The prison escape sequence-the place Mizuno slips between cell bars-was achieved by having the actor bodily step by means of a breakaway bar rig coated in lubricant, with vapor effects added through dry ice and rear-projected fog. These allowed the actor to be suspended, tilted, or moved horizontally to simulate weightlessness and levitation throughout transformation sequences. Honda and Yoshio Tsuchiya (Mizuno) collaborated on a signature transformation gesture: the actor places his hand over his heart before dissolving, a refined tic that turned a visible motif.

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Honda directed with a intentionally restrained, character-centered method, prioritizing psychological intimacy, moral ambiguity, and tragic inevitability over spectacle-a stark distinction to Toho's kaiju epics. Simultaneously, Jun Fukuda-initially slated to helm The Human Vapor-departed for another assignment, prompting Tanaka to reassign Honda.

Honda embraced the fabric, viewing it as a fashionable shinjū (double suicide) tragedy within the tradition of Chikamatsu Monzaemon, the 18th-century bunraku and kabuki playwright identified for venteecigarette doomed love stories.

In a contemporary assessment, "Whit." of Variety declared the film plot superior to its companion double feature Gorath and that its special results by Eiji Tsuburaya were "expert", whereas the performing was "competent".