Howling VII: New Moon Rising (1995)

Howling: New Moon Rising, reviled as one of the worst werewolf movies of all time and the sequel that finally killed off the Howling series, was the brainchild of producer Clive Turner who had worked on the earlier Howling sequels (a location manager on Howling III, and writer/co-producer on Howling IV and V). Turner took over directing duties from original director Roger Nall.

According to Jerry Macaluso, who together with Roy Knyrim, realized the film's werewolf under their SOTA FX firm, the conflict between Turner and Nall was over the film's tone, with Turner responsible for making the film a boring slog about random rural townsfolk;

'They both had very different visions of what they wanted (...) Roger was making a werewolf movie and Clive was making a very character-driven thing. He really wanted to make a movie about the people of this little town, and the werewolf was completely secondary. Roger is a huge genre fan, however, and he wanted to make a horror movie. So they butted heads on that.'

The conflict between Turner and Nall extended to the design of SOTA's werewolf suit, according to Macaluso, ' 'Clive wanted it to look like the one Steve Johnson had done in IV, and Roger didn't want it to look anything like that. (...) So one day Roger came over and went, 'No, no, no - change it to this', and then Clive came over and said, 'No, no, no, it has to look like Steve's.' So we started to go for a middle ground nobody liked and internally ended up doing some of our own thing, We also tried to keep some of Rob Bottin's style from the original Howling in there.'

Howling VII's budget was below $1 million, and there was only a few weeks to construct the werewolf suit, which resulted in it having very limited facial movements. Macaluso also had to use a cheaper form of fur as well; 'In the amount of time we had, you can't order really nice fur, and that was frustrating, (...) So we had to use slightly cheap fur, but other than that, it came out nice considering the amount of time involved.'

Most of Howling VII's werewolf footage was also left on the cutting room floor, which Turner justified; 'You have to do the best you can within the budget, and the problem is you have to cut corners to make it work, (...) So you try to utilize the money for the best effects but unfortunately, when you go to the special effects people, you end up taking as few risks as possible.'

And if you are charmed enough by this suit in stills, well here it is in all its thirty-second long, bad digital effects morphed glory.

Xena: Warrior Princess (1995)

The famed spin-off series to Hercules: The Legendary Journeys similarly had its makeup effects handled by both Weta Workshop (with Richard Taylor acting as makeup designer) and KNB EFX Group. 'Girls Just Wanna Have Fun' was handled by Weta, who sculpted a prosthetic facial appliance for Anthony Ray Parker to wear as the demon Bacchus.

Weta also designed prosthetics once more for Anthony Ray Parker to wear as the demon Krafstar in 'The Deliverer'.

KNB handled the realization of the 'Destroyer' demon in 'A Family Affair' was realized as a performer in a sculpted bodysuit, with the head mask fitted with animatronics allowing it to emote; the performer also was wearing backward-bent leg extensions in order to tower over the other actors.

Demon prosthetic appliances were made by KNB once again for both Lucy Lawless and Hudson Leick in 'Fallen Angel', worn with prop wings as well.

KNB also realized another demon prosthetic in 'The Haunting of Amphipolis', with a greyish facial appliance and paintjob worn by Anthony Ray Parker as the demon Mephistopheles.

Several undead ghoul prosthetics were also made for the brief sequence where Gabrielle faces them off underwater.

More demon prosthetics were applied on Alex Mendoza as the demon Lucifer in 'Heart of Darkness', with similar prop wings as the ones seen in 'Fallen Angel'.

The episodes 'The Rheingold' and 'The Ring', being homages to Germanic legends, of course had their own take on Grendel, the monster of the poem Beowulf. Grindl (the Grendel homage) is a tree-like creatures realized as performers in elaborate bodysuits, with a head on top of a long neck controlled by the performer inside.

Just like how how Grendel had a monstrous mother, so too is Grindl is the son of Grinhilda, whose true form was realized as a very similar bodysuit distingushed by having 'hair' of roots.

The StoryTeller: Greek Myths (1991)

The follow-up series to The Storyteller, with many of the same crew from that series working on it as part of the Jim Henson Creature Workshop, in particular Gary Pollard and Neal Scanlan. 'Theseus and the Minotaur' had its titular monster realized as a sculpting bodysuit and animatronic head, with several behind the scenes images taken from Pollard's facebook page.

More prosthetics and animatronics were utilized for 'Perseus and the Gorgon', with Pollard overseeing the makeup team for the Graeae hags.

Meanwhile Nigel Booth oversaw the Gorgon makeup effects, with Medusa being achieved as prosthetic makeups and an animatronic snake hairdo applied on Frances Barber; the other Gorgons were meanwhile only prosthetic makeups.