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How would powdered iron dust affect a fae if you sprinkle some on one? What would it do-poison, scorch, bring on a rash, make them itch...
Maybe all of the above. Maybe something worse.
I'm not certain as to whether this question has been asked here or not (it certainly hasn't been answered yet), but - do the fay have any sort of afterlife as humans and gargoyles do, or do they just stop existing when they die?
BEN SAYS: bbnmm,. lkpooyyy
GREG SAYS: Anything's possible.
And I love Benny.
Apologies for misspellings!
dose to does and such.
This all has to do with Fey and history.
Howmany generations of Fey have their been?
Have the fey ever been primitive? As in the way humans were sevral millenia ago?
1. I've never counted.
2. Not in that way exactly. Not like their were cave-fey.
Stupid pointless Titania questions that got deleted this time:
Does she wear shoes? (Yes I know, Oberon wears enough for both of them and then some)
Has she always worn what she does and some variation, or pregathering did she wear something less--revealing?
Is there a point to her wearing so little?
1. When she feels like it.
2. Her wardrobe is as extensive as her imagination. But she favors the outfit you saw.
3. She's got it. She flaunts it.
Here's some stupid questions with no point that also got deleted, they all have to do with Oberon's looks and fashion sence, which in a sence is the same thing for a fey:
Why does Oberon wear those thigh high boots?
Why does Oberon have a broken nose? There are a few theroies going round about this one, which I can't post for fear of getting this deleted.
Is it just mean or is he, Oberon, wearing shorts?
an' I think that's it
1. He thinks he looks good in them. Also they're comfortable.
2. He doesn't.
3. He's not wearing shorts.
Did Ragnarok occur before Oberon overthrew Mab, or after, or during the Oberon-Mab war?
Not telling right now.
Which of the Death-gods has the greatest connection to Death? You have implied earlier that some have less and more than other Death-gods, like Banshee compared to Anubis..
Tough to top Anubis. But I don't pretend to have thought out every pantheon's death god at this point. Gotta leave some stuff for when the stories are written.
1) You said earlier that Oberon has siblings; how many?
2) Of what gender are they?
3) Do Titania or Puck have siblings?
1. Did I say that?
2. What are my choices?
3. Both of them or either?
Alright, in Hunters Moon, my personal favorite episode, Demona almost unleashed a magical disease that would have killed all sentience. Gargoyles would be immune to it's effects thanks to the Praying Gargoyle.
Now we all know Goliath smashed the statue and saved the world. But what if this was not the case...
1. All humans would have died. Macbeth is obviously human. Would this not have qualified as death at Demona's hands, thus killing Demona (oops)?
2. If not, would she fall prey to it when she turned into human form? How would this work?
3. Would this spread to Avalon and/or the isle of the New Olympians?
4. How would it affect... Oberon's Children?
5. ...New Olympians?
6. ...Gargoyle clones?
7. Any other effects?
Thanks for your time. Love your rambles, by the way, look forward to next season's rambles.
More hypothetical questions... YAY!
1. I've answered this many times before. Try looking through the Demona or Macbeth archives. Briefly, it would depend on Demona's intent.
2. I'm sure she thought she was safe.
3. No reason why it wouldn't spread to New Olympus. No reason why it would spread to Avalon.
4. Potentially not at all.
5. Kill most of them probably.
6. Not at all.
7. Anyone who asks hypothetical questions based on untread pathes would die. :)
Did Morgana or Nimue attend the Gathering?
The one in Dallas or one of the ones in New York?
Were the fae around during the time of the dinosaurs?
How did Odin get around Oberon's non-intervention law when he kidnapped Elisa?
He felt the Eye rightly belonged to him. The mortals were interfering with HIS property.
Nope..still not done yet..
Ok, I put this in a separate post _just_ in case.
1) Could you tell us what the episode, "Ransom" would have been like if you had had more control over it?
I put this in a separate post cuz..as you may notice you have answered this one from me before. I admit that. Its just that when you did it was awful vague. I was just wondering if right now you could tell us something more besides, "It was pretty much the same plot except the kidnappers were from Avalon." Ok they were from Avalon?
2) Would we have seen these characters in any episodes after Ransom?
We never saw Puck in TGC. But im SURE Alex getting kidnapped would have warrented a Puck episode;)
3) Would Puck have been the first one to know and not his parents?
Everyone got together trying to figure out how to go about getting Alex back
4) In the ep you had planned, would it have been more of a Puck/Lex teamup?
5) Where would've the mystery characters from Avalon taken our lil prince?
U know..Q's like that?
1. Is that quotation an actual quotation or a paraphrase? I can't imagine that's what I wrote. It certainly was never going to be the same plot. It was a Tricksters story. Initially it was to include Owen/Puck, Raven, Anansi and Coyote. Plus Lex and the Family Xanatos. I think as time has gone on, I would have dropped Anansi and Coyote from this one. Focused more on Raven as the Trickster/Villain. Saved the multi-Trickster episode for another story.
2. In that season or ever?
3. Uh, I don't pretend to have every little detail worked out. I never actually wrote the story, I simply proposed it. They took a kernel of it and turned it into Ransom.
5. Don't know.
Story Editor: Brynne Chandler Reaves
Writer: Lydia C. Marano
Arguably the best single episode of the series. The animation is fluid, dynamic and very strong. The writing is sharp, even quite funny over and over. And yet, dramatically the story is still potent. It really advances the Goliath & Elisa romance arc. Changes Demona permanently. And introduces Puck -- and by extension, the entire third race: The Children of Oberon. All in a mere 22 minutes.
It's also very gratifying for me. A bit of a vindication. As you may have seen from the memos I wrote to Brynne & Lydia, there was some considerable resistance to the notion that none of the characters would notice their own personal change from one species to another. Most of my collaborators thought the idea was way too complicated to pull off. I argued that it might seem complex, but in fact it would play cleaner on screen -- and funnier and more directly to theme. In my mind, another title for this episode could have been -- had we already not been using it for our Werefox episode -- "Eye of the Beholder", because all the transformed characters really noticed was when someone else was "OTHER". Being a monster or being "normal" was based on their point of view, not any objective look in the mirror. [As it is, the title is the kind I like. Simple, objective and yet metaphoric. At one point, it was titled: "Mirror, Mirror". But we simplified it even more.]
But anyway, when the human Brooklyn, Lex and Broadway are confronted by "Gargoyles", the scene is an intentional mirror of the scene from AWAKENING, PART ONE where Brooklyn says, "If they think we're beasts and monsters..." Again, this is playing with the idea of "beasts and monsters" being merely in the eye of the beholder. The species have reversed, but the situation is exactly the same simply because the Trio remain in the minority. I suppose that's one thing that X-Men's mutants have in common with the Gargs. Both are a metaphor for being part of a minority. Feared almost automatically.
On the other hand, when Elisa is transformed, she believes that Goliath & Co. have been transformed into something like her. I think her immediate reaction is very telling about how she ALREADY felt about Goliath at that point. She's thrilled. She throws her arms about him. Now they're the same species. There's no impediment to their love. What's interesting is that if you stopped and asked Elisa under normal circumstances whether she would wish for Goliath to be transformed into a human, the answer would most certainly be "No." She knows that being a Gargoyle is fundamental to who he is. You can't change that without changing him -- and yet in that instant, in that unguarded moment, her desire to be with him overwhelms that rational knowledge. She's just happy.
At the museum, Elisa looks at herself in the mirror. She then moves, but the reflection holds. That was the idea of one of our board artists. A little clue that the mirror is magic. (It's not an animation error.)
Family Reactions #1
During that museum chase, my wife wanted to know why no alarms were going off. I figure Demona or the thieves just shut them off.
Erin didn't realize that that was Elisa dressed as a security guard at first. We were trying to withhold that information for a bit.
"Titania's Mirror", "The Children of Oberon", "Oberon sent me." We were laying groundwork to expand the entire series' base. But I don't know if back then I knew that much about what if anything I had planned specifically for Titania & Oberon.
Anymore than I knew then what I'd do with the "Dracula's Daughter" reference. But we try not to waste anything.
Coming up with that "Children of Oberon" name was a struggle. And so many people have asked me since whether or not Oberon is literally everyone's father, I almost regret landing on that choice. Our thought process is largely present in the episode when Goliath et al, go through various noms: Fair Folk, Dark Elves, Changelings, Shape-Shifters. Of course, at the time we were misusing the term Changeling. I think that was Odo's influence frankly, but I should have known better. I suggested "The Oberati". But the Reaves didn't care for that. I think they thought it sounded too much like an Italian sports car.
I do love the moment when Brooklyn cites Shakespeare's play as a sort of reference work on the Children. I hope we sent a few people to the library with that line. Did we?
I also love Hudson's line in response to Elisa's question: Are they real?
Hudson: "As real as I am, if the stories be true." It's full of delicious dramatic irony. If you can suspend belief on a bunch of gargoyles, then this shouldn't be a problem for you. I love things that work on multiple levels.
I also love Hudson's "Be careful what you wish for" line.
We were trying to show a bit here how Demona had managed to operate in the modern world up to this point. One of the thieves has clearly worked for Demona before without ever having laid eyes on her. Of course, showing Demona's M.O. here, was like giving it a swan song. Because after this episode, though she clearly doesn't realize it yet, her life is going to get MUCH easier. Being a human during the day is a great boon to all her scheming. I'm very curious about everyone's reaction to that? Shock? Amusement? I also tried to work very hard so that in that last two minutes of epilogue, everyone would get that she only was human during the day. I was very afraid that the audience would think she was permanently transformed into a human. Was anyone confused? Or was anyone surprised that Puck's revenge/gift STUCK? We wouldn't really explore the change until HIGH NOON. Had you forgotten about it by then?
Family Reactions #2
As Demona's casting the spell that will summon Puck. (Which I always thought was very cool, with the feather and all.)
Benny: "That's a magic mirror. Is Demona going in there?"
Erin: "Puck's gonna come out."
As I've mentioned before, during the writing of this story we figured out that Owen was Puck. So to play fair we dropped a hint here. Demona (who knows) says to Puck: "You serve the human. You can serve me." Puck changes the subject, replying "Humans [note the plural] have a sense of humor, you have none." This was done intentionally to distract the audience away from the hint we had just dropped. But obviously, in hindsight, it's a clear reference to Owen serving Xanatos. Anyone get it right off the bat? Anyone even take note of the line the first time? Originally, the line read, "You serve him, now you can serve me." With the "him" referring to Xanatos. But our S&P executive was afraid the "him" could be taken to mean Satan. I know that seems silly now. But keep in mind, we were very paranoid back then about the show being attacked for promoting devil worship. So we made the change.
Sensitive Broadway: "Maybe even love." It's a nice moment. Wistful.
Puck reminds Demona that the mirror isn't "Aladdin's lamp". At the time, the Aladdin series was still in production at Disney. So that's a bit of an in-joke.
And how about that: Demona is still carrying a torch for Goliath. On some level, she wants him more than almost anything. Yet she continually allows her hatred to get in the way. And the irony is, that at this point, pre-Vows it isn't yet too late for them. But her actions further serve to cement the Goliath/Elisa relationship. More now than ever before.
Puck/Brent Spiner is just fantastic. I love that "charming personality" line. And "You don't know what you're asking, believe me." And "I'll do EXACTLY as you asked." And "My mistake." And "A very long nap." He's just so rich.
Plus the boarding and animation on Puck is just great. As is the sound work that accompanies him zipping around.
I always wanted Puck to be the one character who could break the fourth wall and talk directly to the audience. Every time he appeared, we'd put a line or two in the script that was addressed to the audience. And every time, Frank or Dennis Woodyard would cut it out of the board. They didn't like breaking the fourth wall. (A lot of guys don't. I tried to do that with Max on Max Steel, but Richard Raynis and Jeff Kline wouldn't allow that either.) Oh, well....
Puck also establishes that Oberon's Children generally use rhyming spells instead of Latin or Hebrew or whatever. (Thus making life slightly -- but ONLY slightly -- easier on me and the writers.) But Puck isn't too formal: "Human's love a battle hearty, so does Puck, come on, let's Party!" Fun. (And I like Brooklyn's line, "Party's over." too.)
Family Reactions #3
When Elisa's transformed into a gargoyle.
Erin: "She looks cute." [I very much agree. Though I always wonder where her red jacket goes.]
Ben then asked why she was transformed.
Beth explained that Demona didn't want Elisa to be human anymore.
Erin then corrects my wife and explains that Puck is tricking Demona.
KIDS GET IT! Adults need to pay closer attention!
Goliath suddenly has lust in his heart:
G: "I never realized when you were human just how beautiful you were."
E (with a smile): "You mean you thought I was ugly?"
G: "Uh... careful! Updraft!!"
Man, that guy is smooth.
Anyway, that's one of my all-time favorite exchanges. I think it reveals so much. Somewhere underneath, Goliath has been attracted to who Elisa IS deep-down -- at least since AWAKENING, PART THREE. But he never thought of her as a potential love interest. He wasn't brought up liberally enough to think that way. After all, she has no wings, no tail. And those human shaped feet!
But suddenly, she's revealed as a FEMALE. Now, even when she goes back to being human, his perspective is permanently altered. Hers, however, is not. She's already consciously had those thoughts. Consciously rejected them. So at the end of the episode, he wants to discuss these (for him) new feelings -- but she does not. And the sun helps shut him up.
G: "That's not what I meant."
E: "But that's the way it is."
Another of my all-time favorite exchanges. (I'm really partial to things involving the G/E relationship. I know, I know, I'm a romantic sap.]
I also like the ongoing confusion. Elisa: "Everyone in Manhattan has been turned into... HUMANS!" Goliath: "No, no, no, no, no." And when the Gargoyles are changed into humans, Brooklyn is so sure that they've always been humans, it's funny. Like that moment in CITY OF STONE, when he's convinced that the "statue of Elisa" is a bad likeness of her: "They got the nose wrong."
FYI, there was an honest attempt, within the logical parameters of what our gargs looked like, to make their human versions resemble the actors who played them. Thus Goliath has darker skin than the others, because Keith David is African-American. (Though otherwise Goliath really looks like Conan to me.) The bald Lex has brown hair and the bald Broadway has blond like Thom Adcox and Bill Fagerbakke respectively. Brooklyn resembles Jeff Bennett but with Brooklyn's white hair instead of Jeff's blond. And Hudson looks like Ed Asner with a beard. More or less. Thom Adcox is the one who most looked like the human version of his character.
Cool little touches:
Demona nudges an unconscious Puck with her tail.
She continues to call Hudson, "Old Soldier". Her tenth century "name" for him.
Her line about the "gift of being a gargoyle". I love that superior attitude.
Lexington's "Fun, but weird" line.
Hudson wrapping the sheet over the mirror.
Elisa and Demona have a brief "cat-fight" as Gargoyles. Not quite as diverting as the one they'll have as humans in High Noon. But it was nice to put them on equal physical footing for a change. Let them have it out.
Demona mentions that Puck isn't too tired to make himself "invisible to the crowd". This was us trying to plug a hole in our story. We felt it would undercut the mob's reactions to our newly human heroes if they had the same reaction to seeing Puck. And yet Puck clearly looks more human than Gargoyle. More "other". So we slid that line in to avoid the whole problem.
FAMILY REACTION #4
Beth laughed at Hudson's very Scots reading of "No doubt about it." Which is pronounced more like: "No doot aboot it."
More sappy stuff (which I love):
Goliath's line: "I'll always be there to catch you."
Elisa completely forgetting her fear of flying in order to save the MAN she loves.
That brief moment when both Elisa and Goliath are humans at the same time.
Hudson's wistful line about seeing the sun, just once.
Although it had little to do with the metaphor, we couldn't really resist the notion of showing Bronx transformed into a dog. We picked the biggest dog we could think of, a Wolfhound type, though a bulldog might have been more reminiscent.
In the script, Demona smashes the mirror upon seeing her human reflection in the glass. But somehow the scene never got animated. So we added the sound of the mirror being smashed to the exterior shot at the end. This was important in order to give the story full closure. The initial point of the episode was to prevent Demona from getting Titania's Mirror. Structurally, therefore, I couldn't allow her to keep it.
But no fear, later we introduced Oberon's Mirror (clearly part of a matching set) in THE GATHERING, PART ONE.
I wonder what all those Manhattanites thought when suddenly they realized they were all barefoot.
If each fae has a certain connection to some aspect through their magic, like Anubis to Death, do:
1) Do Halflings also have such a connection?
2) Is it possible for a fae to change their connection?
3) What is Oberon's particular connection?
1. That's less likely.
2. Why would they want to?
3. Power. The ruling class.
4. The same. But also Chaos.
5. He's a Trickster. It's its own category.
6. See Oberon.
Sorry to leave this as an amorphous blob of a question, but it is really one complex question on Fox: You have said that she is human [life expectancy, magical ability, etc] because she was raised that way. But Titania in The Gathering said she tried to get Fox's magic to surface many times. It almost seemed as if there was some sort of block on that magic surfacing. Is there a block, be it exterior to Fox, or from within her own subconscious? (if so, is it interior or exterior?) Granted Titania's efforts were probably not that straightforward, [I would assume the events of the Gathering were such a test, perhaps Walkabout.] wouldn't the earliest attempts, the ones when Fox was a child, have been more straight forward, and only when they failed, and Fox was old enough to do that endearing thing little children do (repeat what they oughtn't at inopportune moments) that they became hidden? I can see Titania wanting to raise a child that would appear to everyone as fully human even if it meant the child itself not knowing for a while, but did Titania want to raise a truly fully mortal child? It seems hard to believe that Titania would want to put herself through having a child only to have it age and die in a blink of her life span. Since you have said much depends on her POV, should Fox change her perception of herself could she tap into substantial fey magic, life expectancy? Do you see that happening?
Uh... What was the question?
I'm not sure that Fox won't have a slightly longer life expectancy. But I wouldn't use the term "block" at all. There's no block. Her natural abilities have simply not been nurtured. Think of it as a muscle that has atrophied. Titania/Anastasia may have made some mistakes, may not have thought things out in advance. May have had one or more changes of heart. Where things go from here depends on a number of factors -- and in any case is a story for another day.
Or was that what you were asking?
A while back I came up with an assessment of fey power that ran like this: Oberon has more raw power than Titania- but Titania is more powerful. To explain: If a being wanted to light a room he or she could use magic to form a ball of bright light and in doing so he (this is my Oberon model) has to expend the energy to keep it going, concentrate on its heat and brightness, distance from ceiling, from heads, and other logistical matters. Another might simply use her magic to flip the switch and let the light-bulb handle the rest- the Titania model. For simple things it doesn't tax the magical reserves of the being- but for more impressive things it adds up. For instance- should Oberon want to create a massive storm he has to do so by the sheer force of his will. Should Titania desire the same thing, she could fall back on her extensive scientific knowledge and simply play with a few wind patterns. The resulting storm is the same, but the energy expended to create it is much different. Titania has been studying science for quite some time, I tend to doubt Oberon is a model student. Am I right, even in part?
Slightly connected- You were asked who would succeed Oberon should he die and you answered Titania. Is this because she is the next most powerful, she has some lineage claim, or, would be the most likely to have bumped him off? [What are her thoughts of her once and again hubby?]
Just to add a comment- It seems to me Oberon is a big jerk, but one with potential. While he does go around trying to kill the gargoyles in Ill Met, once defeated he actually takes it quite well, and even comes up with the only graceful, even noble, solution to the mess. Likewise his punishment of the Banshee is quite poetic, and in some ways not extreme. Here and there there are hints to something worthwhile in him, (I particularly remember his insistence Titania have the right to come and go as she please). I get the impression that if he were only slightly less powerful and had to rely on his other attributes and not brute force he would be quite an amazing being and ruler. It also seems to me the only reason Titania might want to remarry him. She was clearly manipulating him, and it did not even seem much of a challenge, but if she were truly interested in how much he had matured, and how much more he might do so, it would explain a lot. Again, am I close to the truth?
You're not far from the truth, but I don't think you're giving Oberon enough credit. There was a time when he was the MOST mature of his race. The most progressive. The most merciful. The most tolerant. Etc. In some ways his banishment of the Children worked too well. Many of them, Titania in particular, grew, changed. He largely didn't. But he's not an idiot. He's in fact quite intelligent. And quite loving in his way. Quite charismatic. Titania loves him. Truly loves him. She may think she can aide in his growth, but he's the only "man" she could find that truly challenges her. Everyone else seems quite limited by comparison.
And although he may seem arrogant or act "like a jerk", you need to remember that that arrogance isn't without foundation. And relatively speaking, I don't think he's a jerk at all. He's flawed. And a flawed creature of that much power is a threat. But Titania has her flaws too. She isn't exactly little miss goody-two-shoes with magic. I think they were made for each other.
And I certainly didn't mean to imply that she would bump him off. Simply, in the hypothetical case that he did die, that she as queen, is next in line to the throne.
This is a litle long, but it is all on one topic-
You said Fox has Half Siblings, step siblings and Foster sibs, in fact that two of them are (where?) children of Oberon and Titania [very cool]. I see people have already jumped on the foster sibs part in reference to Midsummer. I am not sure if this has been explicitly mentioned in this way so here goes-
1.Did the events of the play (in a broad way) actually happen?
2.With or without the donkey part?
3. If so did that have anything to do with the straw that broke Oberon's back?
4. Are you saying that the child in Midsummer might have been Oberon's?!?!?
5.Are you implying that Titania took in many, or at least some of Oberon's illegitimate offspring as foster kids?
6 Oberon doesn't seem at all bent out of shape at the idea of Titania having had kids with someone other than himself, actually rather amused-
a. was that a rare case of Oberon being mature enough to realize he was living in a glass house?
b. was he amused because Titania had not been so happy with his other children?
c. or do Oberati have very low expectations of fidelity?
7. When asked about Titania and Oberon's son and daughter you said they were new but did not seem all too sure about it. Have we met them in some shape or form seemingly totally unconnected?
8.You also said they were mythic - were they related to their parents in legend, or is that only discovered in Gargoyle's universe?
Sorry this is so long
1. Broadly, yes.
2. Bottom is in there. But I won't say how.
3. Everything's connected ultimately.
4. Might. That's my new Shakespeare Theory, or one of them anyway. (I think the pedophile theory (platonic or otherwise) still may fit the play best. Haven't worked out whether it applies to the Garg Universe.
5. Not necessarily.
6. a. Not really.
c. Probably. But fidelity wasn't an issue. Titania & Oberon were divorced when Titania married Renard and had Fox.
7. No. Not to my knowledge. (I thought I was sure.) I know who they are, but they did not appear in the first 66 episodes.
8. It's complicated. Both.
Though I think it's one of our most rewarding episodes, it was a tough one to make come together. So after I received the first draft script on "The Mirror", I sent a second memo to Brynne. Here it is, UNEDITED:
Notes on "The Mirror" Script...
O.k. The problems here seems to be mostly my fault. I haven't been able to make clear to you guys how I want our characters to react when they've been changed. It's been clear in my head. And for me the logic flows backwards from a scene I want to see where an average-human-pedestrian-who-has-been-turned-into-a-gargoyle sees one of our transformed-into-human-heroes and screams: "Look at that monster!! It's like some kind of horrible... HUMAN!!" The key is that the bystander actually uses the word "HUMAN", and that he says it with the same kind of fear and revulsion that we would normally hear (in a more typical episode) being used for the word "GARGOYLE".
In order to get both the revulsion into the word "Human" and a strongly negative reaction to our heroes' new human appearance, the bystander needs to believe that being a gargoyle is the way it's supposed to be. Therefore when the bystander's appearance was changed his mind-set must have been changed as well.
Working backwards from that goal, how would our main characters react to being changed?
THEIR MINDSET WOULD CHANGE SIMULTANEOUSLY WITH THEIR APPEARANCE:
Elisa is the first to be transformed. Thus, ELISA'S REACTION to being changed into A GARGOYLE is the surprising statement:
"Goliath, You've been changed into a gargoyle!"
Reasoning: Goliath &co. were always "the other" to Elisa. But when she was transformed, her mindset changed with her appearance. So she now believes that being a gargoyle is normal. Since, Goliath &co. now look "normal" to her, she figures that they must have been magically changed from being "the other" into being "normal"--i.e. they have been transformed into gargoyles.
[I realize this seems byzantine, but ultimately it'll be the most straightforward reaction on screen, short of having everyone entirely self-aware from the moment they change, (which just isn't as much fun to me). See how it plays out in beat #11. (Also #9, 13, 14 and 21.) If you're still not clear, please don't hesitate to call me.]
Despite absurdist moments in this story, we must keep the tension and suspense running high, throughout.
--Don't reveal Elisa's presence at the museum until last possible second. Same with Goliath.
--Don't let Gargoyle's lose track of their objective for more than a line of dialogue here or there.
--Don't let the battle meander from place to place. Keep battle and chase scenes focused and specific.
WHAT THEY'VE BEEN WISHING FOR:
1. Get rid of humans, particularly Elisa.
2. Get rid of Goliath and Co.
3. Stop turning to stone during the day.
GOLIATH & ELISA'S WISH - To be together. (Elisa is slightly more self-aware than Goliath, but neither should specifically wish in dialogue to become the race of the other. It's too on the head.)
TRIO'S WISH - To assimilate.
CLARITY IN SCRIPT
O.K. TO USE: ELISA/GARGOYLE
DON'T USE: HUMAN/GARGOYLES
Even for me, these were too confusing.
In group scenes, LIST ALL CHARACTERS IF NECESSARY.
--Establish two security guards - but don't reveal that one of them is Elisa (or that Goliath is there).
--Demona breaks in and takes out the first guard.
--Second guard turns out to be Elisa, ready and waiting w/Goliath.
--Establish how much Demona hates humans in general, and Elisa specifically.
--Demona never gets as far as laser-grid around mirror.
--And while Goliath and Elisa are chasing her...
Maybe inter-cut w/...
--Thieves get past laser-grid to steal mirror.
4. Ext. Demona's house.
--The two thieves deliver mirror.
5. Int. Demona's house.
--Demona summons Puck.
6. Clock tower.
--Elisa arrives. They were duped. Mirror was stolen.
--Elisa's: So how bad is this? What can D do with that mirror?
--No one knows for sure, but it leads to the discussion of Oberon's Children.
--Refer here to Midsummer Night's Dream.
--Scotsmen called them "Fair Folk".
--Vikings called them "Dark Elves".
--Trio: Imagine what it would be like to shape-change. Fit in anywhere.
--Hint subtly at Elisa and Goliath's desires.
7. Demona's house.
--Make sure we know Puck's name here.
--Our Demona and Puck wish scene.
--Puck uses a rhyming spell.
--Puck's arms are pinned by chains, so magic energy comes out of his eyes.
8. Clock Tower.
--Elisa: All we can do is wait til Demona makes her move.
--Elisa transforms into a gargoyle.
9. Clock Tower.
--Everyone including Bronx is pretty stunned by Elisa's change.
--She seems happy though.
-- Elisa: "This is wonderful. Goliath, you've been transformed into a gargoyle!"
10. Demona's House.
--Puck tells her the deed is done.
--Demona wants to escalate. Every human in Manhattan.
--Puck again stresses difficulty of "big wishes".
--Demona yanks chain: "Answer truthfully. Can it be done?"
--Puck: Yes, but not from here.
11. Clock Tower.
--Bronx sniffs at Elisa.
--Goliath: "We've always been gargoyles. You're the one who's been changed."
--Elisa: "I've always been a gargoyle. I think I'd know it if I wasn't."
--Goliath: "How did we first meet?"
--Elisa: "I fell off a skyscraper; you glided down and caught me."
--Goliath: "If you always had wings, why would you need me to catch you."
--Elisa: "I can't glide with these."
--Goliath: "Yes, you can."
--AND OFF THEY GO.
--Hudson and Trio stare at each other for a beat and then follow.
--Bronx is left behind.
12. WORLD TRADE CENTER
--Puck and Demona materialize w/mirror.
--P: This is gonna take a while.
--He begins visually gathering magical energy. Just a little at first.
13. Flight over the city.
--Goliath NEVER LETS GO OF HER HAND, even after it's clear that she's gliding under her own "power", because she's afraid. She doesn't want to lose that contact.
--Goliath can't help staring at her: "I never realized when you were human just how beautiful you are."
--Elisa: "You mean you used to think I was ugly?"
--He doesn't have a good answer to this.
--Fortunately for him, she segues to: "This is so confusing. Have I always been able to glide like this?"
--[She's still hasn't quite grasped the situation.]
--Goliath: "No. No. Try to understand. You've been changed into a gargoyle. Follow me, I'll show you."
--They glides in low over the streets. Elisa sees the humans and freaks!! (Her freaking needs to be ambiguous. Goliath thinks she understands now. She doesn't really.)
--Goliath: "Maybe we should land somewhere and talk."
--Goliath, Elisa, Hudson and Trio come in for a landing.
--(Establish clothes line. Someone has left their laundry, including bedsheets, to dry in the warm night air.)
--Elisa: "Did you see? Everyone in Manhattan's been turned into a HUMAN?!!!"
--G: "...no, no, no..."
--He points at light show that seems to be gathering around one of the towers of the WTC.
15. World Trade Center.
--BIG LIGHT SHOW as Puck glows with magical energy.
--P: "This is really going to wear me out."
--D: "Quit complaining and do it already."
--Puck casts rhyming spell.
--Magical energy shoots from entire body to hit mirror.
--Spell reflects off mirror and hits giant hyperbolic sattelite dish. --Sattelite dish fires magic off across the whole city.
--Goliath & Co. have seen light show from WTC, (but not result).
--Goliath &Co. leave Elisa on the roof and head toward WTC.
--Elisa's not happy about it, but they don't give her a choice.
--And she's still phobic about flying alone, so she can't follow.
--Now that the light show has subsided, Demona wants to see her "empty city", but Puck is out of it.
--Goliath and co. attack. She's forced to flee with Puck, but without mirror.
--(Somewhere in here, Demona has to mention Puck's name.)
--To save herself, she tosses it. Hudson saves it.
--Goliath and Trio pursue Demona.
18. Downtown streets/subway/ whatever
--Even though she's being chased and is hampered by the unconscious Puck, Demona still comes in for a landing to see the results of her wish.
--She's furious as she sees the human/"gargoyles" going about their business.
--Use this chase (and this scene) to reveal the extent and absurdity of the change that hasn't really changed anything but the appearance of the people. Take us down into the subway, maybe.
--Demona ultimately uses the situation to get lost in a crowd.
--For the pursuers, Goliath and trio, it's like finding a needle in a haystack.
--Throughout scene, Trio may get wistful and a little distracted about being able to fit in.
--There are female "Gargoyles" walking by, catching trio's eyes.
--They have to remind themselves that this is wrong. And they're not entirely convinced that it is.
--But other "gargoyles" still shy away from trio because of how they are dressed. (Or how little they are dressed.)
--At any rate, the trio don't totally lose track of their objective: Demona.
--But Demona's gone.
--Goliath: Let's go get Elisa and plan our next move.
19. A deserted alley.
--Demona confronts a very worn-out Puck.
--D: I wanted you to destroy the humans, not give them the gift of being a gargoyle!!
--D: "Change the gargoyles back to humans."
--Puck: "O.K., o.k., give me a chance to catch my breath."
--He leans to look at his reflection in the side-view mirror of a car.
--The image in the mirror wavers.
--Goliath, Hudson, Trio and Elisa confer.
--They have the mirror.
--That was definitely one of Oberon's Children with Demona.
--Demona called him Puck.
--Elisa: In Shakespeare, Puck was a harmless trickster.
--Goliath: What's happened below isn't harmless. Come, we must continue to search for Demona and Puck.
--Elisa: "I'll never get the hang of leaping off rooftops."
--Goliath: "I will always be there to catch you."
--She hesitates. He takes off to set an example.
--A bolt of Magic shoots out of the mirror catching Goliath, Hudson and the trio.
--Goliath changes to human and falls.
--Elisa dives and catches Goliath. Overcoming her fear without thinking about it.
--Meanwhile, Hudson grabs a sheet off the clothesline and covers the mirror: "Don't want anything else jumping out at us from this thing!"
--Goliath doesn't understand why he fell.
--Suddenly he stares at her: "Elisa...You've changed back to normal!!"
--E: No. I haven't changed. You have. You're a human. You fell because, you don't have wings.
--Brooklyn: "We've always been humans."
--Hudson: "And we've never needed wings to glide before."
--Lex (the engineer of the group): "Wait a minute, we must have used wings. How else could we do it?"
--Goliath, sinking in: "Elisa's right. We're supposed to be gargoyles. And we're not. Everyone else should be human. But thanks to Demona and Puck, they're not."
22. Alley & Street.
--Puck is very weary.
--Demona asks if it's done.
--Puck says yes.
--Demona and Puck cautiously exit alley.
--Obviously, all the humans are still "Gargoyles".
--Demona turns on Puck. I told you to turn the gargoyles to humans.
--Puck: "Oh, you meant these gargoyles! I thought you meant Goliath and the gang. My mistake. Sorry."
--Demona: "You turned Goliath into a human?!!"
--She's ready to murdilate Puck. She pulls the chain tighter, crushing him.
--Puck: "Hey, hey, hey, You're missing the big picture, here. This is your big chance to get rid of Goliath. Now, while he's weak as any human."
--She stops, smiles.
23. Rockefeller Center. Some time later.
--Bronx runs into shot. [He has not been transformed yet.]
--A human/ "gargoyle" pedestrian bends over to pet the nice doggie and then runs away screaming when he sees the doggie's masters.
--Our "human" heroes now fully clothed (and looking cool) walk with determination right up to the center of Rockefeller Center. Hudson still has the mirror, covered in the bed sheet.
--(Elisa is not in sight.)
--Everywhere, pedestrian/"gargoyles" run screaming: "Ahhh, humans!! Run!!" "Oh, they're so ugly." "Keep away, you...you monster human, you."
--Hudson to Goliath: Are you sure this is a good idea?
--G: Demona must have done all this for a purpose. What else could it be except to leave us vulnerable to her attack. So we'll let her come to us, but we'll pick the place of battle. Here on the ground and in the open where her wings won't help her much.
--They take their stand. Not all the pedestrians have run. Some stop and stare, but they all keep their distance from these human monsters.
--Goliath instructs Hudson to unwrap the mirror.
--The instant he does, Puck and Demona fly out of it.
--BATTLE ROYALE (Needs real choreography.)
--Demona's armed with her plasma rifle.
--Gargoyle's are armed with medieval weapons.
--Battle is largely land bound.
--Puck's having a good time and helps Demona.
--His stunts can be darkly funny, i.e. they can be absurd, as long as they increase the danger to our heroes.
--Puck turns Bronx into a Russian Wolf-hound, just for fun.
--Some brave bystanders see Demona being attacked by all these monsters and run in to help.
--Trio are forced to battle them.
--These human/ "gargoyles" don't know their own strength, so fighting them isn't easy.
--Obviously at some crucial moment, Elisa (their secret weapon) flies in and takes on D.
--Demona should not instantly recognize Elisa.
--But when Demona does, she goes nuts. Elisa's presence (both the fact that she is alive and a gargoyle) is a double-edged sword. The best (psychological) weapon the good guys have, it throws Demona into a rage, which makes her doubly dangerous, but careless.
--Goliath and Elisa stand together to defeat D.
--Trio take on and scare off the "gargoyle" good samaritans.
--With Bronx's help, Hudson bags Puck with metal-mesh trashcan.
--Goliath promises to free Puck if he changes things back to normal.
--Puck complies. He'll start with the biggest job -- getting all the humans back to normal. (Fortunately, changing something back to its normal state is easier for him than the reverse.)
--Using rhyming spell, mirror and sattelite dish, Puck lets the magic fly.
--Elisa is human again.
--Puck needs a moment to recover.
--Elisa and Goliath have a brief moment.
--Elisa (self-depricating): "Well, I guess I'm back to my old ugly human self."
--G: "Never, to these eyes. But I'm curious. Am I handsome to you like this?"
--E: "You've always been handsome to me."
--PUCK: "Allright, enough of the mushy stuff!"
--He zaps Goliath, Hud, Bronx and Trio back into Gargoyles. (Note: he doesn't need the mirror, since they're all standing right in front of him.)
--Goliath frees Puck.
--Puck takes off with Demona through Mirror, taking mirror with.
25. Demona's house.
--Puck's grateful for a good time, enjoyed by all.
--He'll grant Demona her original wish: She won't turn to stone during the day.
--She's suspicious, for obvious reasons.
--He must SPELL OUT that she will still be her normal GARGOYLE self at night. But during the day, she won't have to sleep as stone.
--One last little rhyme spell.
--And he disappears through mirror.
26. Clock Tower.
--Final scene with Bronx, Hud, Trio, Goliath and Elisa. (This was really nice, as written.)
27. Demona's House.
--The sun is rising.
--We can only see Demona in sillouette.
--Until she turns to look at herself in the mirror.
--Which she smashes.
(The script I received had some odd page numbering. The title page was numbered as page one, some pages were skipped and had no numbers, and the last page was numbered 33. So I just renumbered it from the first page of script on through the last . The following notes therefore refer to my numbers. Call me if you have any questions.)
If Demona never gets the opportunity to destroy or turn off the laser-grid around the mirror, than we can leave it for the thieves to deal with and ditch all this dialogue and action revolving around alarms. Demona's meant to be a diversion.
Please don't refer to the Security Guard as Sarge or Old Soldier. I know it's just character stuff, but we don't have the space to give it context. It winds up confusing us as to who the guard really is.
Remember: Male gargoyle eyes glow white. Only female gargoyle eyes glow red.
Throughout script we use both "rooklings" and "hatchlings". I prefer "hatchlings". That way audience members who have missed the one or two references to the rookery, will still understand.
Goliath's getting wounded is problematic. We don't deal with it in the story. It's quickly forgotten. We don't want to play fast and loose with something like that.
Don't forget to give us some description of Puck. (He definitely should have pointed ears, for example. I added pointed ears to the description of the Weird Sisters in their true form.)
I don't know that we want to refer to all of Oberon's Children as "real mean". Seems blatantly racist.
When Demona summoned Puck earlier, she did it in Latin. So please make sure we name him here in this scene.
If you cannot rid me of all humans,
then at least rid me of that human --
We need the double entendre of Demona asking Puck to get rid of that
human-Elisa. ("Oh," Puck weasles to himself, "get rid of the human-Elisa. Make her a gargoyle-Elisa instead.")
Our Gargoyles shouldn't notice that anything has changed among the pedestrians below, until they get close enough to see. (From a practical standpoint, the idea of each person suddenly taking up more room, might be tough to get across in animation.)
Let's show at least one of the Human/"Gargoyles" looking at his or her reflection (in a store window or something) and preening. Totally unaware of the change.
Goliath says, "What sorcery is this?" twice in the episode. Let's skip both. He said this exact line in "Awakening".
Keep focus and imperative of THIS story. No one has time to stop for hot dogs or to deal with vandals. (So skip both incidents.)
Puck doesn't have to pretend that he did "exactly" as Demona commanded. He can have more attitude. "Hey, close enough." or "If you're going to split hairs..."
Again, let's not make Hudson an expert on Puck as an individual. We don't need him to identify Puck from tapestries. (And I doubt if his education has progressed to the point where he's read Shakespeare.) Plus, I'm not sure we have to label Puck as the "worst" of Oberon's children, either.
Gargoyles including Elisa/gargoyle CANNOT hover.
Also don't forget...
--Latin version of Demona's spell from Grimorum. (It doesn't have to rhyme.)
--Rhyming spell in English for what Puck does to everyone. (Needs to be vague enough so that Demona isn't immediately tipped off.) Doesn't need to be same spell each time.
--Somewhere in here, we need to justify why none of the human/"gargoyle" crowd reacts to Puck. Do they see him as a gargoyle, ala the Weird Sisters? Or is he invisible to them? Or can we get away with them just walking by and ignoring him?
--Make sure final page count will be within our page range (pp. 35-39) after Denise has conformed it.
THANKS. DON'T HESITATE TO CALL WITH ANY QUESTIONS.
Next up for my Ramblings is "The Mirror". What follows is the UNEDITED memo I sent to story editor Brynne Chandler Reaves regarding the first draft outline for that episode.
This is one I had very specific ideas on, so I may have been even tougher than usual. Oh, well...
Notes on "The Mirror" Outline...
Brynne, I hope you consider this flattering: I'm gonna be very tough on you here, because I think you can handle it. It's not just because of this outline, but because in general, I want you to be handing me cleaner, more finished pieces. Although the story is full of great ideas, there are logical and structural problems here that need fixing. As I've discussed, I want to be less "hands-on" so that the schedule keeps flowing and we all stay sane, but that means I need you to catch much more of this sort of thing before I ever see it.
One particular concern of mine (and not so incidentally of Gary Krisel's) is padded first acts, where nothing of substance happens until the cliffhanger. Each story dictates its own structure, so I don't want to make any hard and fast rules, but this is one thing you should be thinking about on every episode you edit or write. We can have a prologue scene or two. But we don't want to turn the whole first act into a prologue to events that only begin seconds before the commercial break.
Scene One is a nice prologue. So is Two, if it's brief. Three, Four and Five are padding. Six is good prologue, but by this time it feels like padding. Seven is problematic from a character/logic standpoint. Finally, we get going at Eight.
And opening acts aside, we need to beware of scenes that serve no function in the structure of the story. A real good character moment is worth a detour on occasion. But our stories have to be coming out of character anyway, so nine times out of ten, the detour shouldn't be necessary.
Ever since "Reawakening" we've tried to make the Gargoyles much more pro-active. But even by first season "survival-mode" standards they seem downright slow to act here. In scene Three, they suspect magical bad news is on the way. In scene Six, they confirm Demona's involvement. Yet in scene Ten, they go to the play in the park like nothing was wrong. Worse, in scene Sixteen, when the humans are transformed, the younger gargoyles actually think that the transformation is part of the play? They're more sophisticated than that. And instead of reacting like it's a problem, they just want "contact with their kind". I wouldn't mind a wistful line that summoned up their feelings about how this reminds them of their old lives when there were many gargoyles and/or that it's nice to be able to walk out in the open without everyone running away screaming, but they have to realize that this transformation is bad news. Then in scene TWENTY-TWO (that's the beginning of ACT THREE and a full fourteen scenes after Goliath battled Demona in the museum) they "are certain now that Demona is behind this". Who did they think was behind it for the last act and a half? This is a good sign that we're either short on structure, heavy on padding or both.
We must have a clear theme that involves at least one of the "good" gargoyles in every episode. We shouldn't have to dig deep for it. It's what focuses the events that dictate our structure. Today's theme is "Be careful what you wish for, you just might get it." It applies to Demona, obviously. But it applies to subconscious desires on the part of Goliath. And wistful, but conscious desires on the part of Elisa. And even (to a small extent) the desire of our young trio to assimilate. Emphasize the theme as much as possible.
GARGOYLES AND MAGIC
Please remember that the gargoyles are largely ignorant of the workings of magic. They have an advantage over humans in that they know magic exists. That's about it. Demona and Macbeth have had centuries to study it. Guys like the Magus and the Archmage dedicated their lives to studying it. Brooklyn, on the other hand, is no expert. I doubt he can even read Latin. And the GRIMORUM is not a textbook that would provide easy answers even if he could read it. It is, in essence, a cookbook. If a recipe is torn out, there's no way to infer very much about it from the remaining pages. Remember, the Magus had the sleep spell he used on the gargoyles, and even with that and all his training, he couldn't wake them up without the specific page that held the counterspell. HOW could Brooklyn find a list (scene 5) that matches Demona's list? WHY would the Grimorum list the items for one specific spell twice? HOW could he know the name (Scene Eight) of the entity being summoned?
Could the Grimorum tell them that Puck's spells must be reversed before dawn? Or how Puck frees himself? Unlikely. (Would Julia Child's cookbook feature recipes by the Frugal Gourmet?) But (if we assume Goliath reads Latin, and could make heads or tails of the Grimorum, without having to sit down and spend an entire week reading the thing cover-to-cover to find a helpful passage in a book which, as you noted, has no index) -- it is possible. We always skate by a few things in every script. But the more we have to skate, the thinner the ice in general. Something that normally would fit neatly beneath our audiences suspension of disbelief, becomes one more contrivance in a story that's got a few too many.
First off, she's not looking for an equal partner or ally. She's made that clear enough. That's exactly her problem with Xanatos. He always wants to know what's in it for him. He can't be easily controlled. He's fine if they have a mutual interest (resurrecting Goliath or Coldstone), fine if she can con him into helping her (as she does in "City of Stone"), but the latter isn't easy. Otherwise, they can't work together. They're goals are too diverse.
As for Macbeth, don't even bring him up. This story airs before CITY OF STONE. She hasn't seen Macbeth for decades probably. And it's been centuries since they worked together on anything.
None of this changes the story, but it's important to get her mind-set clear. She isn't summoning Puck as an ally. But as a slave.
And what does she want her slave to do? Basically, this episode is going to underline Demona's truly short-term thinking. She knows she wants humanity eradicated. But not what she'd do if she ever accomplished that goal. She's closed her heart to anything that doesn't serve her immediate short-term plans. (She's really, really screwed up.) At one point, Puck should offer her Goliath. He can make Goliath love her again. But she's so distracted by her hatred for Elisa in particular and humans in general, that she can't keep a positive thought in her head. Her monolithic and myopic fanaticism allow Puck to make a primate out of her, literally and figuratively.
First big note from Adrienne and ME: we cannot play this character like he's a demon. His summoning in particular came off as very satanic. Let's try to make it more fanciful and magical. One thing that would help avoid this problem, is to be clear about what Puck is. If we aren't clear, people might think demon or devil. If we are clear, they'll believe us. We've got to establish, not only Puck, but his entire magical race. They are the third sentient group that once populated our planet in addition to humans and gargoyles. We need a name for this race that we can be comfortable with. (We can say at some point that the Scots called them the Fair Folk; the Vikings called them Dark Elves. But neither name is great. There must be something that could work for us. "The Oberati" perhaps, after their king?)
Then we need to set some rules and limits. Particularly given what we know about the Weird Sisters (and about Puck's secret identity). Obviously, not all of these rules need to be spelled out in this script. But let's make sure we know them. Let's begin by saying that the Oberati can all shape-shift. But when they morph into a form, they're stuck with that form's limitations. No magic happening if they pose as human.
In their true forms, they have a lot of magic power, but a rule against the direct use of it in the world of man (witness the Weird Sisters more indirect manipulations). Maybe this is a command from Oberon which they are afraid, but not unable, to break.
An obvious exception to the rule occurs when they are enslaved by someone else who commands them to use their magic. They are off the hook responsibility-wise, so they can go to town. Thus, most cultures have wish-granting legends about Leprechauns or Djinn or whatever.
Conveniently, the Oberati are creatures of pure magical energy. When they cast a spell, the spell doesn't have the limitations imposed on the studied magic of human or gargoyle sorcerers. The subjects of their spells don't have to see and hear them to be affected. It's a more fluid, less structured form of magic. Magic to the Archmage is an art, craft or science to master. Magic to Puck is as natural (or super-natural) as breathing.
But even Puck must have his limits. Even magical energy should be finite. We MUST establish this fact, at least. If Demona asks to get rid of all the humans on the planet, Puck will have to admit that it's too much for him. Would she settle for all the humans on the island?
Did the Gargoyles meet or hear of Puck specifically, back in the tenth century? I doubt it. They lived fairly isolated lives out at Wyvern. And Puck didn't get famous until Shakespeare made him famous quite a few centuries later. Maybe they've heard stories about the Fair Folk, but again, let's resist the temptation to make Goliath or Brooklyn or Hudson experts on the subject. They seem pretty perplexed by the Weird Sisters in "City of Stone". That should define their reaction to Puck, whom they're meeting here prior to that story.
Why does Puck help Goliath turn stuff back to normal at the end? Well, for this episode's purposes, it'll probably work that Goliath holds the chain and issues a command. But Demona held the chain, and Puck always found a way to circumvent her commands. So why doesn't he do the same to Goliath? Two reasons, probably. First, it further annoys Demona, who he's peeved at for enslaving him in the first place. Second, once Puck is free, he can return to his secret identity, where he's been having such a good time. He wants things back to normal himself. Still in future appearances, we need to be sure that Puck doesn't turn into a personification of Deus ex machina.
Use it sparingly, but it's o.k. with me if Puck breaks the third wall and addresses the audience on occasion.
Finally, Puck's name. The Disney execs are of two minds on this. Bruce prefers Goodfellow. His main concern is the constant policing we'd have to do to make sure Puck doesn't ever come out Fuck. Ellen feels that Goodfellow has more association with Satan than Puck does and that Puck is safer on that level. I'm really torn. I tend to agree that Puck is a slightly more recognizable Shakespearean reference than Goodfellow, and thus stonger and safer. I also think the name suits the character. On the other hand, I think Goodfellow is an effectively ironic name for a character who is, for all intents and purposes, a villain. Part of me really wants to use both. Could the spell that enslaves Puck to Demona have something to do with her knowing his true name, Robin Goodfellow? Adrienne, I think, is on the fence with me. But I'm not sure. We should probably discuss this one last time before you go to script.
Think of the Wicked Queen's Magic Mirror times ten. It is a window, a doorway, a Peeping Tom.
HUMANS AS "GARGOYLES"
As we discussed, I don't think the humans notice they've been transformed. Some of the ridiculous fun of this episode should be to see them, walking around, going about their normal business, briefcases and subway tokens in hand, with no indication that anything is different. If they looked in a mirror, they'd preen as usual. They wouldn't freak out or recognize the change.
Although they have wings, I don't think it occurs to any of them to start gliding around the city. And if they see (the soon-to-be more self-aware) Elisa flying, it would be shocking: "Look, Mommy, that lady is flying!!" It's not that they'd see her suddenly as a gargoyle. (It'd be like seeing Superman. A normal enough looking person. He just happens to be leaping tall buildings with a single bound, which is, of course, unusual enough.)
When Goliath and clan walk among them as gargoyles, I don't think they see them as unusual. For once, looking like a gargoyle is normal. Like Halloween, in "Eye of the Beholder", it's another rare moment for our guys when they can be out in the open. (This may have been what you had in mind in scene 18. I wasn't clear.)
However, when Goliath and company enter their midst as "Humans", it should scare them. Once again, ugliness is in the eye of the beholder, and the "human" Goliath is still the monster. We should not skip this beat (as you planned to in scene 24). We should play it. It can be bitter, poignant and, yes, funny. (Appealing to Puck's dark sense of humor (and mine too, for that matter).)
ELISA AS A "GARGOYLE"
Like the other transformed humans, Elisa doesn't immediately realize she's been transformed. And looking in the mirror won't clue her in either. (And in any case, Elisa isn't the type to faint dead away.) In fact, she might turn to Goliath and suddenly ask, "Could you remind me why you guys are hiding up here in the clock tower?" Suddenly, they don't look so strange to her. Goliath is going to have to sit her down and talk her through the differences between humans and gargoyles. Her realization should play like a fog lifting.
And we probably should play out Goliath and Elisa both as gargoyles for an act. Maybe he teaches her how to fly. Maybe they're just about to get close enough to do the gargoyle equivalent of an embrace, when he's transformed to human. Get it so that we can all almost taste it. Then yank it away. (I know, I'm a cruel bastard.)
I also want to contrast Goliath's reaction to "gargoyle" Elisa with Elisa's reaction to "human" Goliath. He may say, "Elisa, I never realized how beautiful you are," because he always liked her for her inner beauty but, frankly, never found her physically attractive (no wings, no tail--shudder). And he's always made that mental distinction between the surface and what lies beneath.
Elisa never did. She recognized his inner beauty in episode three or four and ALWAYS thought he was handsome. Even before this episode, I think she's thought about the two of them and come to the inescapable conclusion that romance is impractical. Better keep it platonic. I think he's had those feelings, but has never connected to them mentally. (Look, no matter what the species, or how evolved the individual, he's still a guy. And guys are fundamentally stupid about this stuff.) Until this episode, it never crossed his mind that Elisa could replace Demona in his heart. The fact is she already has. But he never thought about it before now.
OUR GARGOYLES AS "HUMANS"
To be consistent, they shouldn't recognize the change until Elisa points it out to them. Maybe they were about to leap from the clock tower, and Elisa has to stop them and say: "Look, guys, you don't have wings anymore!"
But let's keep in mind that these guys are still heroes. NO WAY are they going to agree to step back because a gargoyle Demona is too tough for them now. Did Elisa ever step back when she was human? For that matter, there have been plenty of humans willing to go toe-to-toe with the gargoyles. Certainly Goliath is as brave as Macbeth or Wolf or Commando #3.
Also, I got confused in scene 29. Goliath has been transformed to human. That means human proportions. Sure, he'd be a big guy, but not as big as he was as a gargoyle. I don't know why armor would fit, say Broadway, and not him.
In contrast to our typical episodes, I think this one can have a more absurdist tone. Puck should both further the tone with his actions and undercut it with wry asides. Plus there'll be romantic stuff, also undercut, this time by Goliath's reaction to Elisa and the genuine frustration that comes from the situation's mutability.
GOLIATH BLAMES XANATOS...
For everything, it seems. In "Lighthouse" and to a lesser extent in "Leader", we've played the beat of Goliath mistakenly going to the castle to confront Xanatos for something that the latter had nothing to do with. I think by now, Goliath has learned his lesson. Particularly since the going's on here smack much more of Demona or Macbeth than Xanatos.
DEMONA'S HOME BASE
Let's get a clear sense of what this place is like. Particularly, how it is distinct from Macbeth's mansion: we've played his place like Wayne Manor. Dracon has the penthouse at the Park Manor Hotel. And Xanatos has this incredibly cool castle-on-a-skyscraper H.Q. Demona's home needs to be different from all of these and special in its own right. Also give us an at least approximate idea of where this thing is located. Gramercy Park, maybe?
SHAKESPEARE IN THE PARK
This was a great way to ground our Puck in Shakespeare, as opposed to Satan. No doubt about it. And no fault of yours, but I want to save this setting for a story that Michael and I have discussed involving Macbeth and an adaptation of Shakespeare's Macbeth. Plus, in this story, I want to play with Manhattan life going on, business as usual, despite the fact that everyone's been turned into a gargoyle. We can't do that if we limit ourselves to the Park and the closed Museum. I want to get this story out in the open. Have the "gargoyle" humans reacting in panic to the "human" Goliath and clan, the way they'd normally react to them as gargoyles. That's an opportunity we won't get in another story. We must take advantage of it. But having taken the story out of the park, we should work other Midsummer references into the script. Name the mirror after Oberon or Titania, perhaps.
1. A warm Midsummer's Night. Demona arrives at the museum with grand theft in mind. She's come to steal the Mirror of Oberon (or whatever we ultimately call it) which has just arrived from Ireland (or Italy or wherever). The first museum security guard is no problem. But the second security guard turns out to be Elisa -- undercover, prepared and not without back-up, i.e. Goliath. They suspected that the mirror would be a prize too tempting for Demona to resist. Demona seems particularly furious over Goliath's continued "partnership" with Elisa. SHE HATES HUMANS AND SHE REALLY HATES ELISA!! (Demona knows how Goliath feels about Elisa, even if the big lug hasn't admitted it to himself yet.)
2. Anyway, we get a big action sequence in the museum which leads to a chase outside. Demona gets away from them, but without the mirror. And because our heroes are so thoroughly engaged in these activities...
3. ...They are absent when two high-tech but very human cat burglars show up at the museum, seconds later, to crate up and steal the mirror. (The real security guard is still unconscious and thus unable to do anything about them.)
4. The two thieves arrive at Demona's townhouse (or whatever) with the crated mirror. Otherwise, the scene plays pretty much as you had it with the delivery men.
5. Inside her home, Demona wraps thick iron chains across the glass of the stolen Mirror. She summons Puck. He comes flying out through the glass and thus winds up wrapped in the iron chains. He spends almost the entire episode with the chains pinning his arms across his chest.
6. Back at the clock tower, Goliath and Elisa are feeling like grade-A dorks. Elisa's just back from investigating the museum crime scene. It's now clear that Demona's job was to take out security and, if necessary, act as a diversion for the real thieves. Now the big questions are, what can she do with this mirror and how bad is this going to get? Perhaps this is a place to discuss the Oberati. Hudson tells what little he knows about them.
7. Our Demona and Puck scene. If he ever wants his freedom he must serve her. He tries to discourage her: he'd make a lousy servant. She doesn't buy that. Puck works for "him". He can work for her, etc. (That whole exchange.) O.K., okay, what does she want? Freedom from her one great vulnerability -- turning to stone during the day. What good is that, he wonders. You think you're gonna be able to walk down 5th Avenue in broad daylight? I can if you obliterate all humans, everywhere. What am I, the Genie of the lamp? There are limits, kiddo. C'mon, what do you really want? She pauses, and an image appears in the mirror. It is Goliath (in the clock tower, but we're tight on him, so we aren't tipping the location). Puck: "How quaint, after all these centuries, you're still carrying a torch. Well, if that's what you want, I can make him love you again. Although it will be really hard, because you're not exactly Miss Lovable." And then, in the mirror, Elisa steps into the shot, and puts a hand on Goliath's shoulder. Demona goes ballistic. She knows her heart's true desire. Get rid of the human -- Elisa Maza. Puck: "That I can do." He fires a magical bolt into the mirror at the image of Elisa.
8. Back at the tower, Elisa has a hand on Goliath's shoulder, reassuring him that they'll stop Demona's scheme, whatever it is. Suddenly, she is surrounded by a magical energy that rips her away from Goliath. The gargoyles try to help her, but they can't get close. We should think for a moment that this is the end of Rico... uh, Elisa. And then there is a blinding flash of light that whites out the whole screen. Followed by pitch black darkness. Elisa is still there. We see her silhouette as our eyes adjust and the light returns slowly to normal. She says she's o.k. And then she steps into the light. Transformed into a gargoyle version of herself.
END OF ACT ONE
Now I have to apologize. I know I promised you this for Monday. It's two a.m. Sunday and this is as far as I got. There's a reason (an excuse). Monday is Corporate Seminar. And my last act as an executive (before becoming a full-time producer on Tuesday) is to pitch all our new development to Michael Eisner and Rich Frank. This is a twice yearly event that requires a lot of preparation, and I just ran out of time to get these notes done. Normally, I'd pull an all-nighter, but I need some sleep to face these guys tomorrow.
You gotta admit, that was a pretty good excuse.
So I have to leave this to you. You're mission, if you chose to accept it, (AND YOU REALLY HAVE NO CHOICE IF YOU EVER WANT TO GET TO SCRIPT) is to write up a quick beat outline of acts two and three for me based on the sketchy notes below. It doesn't have to be long. Two to four pages is fine. The amount of detail that I gave you for Act One is all I'm looking for.
Act Two should have Goliath filling Elisa in about the change she's undergone. Maybe take her flying. Maybe this is where we get the line about him never realizing how beautiful she was.
Demona should be temporarily fooled into thinking Elisa's dead, and flushed with success, she asks Puck to rid all of Manhattan of its humans. Bing, bang, boom. Everyone's a gargoyle. People on the subway in from Queens, change into gargoyles as soon as the E-train hits the first Manhattan stop. "Gargoyles" on the way home to Jersey change back to human as they cross the bridge in their cars. NO ONE NOTICES AT ALL.
But Demona doesn't know any of this yet. She wants a tour of what she expects to be an empty city. Puck is secretly eager to see his handiwork, so they step into the mirror, which transports them to the heart of the city. Times Square, maybe? 5th Avenue?
Meanwhile, Hudson, Goliath, Elisa and the trio are all hunting for Demona. They quickly notice the change in the populace. (Maybe the shock of this wide-spread change interrupts what might have been the only chance Elisa and Goliath had for a same-species clinch.) They all know it's bad news, but the trio can't help enjoying the ability to walk among gargoyles again. Even if they are gargoyles in business suits: New Yorkers who still won't give them the time of day. Still, would it be so bad if this didn't get fixed? Yeah. Probably.
When Demona figures out she's been duped, she demands that the gargoyles be changed back to humans. Bing Bang Boom. Goliath, Hudson and the Trio are human. (I'm torn about Bronx. I guess the big dog is o.k. It just seems outside the terms of Demona's request, even by Puck's loose standards.)
Was Goliath flying at the time or is this another interrupted clinch between him and Elisa?
Act Three opens with Elisa saving Goliath from plummeting to his death perhaps. Then she has to make him understand that he has been transformed as well.
We wind up with a very public battle featuring Elisa and our Newly Human heroes against Demona and Puck. It's complicated by the fact that the general populace (who are all now Gargoyles) perceive the human Goliath, Hudson and Trio (and Bronx?) as monsters attacking what to them seems to be a very normal-looking Demona.
Still in the end, good triumphs. Puck makes everything right at Goliath's command, (but let's make it clear that at least in part, he's doing this to spite Demona and/or to suit his own agenda). Elisa is changed to human, before Goliath is changed back, and we have another near-clinch, that Puck interrupts with good-humored spite by changing Goliath back into a gargoyle.
Goliath frees Puck and he vanishes with Demona, rescuing her from Goliath.
Turns out Puck had more fun than he thought he would so he feels like he owes Demona a favor. He'll give her her original wish. No turning to stone during the day. (BUT WE NEED TO MAKE IT PAINFULLY CLEAR THAT SHE WILL STILL BE HER NORMAL GARGOYLE SELF AT NIGHT.) He takes his leave via the mirror.
Cut back to Elisa and Goliath for emotional wrap up. Just before the sunrise which, as usual, separates them.
And back to Demona. Silhouetted against the rising sun. It's up, and she's not stone. Puck kept his word, she can't believe it. Then she sees her human self in the mirror, which she smashes, yelling NOOOOOOOOOO!!!!!!! And fade to black.
Is Titania supposed to be the real power of the fae throne? Oberon's virtually a fool, and Titania's silver tongue and clever manipulations always make him do what she wants and everything ends with her succeeding. Is she really more powerful?
Oberon's hardly a fool. He's just arrogant as hell. And, yes, Titania uses that to manipulate him. But he still rules. And there's more to him than you think. After all, why else would she be with him?
My iron question, posted again because of the crash.
The obvious reason for why Oberon's Children are vulnerable to iron is: a) they need some sort of kryptonite to keep them from getting out of control, and b) it's an element that comes from legend. But did you ever work out an "internal rationale" for why cold iron has the effect on them that it does?
I can't remember my answer.
a and b are certainly true. But I think that iron ore may be something solid and ancient that pre-dates their evolution.
But honestly, I think it's more a and b.
Who are the Children of Mab (as opposed to the Children of Oberon)?
Before Oberon deposed Mab, the fae collectively went by the name Children of Mab. After Oberon took over, he changed the name.
What type of effects would smoking have on a fay?( I don't see Oberon or Puck as the type to smoke.)But what if another fay smoked?
Smoking's bad for you.
In the Gargoyles Universe is fate a person (a fay) or an element like time?
In M.I.A Goliath says to Griff "Fate is conspiring against us." and "Maybe fate can somehow be... aaah..."*pushes Griff away* "cheated."
"Time is a river correcting it's course." Is fate also an invisible element like time correcting peoples lives and stories? Or is it one of Oberon's children, a trickster maybe?
Fate isn't a person. (I'm not sure what you mean by "element".) But that doesn't mean that there aren't fae connected to fate the way Anubis for example is connected to Death.
Do the fae have any kind of afterlife or souls? Traditional folklore says no, but it seems rather unfair to have them souless compared to the other two races..
They have the potential.
Do you have to be a fay in order to be a trickster? I'm asking this because Xanatos is 100 % human, and he's definitely a trickster-figure just as surely as are Puck, Raven, Anansi, and Coyote, at least IMHO.
Technically, yes. But anyone with the soul of a con artist, the hands of a pickpocket and a decent sense of humor can be a trickster.
Considering the amount of iron in rocks/soil, would being underground have any significant effect on a fae's magic?
I just want to check on this; if Demona had succeeded in her plague, we already know it would not have affected Gargoyles, wiped out humans, done serious damage to the New Olympians, and possibly sentient animals as well as Nokkar might have been unknown factors..but the thing is, would the fae have been affected at all by the plague, being creatures of pure magic?
Possibly. Of course, most were safely isolated on Avalon at the time.
1) Did the struggle for power between Oberon and Mab get recorded however dimly in any myths or legends? Since fae seem to be remembered in stories pretty well, being worshipped as gods and so on..
2) Did the struggle cause any great devestation to Avalon or the Earth?
3) Did it occur before Nokkar arrived?
4) How long did it take Oberon to win?
3. Haven't thought that one through. Hmmmm.
4. The length of the conflict.
Just why did Oberon choose to start the Gathering?
He planned it 1001 years ago. He was just fulfilling his own command.
Is Queen Mab subject to Oberon's non-intervention law?
Queen Mab is currently subject to a life sentence. Everything else is moot unless -- or until -- she gets out.
About what time did Oberon and Titania get married? Was Shakespeare corect about them being a wedded couple during the time of Theseus?
Ask me again some other time, I'm currently in a re-think on Midsummer. I'm not sure how it's gonna come out.
Just why did Oberon overthrow Mab?
She was trouble.
Also she didn't approve of Titania.
How did Goliath and the others learn that Demona and Macbeth can only be killed if one kills the other? Demona told Brooklyn in "Temptation" how she had been dealing with humans for hundreds of years, and Macbeth told Goliath in "Enter Macbeth" how he had named Demona, which she herself said in "Awakening Part 5" happened long ago. So I get how they could figure out both were immortal, but how exactly did they figure out the terms of the spell?
And another thing--if they knew that only Macbeth could kill Demona and vice versa, how come they thought Macbeth died in the crash in "The Price" and Demona died in the fire in "The Reckoning'?
From the Weird Sisters, after they were captured -- but before they were released -- in "Avalon, Part Three".
"The Price" took place before "Avalon". And they never said she was dead in "The Reckoning". Goliath simply acknowledged that he wasn't sure. I mean how many questions have I had to answer here about the rules of the whole Macbeth/Demona thing. If you all have some doubts about how that spell works, don't you think Goliath and Angela might also.
I was watching Gargoyles today mainly the "Cities of Stone" episodes. I noticed when demona was casting her spell she said to Owen when he was in a frozen state "You are the tricky one so we will make sure you stay put". Which makes me wonder, did Demona know that Owen was Puck? And if she knew that Owen is Puck, how long has she known that?
Yes, she knows. She's known since before the rest of the clan was awakened.
There's a similar clue in "The Mirror", when Demona says to Puck, "You serve the human [i.e. Xanatos], you can serve me now." (Or something like that.
Hmm, now that I think of it, I'm not even certain if 'revelatory' is a real word...
Anyway on the Theseus business, something a bit less... deep: In "A Midsummer's Night Dream" it is said that Titania had an... affair (ahem) with Theseus - would you say that's true in the Gargoyles Universe?
Is the reason that Alexander is considered a Children of Oberon while Merlin is considered a halfling because Alexander is basically more powerful than Merlin?
Who made those assumptions?
Merlin's technically a halfling because Oberon is his father but his mother is human.
Fox is also theoretically a halfling. Her mother is Titania. Her father is the human Halcyon Renard.
Alexander is technically a quarterling, I guess. He's fully human on his father's side and half human on his mother's side.
Once agian I'd like to thank you for the opportunity to satisfy our enquiring minds.
Here we go. What does love mean to Titania? I'll ellaborate on what bothers me about her. We have seen in countless episodes how our villains' best and worst laid plans have gone awry because of certain factors were byond the control of the planners. Chances were taken, disaster was courted, and the scheme falls apart. With all this in mind let's consider Titania's actions.
In I'll Met by Moonlight", Titania exposes Obereon's weakness to Iron Bells to Tom and the Princess. She must have had some insite into their characters and was reasonably sure that they wouldn't kill Oberon. Still despite her fantastic judge of character, she is taking an enourmous chance here with people she hardly knows. What if Tom had to kill Oberon in self defence? Certainly she didn't want this.
Then there is The Gathering. Titania manipulates Oberon into a conflict with Xanatos that jeopardized the lives of two people she cares about. Renard might have died when Fortress 2 crashed. By the time Oberon reaches Fox and Alexander, he is clearly beside himself with anger and frustration. Who are these pitiful mortals to stand in the way of what he wants? A calm Oberon might not have taken Fox up on her "Over my dead body" vow, for fear of alienating Titania. Yet Oberon is hardly rational at this point. Again, these circumstances are beyond Titania's control. Sure things worked out for the best, but things could have just as easily goe the other way. What was she thinking in goading Oberon into this situation?
Finally, what of the many people who died in hospitals or in car accidents, when Oberon puts the entire city to sleep. Do they mean anything to her?
I congratulate you in creating so complex a character. I realize that on first viewing it might seem like Titania is on Fox's side, but as with all complex characters, the only side she is truly own is her own. Still if Titania truly cares for Oberon, Fox , her ex-husband Renard, then why does she envolve them in schemes that are so hazardous?
You're assuming -- because she needed none -- that she had no contingencies planned. That's not a safe assumption. Plus, as far as "The Gathering" is concerned, you're taking her word for it that she had it all planned to go this way from moment one. She PROBABLY did. But that's not a completely foregone conclusion either.
Finally, I think that Titania is still a character in mid-evolution. You've never met the tenth century Titania. But keep in mind that in those days, she was LESS mature than Oberon, less responsible, less loving. She's grown A LOT. But let's not confuse a LOT with ALL THE WAY.
Hi! I'm back! Anyways, these questions are going to be on the apearences of The Lord and Lady of Avalon.
1. What's up with Oberon's broken nose? Can't he change it, or what? (I've heard a couple of theroies on this, but i want to hear it from the source.)
2. Why does Titana wear, forgive me, something so skimpy? She seems to have more self respect than that.
3. what's up with Oberon's cheek bones/ultra chiseled features? You could get a paper cut on them!
4. Did Titana always these sorts of cloaths, or is this a new thing for the Gathering?
5. Speaking of cloaths, What's up with Oberon's thigh high boots?
6. Did Titana inherit her coloration from her family or did she decide on it?
7. Is Oberon wearing shorts and thigh high boots or boots and pants that are tucked into the boots, or something completely difrent?
8. what is Titana wearing on her feet? I never got to see, even though Oberon has enough footwear for all of Avalon.
9. Did Oberon inherit his coloration from his family, or did he just decide to be blue?
I Like Anubis too.
1. Oberon has a broken nose? Don't think so.
2. She's got it. She flaunts it. She's not short on self-respect.
3. I don't know how to answer this. But I don't think Oberon would appreciate these personal observations.
4. It's her style.
5. Again, how do you expect me to respond? It's a style.
7. He's not wearing short pants.
8. Geez. What are you wearing right now? Anyway, I seem to recall she was wearing boots.
You like Anubis TOO? Wow, does that mean you like Oberon & Titania? Cuz I sense a lot of hostility towards 'em.
I'd appreciate your thoughts on the accuracy of my hypothesis. I know you are likely to be cryptic, so I promise to be only somewhat annoyed it you are, although I'd prefer if you weren't.
About time travel, why is the Phoenix Gate the only time travel device out there? Or is it?
It is likely the only magical way, because if not, why would Oberon want it so badly? Unless it is like a washing machine. You can wash it by hand but you'd rather use a machine.
You've established that the past cannot be changed, and that Xanatos's current position in society is solely because of his little trip to the past.
Establishing that the Phoenix Gate is gone, except for its little TimeDancing trip, does that mean that time travel in the gargoyles universe is now totally impossible?
the final question would have to be, since you don't believe in a changable past, does the Gargoyles universe contain parallel time tracks, entire other universes with a different version of events.
Finally, I apologize if I missed previous answers to these questions. I have been reading the archive since it started, but my memory is a little bad at times.
1. I didn't say that the Gate is the only device out there. Depending on your point of view, one could say the Grimorum acted as a one-way time travel device for Goliath et al. And for the Coldtrio as well.
2. Who said Oberon wanted it so badly? Puck thought it would make a good bribe. Who knows if he was even right?
3. I wouldn't say "solely" but sure, what's your point?
4. Not necessarily. But I'd never make it easy. (And calling TimeDancer a "little...trip" is the understatement of the day, at least.
5. Ehhh.... Those things tend to be abused whenever they're introduced. Look at the X-Men. That book became unreadable to me eventually. As I've said before, I'm open to thinking about parallel universe/tracks etc. But I tend to think I'll end up saying no.
How many children has Oberon had with immortal and mortal females? If you can't tell us the specific number then is it more than a 100 or less than a 100?
In your opinion, is much of Merlin's status as "the greatest wizard of all time" thanks (from the perspective of the Gargoyles Universe) to his being a biological son of Oberon's? Given how much magic Oberon must have in him, it does seem logical that an offspring of his, even a halfling, would have more magic to inherit than a halfling child of any other fay, or a fully-human wizard.
Merlin was certainly born with a lot of magical potential. But potential can be squandered. (Just look at my life over the last four years.) Merlin worked to become a great wizard.
First off, great show, always worth saying. I would like to thank for Oberon, who led to a five page description that got me an A for seventh grade English, Titania, whose description got me and A for eighth grade English, and Macbeth, a text whose knowledge got me an A in ninth grade English (although these grades did not come from spelling.)
On my seventh or eight watchings of "Ill Met by Moonlight" and "The Gathering", my rather large screensavers, I noticed a few things and came up with some stuff.
1) Anubis appeared to be one of the people in line at the Gathering, this seems a little odd. Who takes care while he is away?
2) Who, if anybody, is the dube with the hat that kisses Oberon's hand before the Banshee gets dropped?
3) Oberon refers to himself as "we" in some cases and "I" and other cases, what is up with that?
(I did not see these in the archives, if any are there, sorry)
1. Takes care of what? Away from where?
2. That "dube" is Nought.
3. Artistic license. I generally liked for him to use the royal we. But occasionally having him say "we" was very confusing, because it gave the impression he was talking about the group at hand. So occasionally, we cheated and used "I". Fortunately, Terrance Mann, who voiced Oberon could make the lowliest I still sound like the royal we. Which is probably why you didn't notice it until your seventh viewing.
I'm curious exactly how magic casting works. It seems to be established that humans and gargoyles need a magic object and/or a magic spell to do magic.
But Oberon's Children seem to not have to use spells. Although Puck seems to. How do you explain that?
How do you want me to explain it?
How about in writing?
Look, Fae magic and Mortal Sorcery are two different things. With Mortals, most of the magic comes from without. With Fae, most of it comes from within. Fae are made of magic.
After that clear distinction, the specifics depend on control, style, training, power, i.e. lots of factors. Anansi spins his spells. Puck rhymes his. Oberon is so powerful he just has to speak his will. But rhyming helps, so he does that too sometimes. Most Fae rhyme, but there are plenty of exceptions.
Mortals need something to gather and focus energy. A place, a talisman, a spell.
I'm not exactly sure if that answers your question. If you need more specifics, post again.
Hey Greg, I have some religious questions for you.
1. Since you are seemingly very well versed in religious doctrine, I'm curious as to how you feel about the Judeo/Christian scriptures that prohibit wizardry. Deuteronomy 18:9-18:12 (Let no one be found among you who sacrifices his son or daughter in the fire, who practices divination or sorcery, interprets omens, engages in witchcraft, or casts spells, or who is a medium or spiritist or who consults the dead. Anyone who does these things is detestable to the Lord) makes it quite clear that God brooks no wizards in his fold. Is there a conflict for you since so much of the myth Gargoyles is based on revolves around magic?
2. What about the uncanny resemblance between gargoyles and demons? Why do the two look so much alike? Did dybbuks manifest themselves in the form of gargoyles in order to sow discord with humanity, hence the current demonic stereotype and poor human/garg relations?
3. How do the Fae feel about the whole God business? They seem a rather worldly lot, though some might be old enough to remember biblical events.
4. Why is Percy still using the grail? The Holy Grail is a sacred artifact, not your run-of-the-mill magical maguffin. Why would it continue to grant its power to Duval, who has since proved unworthy? I know you said it was costing him a high physical price but I find it odd that it should be giving him any kind of benefits at all (Anybody see what happened to the bad guy in Indiana Jones and the Last Crusade?).
5. Last one. Is the Judeo/Christian God the supreme ruler of the Gargoyle universe? Given the plethora of Gods and Goddess on the show, I'm just wondering what your views on this are (I prefer to think that He's the one in charge, but I had to ask).
Thanks for your time, as always. Now I must return to the Vole Wars…
1. I'm clearly less "versed" than you seem to think. I won't comment on your citation in a vacuum. And I don't have a bible here in the office to check the context.
When you ask if I'm conflicted, I'm not clear on your question. Are you looking for my opinion on the bible? Personally, I think the bible is an astounding piece of literature with much to teach us. But I see the hands of man all over that book. And although it might lose me some fans, I cannot believe that God authored it. Inspired it maybe, but authored it, no. At any rate, I think many things in the bible are subject to interpretation. Often multiple interpretations.
2. Where do you get the idea that there is ANY resemblance between gargoyles and demons? From Medieval painters? Look, we haven't seen any demons in the series. We haven't seen any demons in the gargoyles universe. No angels either. I'm not saying whether they exist or not. But you're question assumes facts not in evidence.
3. The whole God with a capital G business? Like humans, every Child of Oberon is different. I try not to make monolithic generalizations.
4. Assumes facts not in evidence. A. Who says he's still using the grail? I said he still had it. B. And in any case, your question asked "Why". Why wouldn't he if he could? C. Who said the grail can "grant" power? D. If it can, who said it is? E. Who said Duval has proven unworthy?
And I certainly refuse to use "Last Crusade" as an authority.
I will say that the Grail is part of the reason that Percival and Blanchefleur are still alive. And that a price for that has been paid. But don't oversimplify.
5. As you may know, I'm Jewish. Most of my fellow Jews would not consider me to be religious, though that's something I might argue with. Personally, I believe in God with a captial G. Whether that means he's the Judeo/Christian God seems like a parochial question to me. Almost an elitist question. I also believe that God is REAL BIG on free will. His miracles are many but subtle, and all come with a free scientific explanation -- because if he simply manifested like George Burns on trial, then where's the free will? So why should things be any easier in the Gargoyles Universe. The Gargs believe in a God that is the sum total of all things. They are monotheists and animists all at once. I don't think that's inconsistent with Judeo/Christian beliefs, but I also don't think you're going to see any purely objective evidence on the show, ever. Take to the Gargoyles Universe what you will. And it should, if I'm doing this right, give you something back -- whatever you do, or don't, believe in.
Look, I know it seems like I'm blowing off your questions. I'm not. But try reading them with a fresh eye. They're almost impossible TO answer in a straightforward manner, because they are extremely complex, and yet they take for granted so many things as fact that have not been established either in the cannon or here at ASK GREG. These are all interesting topics and I encourage you to pursue them. But break your questions down. It'll help you avoid making assumptions.
By the way, what's a Vole?
Fae/Oberati have complete control over their appearance, but do they have this as newborns?
If not what would a newborn fae look like?
Not wishing to give any ideas or anything, but I've heard legends, ya know...
A cross between whatever his or her parents truly look like.
Hello again Greg:)
You know how in Cloud Fathers we see Coyote? ,the 3rd Race dude I mean. Well I know for that perticular episode he assumed the form of Peter Maza. He needed to for motivational purposes. But then later on we see him again in The Gathering Part 1 and he _still_ looks like that. I guess you could just say, "Hey, so the guy likes the look. Problem with that?", and that does work. But I was just wondering ..
1) What does his real form look like?
IE: Puck when hes NOT playing the role of Owen.
2) Has he taken a liking to that form and uses it more often then not?
3) In the episode you just kinda take it for granted that our trickster is appearing as young Peter. I mean..it had to be so for the episode. But behind all that had Coyote actually been watching and or aware of the Maza's before hand? Peter's mom and dad and such? Or did he just need that painting to be intact and quickly just assumed Peters' old form? Was he trying to remind Peter of his heritage?? Or was it just cuz??
1. Kinda coyote-esque.
2. He's currently fond of Peter Maza's "Native American James Dean" look.
3. It's all in there.
Couple of question's about the fairfolk:
1)Are they supposed to be spirits?
2)If the answerer to number 1 is yes, how can they die? Spirits can't be killed even with cold iron.
3)Was Annibus actually Death incarnate or was he just playing the part, like most of the pagen "gods"?
1. How are you defining spirits? As another word for fae or as ghosts? They aren't ghosts.
2. Refer to question 1.
3. Again, you're not defining your terms well, or at any rate, your questions make assumptions not in evidence. The answer is both. Or neither. Or either. Or something else again, depending on how you define these things.
Are there other sentient races living on the Earth besides fay,halflings,humans and gargoyles?
If so could you name them.?
And the New Olympians (though they're a spin-off race of the fae).