The gauntlet of recognition is a harsh and unyielding battlefield not easily traversed or negotiated. Case in point: the iconic yet overlooked Creature from the Black Lagoon. Crafted by none other than the magnificent artist Milicent Patrick, our monstrous marvel was the only Universal Monster fashioned by a woman’s handiwork.

Bud Westmore, the mastermind behind the Universal’s makeup department, deemed Patrick fit for the job, enticed by the raw talent in the sketches she’d been idly creating. The folks at Universal were so enthralled, they kicked her off on a publicity tour. Alas, Westmore, bewitched by the green-eyed monster named jealousy, pushed Patrick out of the spotlight, claiming he was the puppet master behind the creature’s framework. It wasn’t until half a century later when truth-bearers like Mallory O’Meara wielded their literal and figurative pens to restore Patrick to her rightful place of fame through her book. This solitary tale encapsulates the many unsung women VFX artists, patiently biding their time for their turn in the limelight.

This sad reality brings us to the actual need and critical importance of panel discussions such as the one titled “Forgotten Creators: The Ladies Behind the Monster,” which was cast into the limelight during San Diego Comic Con ’24. The proverbial helm was firmly held by R.E. Nelson and Nikki Blackwell – costume designers with flair – who had the stage set on three female VFX artists. These dynamic women, through their sheer talents and steely determination, were behind the mesmerizing creature designs during the 80s and 90s, yet recognition still seems elusive.

On this very panel sat three treasures: Terri Fluker, purveyor of practical costumes (Drag Me to Hell, The Blob, Fear and Loathing in Las Vegas), Tonya Ridenour Nelson, the whiz crafting cinematic miracles (It miniseries, Army of Darkness, Gremlins 2) and Wendy Polutanovich, the da Vinci of intricate details (Mortal Kombat ’95, Star Trek: Picard, Earth Girls are Easy). These women, through their stories and experiences, aimed to elucidate how very often artists’ legacies are almost deliberately overlooked in films.

These compelling stories were aimed not to solicit sympathy, but to firmly make a point: heed the counsel of the seasoned veterans on set. While their paths were fraught with challenges resonating the same tune – disregard for their expertise – they sought to impress upon fellow artists the importance of unity, creating a cocoon of support for one another.

Each recounted personal experiences, detailing the hazards of the job. From handling toxic chemicals, a mad grind to create miracles on a shoestring budget, to the blatant sexism experienced by women – these were potent stories aiming to drive home the urgent need for change. They maneuvered these obstacles with the grace of ballet dancers and the resilience of gladiators, never once faltering from their love and passion for their art.

Their high spirits and steadfast determination to not be a merely forgotten footnote in the annals of practical effects history were truly inspiring. All they desired was the acknowledgement they so richly deserve, a battle still being fought, and an exposure that is long overdue. To that end, R.E. Nelson and Nikki Blackwell’s panel played its part diligently. Having left the audience craving for more, the panel had simultaneously revealed a most poignant truth: the struggle for recognition is an arduous endurance race, one where the strive for acknowledgement is the actual victory.