Exclusive Interview – Julio Anta, the writer of Beast of Borikén, and artist Daniel Irizarri.

      Rachel Bellwoar speaks with Julio Anta and Daniel Irizarri about their forthcoming comic series, Beast of Borikén.

      Loli is not the only one who is frustrated by developers attempting to construct a resort in her hometown; the construction is also disturbing el Chupacabra. But will the cryptid act as a friend or foe to the protestors? Set in Puerto Rico, Julio Anta and Daniel Irizarri’s new series, Beast of Borikén, is set to launch in July. With colors by Patricio Delpeche and lettering by Lucas Gattoni, Anta and Irizarri share insights on their unique take on the monster:

      Beast of Borikén will be released under Tiny Onion’s True Weird line. Did this influence your comic’s concept, or was the original idea formulated before discovering True Weird was a suitable platform?

      Julio Anta: The comic's concept came first! Beast of Borikén is a tropical horror comic inspired by the Universal Monsters and Creature Features that I enjoyed growing up. For years, I wanted to develop my own interpretation of a classic monster and considered which publisher might be interested in this pointed and politically charged take on the Chupacabra. When Tiny Onion and their True Weird line emerged, I felt it would be the perfect home for this story. From there, it was easy to reach out to James [Tynion] and Eric [Harburn] (Tiny Onion’s Editorial Director), and we were off and running!

      The solicitation text clearly outlines what kind of "beast" the "beast of Borikén" is, yet as someone with limited knowledge of cryptids, I appreciate the title's ambiguity. How familiar were you with el Chupacabra when starting this series?

      JO: Like many Latino children in the U.S. and Latin America, I grew up watching Spanish language tabloid news shows like Primer Impacto that extensively covered the Chupacabra during the 90s. They would go into the field and report eye-witness accounts from places like Mexico, El Salvador, Guatemala, and the Caribbean. As a child fascinated with the supernatural, I developed a deep interest in the Chupacabra.

      I knew quite a bit about the legend, but researching this book allowed me to uncover historical elements we explore in the series, such as the connection to the Taino, Puerto Rico’s indigenous people, and their struggles against Spanish and American colonizers.

      Daniel Irizarri: The Chupacabra has been embedded in the modern Puerto Rican psyche for decades. Every few years, sensationalist reports would surface whenever livestock were discovered dead. As a child living in the mountains of Yauco, I would hear spooky stories from other kids between the ages of 10 and 13, and the eerie animal sounds at night made me believe one of them could be the Chupacabra.

      I also didn’t realize that "Borikén" was the original name of Puerto Rico. What has it been like to set this series there, and are there any specific details you’re proud to incorporate that those in the know will recognize?

      JO: The setting of Puerto Rico is essential to our story. At its heart, Beast of Borikén addresses themes of colonialism and resistance through the perspective of a creature that, like many Puerto Ricans, is weary of being displaced. Our protagonist, Loli, is an activist striving to protect the land from a real estate developer, inspired directly by the thousands of Puerto Ricans engaged in similar battles. I hope that readers from Puerto Rico will see themselves represented and that others will gain insight into their fight for freedom.

      DI: Absolutely! Borinquen or Boriken, as we refer to it in the story, highlights our roots. Puerto Ricans often identify as Boricuas to express their affection for the island, and the prefix ‘Bori’ even labels things as ‘of the island.’ I love including authentic details in the backgrounds, showcasing the diverse people you would encounter on the streets. I believe Puerto Ricans will appreciate a more authentic portrayal rather than the typical “tropical vacation paradise” view of the island.

      Julio, in the press release, you mention, “no one’s ever seen a Chupacabra this horrifyingly human.” What drew you to the idea of a humane monster, and how did this influence your character design, Daniel?

      JO: I previously noted my admiration for Universal Monster films, particularly Creature from the Black Lagoon. I appreciate the humanity present in the Gil Man’s design and character. Additionally, his evolution into the Amphibian Man in Guillermo Del Toro’s The Shape of Water served as significant inspiration for crafting this character.

      When Daniel joined as the series artist, we discussed the importance of humanity in our Chupacabra, emphasizing that it should come first. I wanted the character to