so Godzilla was awesome to me. He was this huge and powerful force of nature that sometimes could be pissed off, and other times was kind of an inadvertent hero who saved the world even though he wasn’t really appreciated. So going to the cinema at the time and seeing these Japanese special effects films – known as tokusatsu – that integrated miniatures and trick photography was incredibly exciting for me.
“My parents were divorced, so I’d have to spend summertime in Puerto Rico. Unfortunately, I was shy and didn’t understand Spanish. There was nothing for me to do, and then one day someone called me into the living room to look at the television. There was this Kaiju or huge monster on the screen and a giant silver dude was fighting him and saving peoples’ lives. I couldn’t believe my eyes. Ultraman was like a Godzilla movie, except it was on Puerto Rican TV twice a week. It was also in Spanish, but I didn’t care. I ended up learning Spanish and just fell in love with this superhero. In many ways Ultraman was my savior from boredom, but he also helped fire up my imagination and appealed to my sense of wanting to be bigger and stronger than I was in a chaotic world.”

Ultraseven Marvel Comics.
As Starlight Runner’s CEO, Gomez and his creative team, including the company’s co-founders Executive Vice President Mark Pensavalle and Chief Creative Officer Chrysoula Artemis, have worked passionately and tirelessly to establish their company as the world’s leading producer of transmedia entertainment. Using a variety of platforms such as mobile phone apps, console video games, comic books, social media, and most recently virtual events, they have collaborated with some of the entertainment industry’s top studio executives and producers to not only further promote but greatly expand their clients’ reach to worldwide audiences. Walt Disney Company (Pirates of the Caribbean, Star Wars), Sony Pictures (Men in Black, Spider-Man) and 20th Century Fox (James Cameron’s Avatar) are just a few of the entertainment giants that have benefited from Starlight Runner’s expertise. Never in a million years did Gomez imagine that his childhood love of Ultraman would become part of his professional life.
“It had to do with a series of wonderful coincidences and speaks to communicating your desires out to the world,” he explains. “I had developed a bit of a track record in taking entertainment properties like Hot Wheels, Pirates of the Caribbean and [the video game series] Halo and helping not only expand them across multiple media platforms but also extend those story worlds in exciting ways that still preserved their integrity.

Jirahs, a mutated frill-lizard Kaiju that appeared in episode 10 of the 1966 Ultraman TV series.
“Every so often I would remind interviewers and other people in the business that my love for building these story worlds originated from my exposure to Japanese popular culture. One day I was meeting with Danny Simon, who is the CEO of The Licensing Group, which is based out of Los Angeles. During our conversation, Danny said to me, ‘Hey, I heard you like Japanese entertainment stuff. Well, it looks like I’m going to be representing Ultraman and bringing that franchise to the United States.’ There had been a legal blockage for Tsuburaya Productions to do that for almost two decades. However, the suit had been resolved, freeing to bring Ultraman back. I told Danny that I’d do whatever I could to assist him. He took me to Japan with him and I met with the Tsubaraya executives. Somehow, I persuaded them that Starlight Runner Entertainment would be able to help Danny. Given our intrinsic understanding of the property, we could team to introduce Ultraman to contemporary popular culture here in the North America as well as around the world.
“One of the tremendously exciting things Tsuburaya is doing is allowing us to stage a number of worldwide Ultraman virtual events. These events are going to be awesome and will contain several things that, from a transmedia and pop culture perspective, are kind of unique and, dare I say, historic in terms of the genre and nerd worlds. Starlight Runner and production company Elevate Pictures have formed a joint venture called Iceberg Theory, and we’re producing these incredible live events that integrate livestreaming, video on demand, exclusive merchandise, fan/celebrity interaction, and even live floor shows where the Ultra heroes do battle with Kaiju, complete with special effects! These shows will even introduce new characters and developments into the canonical Ultraman universe,” teases Gomez.

The mega-Kaiju Tyrant battles Ultraman Tiga, Mebius, Trigger, Max, and Ultraman himself during the Ultraman Day floor show.
Although Gomez enjoyed sitting in a darkened cinema or in front of the TV watching his favorite movies and shows, he longed for much more. That desire is what helped fuel his subsequent efforts to make his dreams a reality. “There is a core concept behind Starlight Runner Entertainment that can be traced back to my childhood,” he says. “When I would read Lord of the Rings, watch Ultraman, or even enjoy a Marvel comic book, there was something about just being in the audience that wasn’t satisfying enough. I yearned to be part of those worlds and for my creativity to be a part of that creative universe. By the time I formed Starlight Runner, I had already accomplished that to a degree. I had worked on Magic: The Gathering and contributed a great deal to that world. I also worked on comic books and video games such as Turok Dinosaur Hunter, and some other terrific projects.

Alien Baltan Attacks Ultraman Trigger during the Ultraman Day floor show.
“If I look back on all the kids I knew growing up, especially all my fellow nerds, I found myself to be an exception, and I was sad about that,” he continues. “Why can’t we all touch the canon? Why can’t we all somehow be validated and celebrated for our love of these story worlds? Starlight Runner was based on that concept. The first several years of my company’s work was about bringing integrity to those universes, so that anywhere you encountered them, there was a consistency. That’s something, for example, we brought to the Walt Disney Company. If you had a Pirates of the Caribbean video game, why couldn’t it be part of the Pirates universe? The same with the comics and toys. Disney adopted that attitude — and our transmedia techniques — to all of its intellectual property. I think it’s done well as a result, particularly with Marvel and Star Wars, and I’m very proud of the work we’ve done with them. When you see a universe that is consistent and persistent across multiple media platforms, that is transmedia storytelling, and it’s super cool.
“From this perspective, with Ultraman we felt there was something missing, and we’re finally bringing that missing piece to the franchise. We want to create a place where people who love Ultraman can gather with each other and share in the experience of interacting with the Ultraman universe and the people behind it. That’s what these live virtual events are all about, so on September 24th, Ultraman Connection is producing a live special that will celebrate its Ultraman Official YouTube channel, which is approaching 2 million subscribers. It will include story content that Iceberg Theory is producing and that will add to the Ultraman universe. When you register and come to this event, you’re going to see something that’s never been seen before in the Ultraman universe, and it will all be official. You’re going to be introduced to new characters, discover new information about the universe, and find out what’s going to happen to this story world next. This isn’t a TV show or a movie. This is a fan event, so you can sit there and enjoy it and talk to us about it as it’s unfolding in front of you. It’s the next step in celebrating fan love, fan creativity and fan participation,” enthuses Gomez.

TV shows and movies have come and gone over the decades, but those that have truly inspired fans are never forgotten. What does Gomez feel is behind Ultraman’s continued popularity after all this time? “There were so many prototypical things that happened in those original TV episodes that aired in the 1960’s and 1970’s,” he says. “You had the notion of a giant robotic-looking character battling giant monsters, the notion of this scientific team that goes out and uses spaceships and laser guns to assist our giant hero, and the notion of these various Ultra superheroes crossing over into each other’s shows to battle the big, bad Kaiju.
“We’ve seen this many other times in, for example, Power Rangers, Transformers and even [the 2013 feature film] Pacific Rim. So why Ultraman? How do we distinguish this classic franchise which has been – how can I put it politely – emulated so many times and in so many different ways? The answer is that there truly is something unique about the kind of heroism that you see in the Ultraman stories. This is a hero who isn’t here to solve our problems. He isn’t here to fight crime. He isn’t here to lecture us. Ultraman is stoic, often going whole episodes without saying anything. So, what is he? Ultraman represents the best of what it is we can be. This is a hero who shows by example a certain kind of integrity, courage, hope and kindness. By his actions we see and understand that we are doing things that encourage monsters. Many of the Kaiju in Ultraman are incarnations of greed, our ability to pollute the world, our inability to communicate with one another. With Ultraman, you have a being who is above all that and is aspirational. If we would behave more like the Ultras, there would be a lot less monsters in the real world.”
Steve Eramo
Editor’s Note: The virtual event Ultraman Connection Live: YouTube Special featuring S.H. Figuarts will be held this Friday, September 24, 2021 at 9pm ET / 6pm PT. Check out the lineup here. Registration is FREE at Ultraman Connection.