Upon reaching her destination, the priestess recounts her arduous journey to the guardian of the flower and tells a story of how a single spore from this powerful plant has changed the world to one of corruption, greed, and hate through its influence over empires and black magic. The Spine of Night, co-directed by King and Love, Death & Robots’ Philip Gelatt, is a vibrant and violent 2D feature film viewing experience that begins with a jungle swamp’s high priestess braving snowy mountains to track down a magical, blue-flamed plant. I think we all wanted to bring it forward into modernity and challenge that legacy, rather than just revisiting it.” “As much as I love the fantasy of the late 1970s, it’s so dedicated to recapturing the feeling of the 1930s pulp fantasy – Robert Howard’s Conan, specifically – that it can be pretty retrograde, in a lot of ways. “Certainly, my affection for the aesthetic is rooted in the past, but we wanted to resurrect the look of that old form in order to do something new with it, that casts off or confronts a lot of the trappings of the past that the form never really evolved beyond,” says King. Despite what’s been written in reviews, writer and director Morgan Galen King says The Spine of Night is not aimed for geek nostalgia, but rather a chance to use old-school aesthetics and methods to create an entirely new kind of story.
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