The Fantastic Factory’s first production, Faust: Love of the Damned, came out of the Barcelona genre label Brian Yuzna set up with Filmax producer Julio Fernández. George is credited as special makeup effects designer. The work belongs to the Los Angeles/Barcelona period of his career, but the surviving records do not document which pieces were fabricated in each city or how the work was divided among the local crew.
The suit worn by John Jaspers, adapted from Tim Vigil’s comic, exaggerates the torso into exposed muscle and gives the forearms retractable blades. Claire’s punishment scene goes in another direction: her body swells into an amorphous mass of overlapping breasts and buttocks. Both are visible, credited effects; the application time, material recipe and internal movement described in some secondary accounts still need a named crew source.
The contrast between those physical bodies and the film’s digital imagery is easy to see. A critical claim about which works better needs named reviews, not a site-wide verdict.