This gallery contains 17 photos.
Main articles: Abe Sapien returns Mister Wink Wonders of the Troll Market and Beyond: Part 1 | Part 2 The Last Elemental The Angel of Death
In the coldest regions of space, the monstrous entities Ogdru Jahad — the seven gods of chaos — slumber in their crystal prison, waiting to reclaim Earth… and burn the heavens.
Des Vermis Mysteriis, page 87
Abraham Sapien returned in Hellboy: The Golden Army. Jones reprised the role, and the creature design was largely kept the same, although lighter color tones and different schemes were used for certain areas of the skin. Although the design was the same, the much larger onscreen presence throughout the film dictated a different approach to the make-up process.
In the last part of the Monstrous Hundred, here’s a carousel of films from the 2000s onwards!
Pitch Black (2000)
This film packs a clever, outside-the-box narrative with an equally interesting subversive man as its main character, pitting him and an unlikely crew against swarms of truly outlandish alien creatures that are neither hammerhead sharks, nor bats, nor birds of prey.
It is all the same to me, my heart is filled with dust and sand.
As with many other key characters of Hellboy II, the Angel of Death was first envisioned by Guillermo Del Toro as a notebook sketch. From there, the character went through different iterations at the hands of concept artists like Wayne Barlowe, and ended up being art-directed by Norman Cabrera at Spectral Motion.
It is an elemental. A giver of life and a destroyer. A forest god.
Mister Wink’s demise enrages Prince Nuada, to the point where the elf royalty, in retaliation, unleashes a Forest Elemental to kill Hellboy. The creature first appears in a small, bean-like shape; upon contact with water, it grows into an immense, 100-foot tall tentacular plant-like monster.
Although the first Hellboy film was rich in creature effects — both practical and digital — its sequel increased the workload with an ambitious roster of monstrous characters. To design the creatures and bring them to the screen, work was split between Spectral Motion, Solution Studios, Creature FX and DDT Efectos Speciales. Creature designs started from sketches by director Guillermo del Toro or Hellboy creator Mike Mignola, and then passed over at the companies for further refinement and selection of effects methods that could portray them effectively. Certain creatures were entirely practical or digital, whereas others employed both effects systems. Certain expedients used in Pan’s Labyrinth — such as the use of green screen creature suit portions that would be erased in post-production — were also recycled for the project.
Abraham Sapien first appeared in the Seed of Destruction arc of Mike Mignola’s Hellboy comics — and was featured in Guillermo del Toro’s film adaptations. Abe was the director’s favourite character from the comic series, but despite that he wanted to take a different direction, character-wise: “[he was] completely different from the Abe Sapien in the comics, because I wanted this delicate, beautiful, very sensitive character to juxtapose with Hellboy.”