The only Japanese Godzilla movie that saw a release in Hungary. It had a limited run in cinemas in 1989, but was met with unfavorable reception and was quickly forgotten, so most people believed Roland Emmerich's American Godzilla (1998) to be the first Godzilla flick.
In the German release of the movie, MechaGodzilla is called King Kong. The reason for this name-change is unknown, although it is likely that the German distributors simply wanted to ride on the actual King Kong's popularity. It is also possible that they have been inspired by the ape-like aliens who control the robot in the movie, or that "King Kong" was simply something of a catch-all term for giant monsters in general. Film historian David Kalat also suggests that the distributors have been confused by the film King Kong Escapes (1967), in which Kong fights a mechanical version of himself, and incorrectly thought that the name "King Kong" referred to the giant robot. It is also of note that another giant robot character, Jet Jaguar from the movie Godzilla vs. Megalon (1973) was also called King Kong in the German dubbing.
This was the first Godzilla film, in its original Japanese version, to finally give onscreen credit to the suitmation actors with the names of the respective monsters they played. (Up to that point, suitmation actors did receive onscreen credit, but just as regular cast members.) All Toho-produced Godzilla films have since maintained this practice.
When Universal Studios, responsible for both the The Six Million Dollar Man (1974) and the The Bionic Woman (1976) threatened to sue Cinema Shares Releasing over the title (Godzilla Vs. the Bionic Monster), the movie was quickly retitled Godzilla vs. the Cosmic Monster.
The guardian monster King Shisa is based on the actual "shîsâ" lion-dog guardian statues in Okinawa. Originally from China, they are statues that ward off evil spirits. Another Japanese name for them is "komainu" (lion-dog).
The ferry Shimizu (Masaaki Daimon) and Saeko (Reiko Tajima) travel in to get to Okinawa is called the Sunflower Sapporo, which is a real-life (and still active, as of 2013) ferry. The original owners, Nippon High-Speed Ferries (Nippon Kôsoku Fêrî), was one of this film's sponsors.
The main objective of Teruyoshi Nakano, director of special effects, was to show that Godzilla movies could be as exciting and boisterous as the popular and more expensive American effects-films of the time. Hence all the focus on big and colorful explosions in the movie.