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“Godzilla Minus Zero” builds on the strong visual foundation — and/or the rubble of Tokyo’s Ginza district — that director Takashi Yamazaki pounded into his previous film, “Godzilla Minus One.” Like that first film, “Minus Zero” is in conversation with the big ideas and cultural/emotional resonances behind Toho’s giant monsters, and it’s attuned to the beloved visual details of the franchise, going all the way back to the original “Godzilla” and the Shōwa era.

But historically, for all kinds of budgetary and technological reasons, King Ghidorah is usually not ready for his close-up.

The amount of time that “Godzilla Minus Zero” spends with its three-headed mutant space dragon on the ground is a notable departure from how Ghidorah is most often depicted: in flight, or towering far above Godzilla. Even in closer shots in a CGI-rich film like “Godzilla: King of the Monsters,” when all three heads get ready to chomp up a puny human or 10, the emphasis is on Ghidorah’s scale. Three heads are more terrifying than one.

But “Godzilla Minus Zero” spends a lot of time with just one head, or focused on just one head, and its Ghidorah is as scary on the ground as it is in the air, and this is in part due to the particular design experience that director Yamazaki and his team brought to the world’s deadliest gold dragon. Yamazaki was tapped to design “Godzilla the Ride” at Seibuen Amusement Park (its full name is Godzilla the Ride: Giant Monsters Ultimate Battle) in 2021 and therefore had to figure out a version of Ghidorah that would work from the other side of a safety rail.

Yamazaki and animation studio Shirogumi worked on a monster concept that would feel, according to “Minus One” and “Minus Zero” producer Kazuaki Kishida, “as though the audience was under attack by Ghidorah itself. So it had to be very scary and very close-up,” Kishida told IndieWire. “[In the ride,] we see Ghidorah basically crawling on the ground with its neck, because it has a very long neck, and then really going after the audience. To bring King Ghidorah very close to humans and bring the eyeline closer was a huge core concept for this. So there was a lot of research that had gone into the ride that we were able to apply to ‘Godzilla Minus Zero.’”

The film uses Ghidorah’s eyeline to great effect. One of the most unnerving moments in its initial attack on Matsumoto City, as scientists Kanji Murakami (Min Tanaka) and Akira Hagiwara (Ko Maehara) scramble to both document the new monster on the block and survive the utter destruction of whole city blocks, is a moment of getting really, uncomfortably close to Ghidorah’s eye.

That forced proximity to Ghidorah makes all the spectacular space-dragon stuff it can do even more effective, though these effects are also as grounded in the natural and the tangible as much as possible. For Ghidorah’s destructive beam, for instance, visual effects artist Tatsuji Nojima did more research than even he thought he could do on how lightning visualizes itself.

“Everyone sort of recognized the string of light, that line of light. But if you look at lightning in slow motion, it leaves a line of something that lingers — this is apparently just water vaporizing instantly and turning into plasma,” Nojima told IndieWire. “I don’t fully know the science behind it, but there’s a visual effect that lightning leaves behind. So for Ghidorah’s destruction beam, I wanted to emphasize that element of it. I scatter particles around, kind of blur the imagery, and then let it linger longer than it normally would.”

Of course, whenever the destruction beam hits something, Nojima and the VFX team got to build the explosion. But it’s that visual sense of Ghidorah’s power lingering, and of getting too close to where Ghidorah can see you, that makes this version of the monster feel so dangerous.

“Godzilla Minus Zero” is now playing in theaters.