Influences aside, Molina's film is a sequel to one of Naschy's most popular movies, Carlos Aured's Horror Rises From the Tomb, for which Molina created the character of Alaric de Marnac, one of his variations on the Gilles de Rais theme. Molina's script and Aured's film borrowed from Mario Bava's Black Sunday the idea of an executed villain's curse coming to fruition centuries later. It also enabled Naschy to play two roles: Alaric and a doomed 20th century descendant. Latidos is a sequel to this film the way any Daninsky film is a sequel to its predecessor. That is, Panic Beats is more a reprise than a continuation of the de Marnac character, an opportunity for Naschy to do again something that had proven cool before, with variations.
As an actor-director, Molina has to keep the suds and dirty water carefully placed to hide the "full Naschy" from sensitive audiences, if not from actress Pat Ondiviela.
Whether the femme fatale counts as the required unfaithful woman or not, who should show up to pay her a call but Amalric de Marnac in full armor, an embodiment of Paul's revenge from the freshest of graves? Underneath his helmet is a rotting skull, which re-coheres into the familiar fearsome and bearded visage as Amalric's armor steams with rage. He is a silent, remorseless avenger, more like one of EC's gruesome avatars than a self-interested villain. He avenges his descendant with uncompromising finality, and unlike an EC comic, there's no gallows humor to lighten the mood.