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Landon Thomas writes...

Hi, I'm posting on Disney/Marvel Merger Day and I'm looking for some historical perspective. Someone in the comment room says "I recall Greg once saying that back in the 90s Disney was interested in buying Marvel, but instead decided to create their own universe with Gargoyles." I've found this on the New Olympians episode ramble:

"ORIGINS
Well, the Greek Myths of course. But that's not really what I'm talking about. As many of you know, The New Olympians was a concept -- originally created by Bob Kline -- that we began developing at Disney TV Animation even BEFORE Gargoyles. It was definitely a concept that evolved, but it was also a concept that we felt fit nicely into the Gargoyles Universe. So this episode was created as a backdoor pilot. At the time we had big plans for the Gargoyles Universe. Hopes that it would eventually evolve into Disney's equivalent of the Marvel or DC Universe. The World Tour expanded our Universe in many ways -- mostly for the sake of the Gargoyles series itself. But also to demonstrate that our universe had the "chops" to go the distance."

Could you elaborate?

1) Is it true that Disney considered buying Marvel in the 90s?

2) Did the Disney higher-ups want a Gargoyles Universe to rival Marvel/DCU, if briefly, or was that your idea?

3) How heady were the days of season 2? Was Gargoyles being positioned as a significant face of Disney? I remember the Anaheim Gargoyles baseball team memo is from around that time too.

Greg responds...

1. Yes.

2. It was my suggestion, but it was a suggestion that my bosses, including Michael Eisner liked. At least for one meeting.

3. They weren't all that heady. There was a lot of potential in the property, but the schedule was also both long and brutal, and we were still producing episodes into May of 1996, even though the season had premiered in September or October of 1995. By January it was pretty clear that reruns, preemptions, the O.J. Simpson trial and Power Rangers had combined to severely damage our momentum. In addition, the death of Frank Wells and the departures of Jeffrey Katzenberg, Rich Frank, Gary Krisel and Bruce Cranston, i.e. some of the people who had been such great backers of the property, hurt too. As did Eisner's decision to step back from the hands-on decision making he had done vis-a-vis Disney T.V. Animation. It left us quite at sea. New people came in who had no affinity for the property, long before we were even done producing Season Two.

Response recorded on January 22, 2010

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Tonya writes...

Hi Greg! I was reading an earlier post of yours where you mentioned that it's harder to pitch original ideas (I'm guessing to networks, but maybe it's the same with comics, books, etc...?) now than it was when you originally pitched Gargoyles:

1. Why is it more difficult to pitch original ideas now than it was then? (I would think they'd be anxious for new concepts???)

2. What's probably the #1 thing that the people being pitched to are looking for?

3. Is a successful pitch sometimes tied to the person you are pitching to? (I mean, if you're pitching to one guy on Tuesday, but had you gone on say, Thursday and had a different guy, could the outcome of the pitch be different? I guess I mean do you depend on getting lucky with whomever you're scheduled to pitch to? And if not, can you ask to pitch to someone else?)

Thanks! I hope my questions were clear enough to get across what I'm trying to ask. I'm thinking of writing professionally (IF I'm any good) and wondered how hard it would be to "pitch". Thanks again! (Love your work by the way.)

Greg responds...

1. They're not. They're afraid of new concepts and would rather have something that's "proven" in some other medium or era. This, in my opinion, is a direct result of the vertical integration of these companies that makes the decision making process a long uphill struggle.

2. It differs all the time, but marquis value doesn't hurt.

3. Luck-of-the-draw and incidental timing are huge factors.

Response recorded on November 02, 2009

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Geoff writes...

What was with the animation goofs that happened throughout Gargoyles? Did they seriously get by everyone until the episodes were aired? (I'm talking about the character design ones, to be specific.)

Greg responds...

What exactly do you expect me to say here?

Sometimes things were off-model. Sometimes we had the time and money to fix it, other times we didn't.

Response recorded on October 28, 2009

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MARVEL-FAN writes...

Greg, how come in the Spectacular Spider-Man it doesent use realistic gunshot sounds? But, Batman: The Brave and The Bold it uses realistic gunshot sounds, other Batman cartoon shows.

Greg responds...

Different networks have different rules, I guess.

Response recorded on October 27, 2009

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Purplegoldfish writes...

Hi Greg,

erm, I don't know if you noticed, but I created a bit of a stir in the comment room recently about the design of Constance, and I would appreciate if I could have some of your input in the matter. It might put this annoying demon in my mind to rest.

I'm just wondering, if at any time in the design process for Coco you made the connection between her being a heavy set female that resembles an animal that is unfortunately used as a negative metaphor for large women.

I actually like Coco's design, and her personality especially. What I don't like is that she's the only full figured female we've seen and she just happens to resemble a pig.

I admit I'm a bit jaded and cynical when it comes to this stuff. Chalk that up to having to endure a lot of verbal abuse growing up. I'm just really curious if you personally made that connection while designing the character. I'm really interested to see what you have to say about it.

Greg responds...

One of the main reasons that the original Coco became Broadway (i.e. why we took a female heavy-set gargoyle and made her male) was because we were afraid of the politically correct blow-back that we thought would come by depicting her that way. It's a double standard, but it's true. You can do a heavy set guy who likes to eat. But you can't do it with a gal without risking repercussions.. Ultimately though, that's cowardice. And not that I think the series is poorer for it, because I love Broadway, but ANY series is poorer for that kind of cowardice. When you fold to that, you wind up with the same types (not bad types, but the same ones) over and over.

Having gotten over that specific brand of cowardice (though I'm sure I'm still subject to other examples of the same kind of thing), I decided to create this new Constance/Coco. Being part of the London Clan meant she should be based on a heraldic animal. And the boar was one I hadn't used yet. So let's hit it HEAD ON. She's a heavy-set female gargoyle -- and she even has a pig-snout.

So go for it. Tell me she's nothing but a bad and inappropriate joke. I dare you. (I don't mean "you", Purplegoldfish, but a more generic "you" that's out there.) If I do my job well, then there's no concern. She's strong and multi-faceted, and her size is just an aspect of who she is, not the whole story. If all anyone can see is the girth and the snout then either I've failed... or that "anyone" has failed to look beyond the surface, which is one of the MAJOR themes of the entire series.

Generally, the response to Coco has been fairly positive, so I'm feeling pretty good about the job I did. Even you seem to like her, and your reservations are based on surface qualities and old prejudices and memories that I was openly defying on purpose. I can live with that. (Since ultimately I have no choice.)

Plus, I just really like Coco's design. I think David Hedgecock did a GREAT job on her. Instantly, I forgot about any agenda and just thought she was a great looking character. Which is how it should be.

Response recorded on September 25, 2009

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Anonymous writes...

who paid for gargoyles

Greg responds...

Originally? Disney.

Response recorded on September 17, 2009

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Bazell writes...

How do you come up with your character names? (though the Manhatten's names' origins can be easily deduced)

Greg responds...

Different ways. And I didn't come up with all of them. Some came from other writers and story editors, such as Cary Bates and Michael Reaves. Others come from mythology or legend, etc. We try to make the names believable but have resonance.

Response recorded on August 03, 2009

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Anonymous writes...

Generally speaking, about how many pages is the script for an average 30-minute television episode?

Greg responds...

Well, for starters, it's really 22-minutes (once you subtract commercials, credits, etc.) Our scripts for Season One of Spectacular Spider-Man were 36 pages. But we were often long and were often forced to cut material that was scripted and recorded. So for Season Two, we cut back to 34 pages. And still we were often long and forced to cut material that was scripted and recorded.

Response recorded on October 07, 2008

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slayer38 writes...

Iam very interested for the 3rd season as comics. But i want to know, comes this comics also translated into german language in the german book stores? My English is not the best, << you can see that in my text. and another question? in 1996 at the moment disney do not produce season 3 with you as author, why you dont changed to another company at this moment. (btw. The goliath chronicles sucks, the liason between goliath and eliza are also ignored.)

And btw. My favorite Episodes is Hunters moon part 1 - 3. Great story, very dramatical, and the lovely end, << at this moment between goliath and eliza, the fans waited since episode "the mirror" / german titel "Der Spiegel"

And is that true. Episode "the mirror" is cutted in usa (in tv) because the "world trade center"?

Greg responds...

I'm afraid I have no information on German translations.

And I don't own the property. Disney does. It wasn't and ISN'T mine to take anywhere else.

As far as I know, "The Mirror" still airs with all the others.

Response recorded on September 24, 2008

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Nick P. writes...

Hello. Since this is my first question I feel obligated to state that I've been a Gargoyles follower since the show's original airing, and even though I don't live in the US anymore, I still manage to order the comic books. I particularly like how coherent the gargoyles universe it. Too often I'm confused by bizarre universes that fiction creates (specifically comic books), and I'm please to find myself being able to recall what happened to all the characters and what's going on and realize that it makes sense (recall some of the more confusing story-lines in the marvel comics of the 90s that nearly required a long-winded nerd debate just to remind yourself of what's going on). Also, Keith David's voice knocked the show up a few notches on the cool scale.

Anyway, I have a number of questions that I will send from time to time when I find ways to word them so they like real inquiries rather than fan boy rants, so I'll start with something simple:

Did you originally create Gargoyles with the intention of it being a children's show? I felt at times like I was watching a watered down version of what the show was intended to be, which was weird and a little unsatisfying at times.

Greg responds...

Nothing was watered down -- and frankly I can't even think what gave you that impression. The show was developed from day one to appeal to kids. What we did simultaneously was write the show on multiple levels so that in addition to kids, we would also appeal to tweens, teens, college students and adults.

Response recorded on August 06, 2008

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Brenden writes...

A few days ago I realized something about Norse mythology. Most of the time the Honorable Viking Warrior was fighting an Inhuman Monster. Was this theme a factor in choosing vikings to sac castle Wyvern or was just because they were the most prolific badguys of Europe at the time. This realization really added too the anti clich'e of Gargoyles for me, where the "Inhuman Monster" was the victim and the "Honorable Viking Warrior" was a cowardly murderer.

Greg responds...

I think the Vikings may have been Michael Reaves' idea.

Response recorded on August 04, 2008

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Webhead2006 writes...

Hello greg, I just wanted to say season 1 of SSM was very good and i cant wait to see many many more seasons come for the series. I loved it alot besides a few changes here and there i didnt like at first but grew on me over time and it works for the show itself. I just had a question i was wondering on the production side of things for the show. How long does it take to animate a single episode for the series?

Greg responds...

It takes eight to ten months - give or take.

Response recorded on August 01, 2008

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Durkinator writes...

This is question in regards to censorship in Spectacular Spider-Man. Back in the 90s series, there was an obnoxious amount of censorship (Spidey couldn't throw a punch?!) that sometimes hindered the story in obvious ways. Now, Spectacular Spidey is obviously a bit of a lighter tone, so I don't expect to see people dying all over the place or anything, but I am curious about how the censorship from the studios of this series differs from other shows you've worked on, like Gargoyles--which I think was great about being delightfully edgy whilst still obeying the censors. Gargoyles was much darker that Spider-Man currently is, obviously; I'm just curious as to how similar the rules regarding the amount of death and violence and such are and if it has changed a lot since your work in the 90s.

And just to be clear, I'm not complaining or asking for Spider-Man to be darker or more violent or anything, I'm very happy with how everything has been handled and balanced without getting too "gritty" thus far (and I'm usually a sucker for dark stories). I'm just curious, you know?.

Greg responds...

I'm hinky about the way you throw the word "censor" around. The biggest rule is, was and always has been our own personal standards of what's right and wrong, what is and isn't appropriate. After that, both Gargoyles and Spectacular Spider-Man benefited from having smart, intelligent and understanding S&P executives (Adrienne Bello for Gargoyles, Patricia Dennis for Spidey). As I've mentioned before, there wasn't much we wanted to do on Spidey that was disallowed. The realistic sound of gunshots comes to mind... and those are being restored on the DVDs. I think it has less to do with the era, and more to do with the individual looking over your shoulder.

Response recorded on July 31, 2008

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avalon writes...

A spectacular SpiderMan question (one of these days you'll probably need to devote a separate SpiderMan Ask Greg! :))....some of the script and storylines are flat out funny and witty, I love it! Do you come up with these lines in your writing as well or is there a separate staff that does this?

Greg responds...

There isn't a SEPARATE staff. There's just THE staff: myself, Randy Jandt, Kevin Hopps, Matt Wayne and Andrew Robinson on Season One. Nicole Dubuc joined the staff for Season Two. It's a team effort on breaking stories. Dialogue generally comes from the writer credited on the episode with an assist from me.

Response recorded on July 30, 2008

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Simon Elst writes...

M. Weisman,

I'm a student soundengineering (final year) at the IAD (Institut des Arts de Diffusion de Louvain-La-Neuve, Belgium ; http://www.iad-arts.be ). I take the liberty of writing you about my thesis. It had to handle on the role of sound in animationfilm. My ambition is to bring out the importance of sound in animation film, my passion in which I want to invest myself in the future. The fact is that the Gargoyles were my heroes wen I was young (thanks to belgian televisions to made it possible !).

I think Gargoyles would be an excellent example to analyse in detail for my thesis. To do so, I'd like of course your permission, but also, if possible, your help by means of a few questions to answer. Would you ? I can understand that answering all the questions may be heavy, so.. use the way you want ! :)

a) In your opinion, are there (or have there to be) differences in the aesthetic and the realism of the sound when handling on "live" film or animated film. If yes, wich ones, and why? If no, why?

b) What do you think about next three hypothesis :

1) "Reality Effect" : traditional animation film is, by essence, soundless : the elements (components) that forms the film (figures, objects, sets, …) are mostly "silent" and even if they could produce sounds, the fact of shooting image by image makes it impossible to record live. The artificiallity or virtuality of the elements on screen creates a lack of credibility : the audience isn't naturally absorbed in the represented world. In movies in general, sound permits to locate elements "off screen", to create a world of which a great deal isn't seen at the screen. It has to be the same in animation film. But, as the characters are artificial here, there presence and activity doesn't exist for the audience unless by a "sound confirmation".
2) "Sound inspires life into the virtuals worlds of animation film" : in the same way as the animator gives live to his figures, the soundengineer gives them a lively dimension (thanks to the voices, the presences and the interactions of the character with his environment).
3) Most of the animationfilms are shot at 12 frames per second. The result is tolerably well for the audience, but nevertheless less fluid than in a "live" film. Sound is a constant component that permits "to link up the frames", to put a smooth coating upon the frames, and so reduce partly the "jerky appearance" of the 12fps format.

Thanking you in advance for your answer, Simon Elst

Greg responds...

To begin with, you don't need my permission to do a thesis on Gargoyles. But if you want my blessing, I say go for it!

a. I've never done live action, so I'm not the guy to ask about comparisons. I know we want what is real to sound real, and what isn't to sound innovative, spectacular and yet still real.

b.

1. I guess I'd buy that.

2. Sure.

3. We shoot at 24 frames per second, although we shoot on twos quite often, which makes it 12 drawings per second. Though I tend to agree with the general premise nevertheless.

Response recorded on July 29, 2008

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She Who Shall Remain Anonymous writes...

Hi, Greg! I was wondering, which character would you say is the one the audience is supposed to identify with? I would guess Brooklyn, or maybe Elisa.

Greg responds...

I don't really write this series that way. Each episode or issue defines its own parameters.

Response recorded on July 15, 2008

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Nelio writes...

In the background while I am playing on my MMORPG, I tend to have my DVDs going, which of course includes Gargoyles. Tonight I was watching Legion when I noticed the Gargoyles heading to an island north of the Statue of Liberty while chasing Coldstone. Out of curiosity, I decided to check google maps and see which island that was since I didn't think it was named in the show. TO my surprise, Ellis Island is not only in the exact location as in the show, but is incredibly accurate to what was show. I even managed to find the exact location in which Coldstone crash to on the fort there.

Likewise, in other episodes I have noticed an astonishing level of detail in Gargoyles, which I find to be very cool since it is placed in a real world location. To name a few, the Brooklyn Bridge (Reawakening), Belvedere Castle (High Noon), Central Park (various episodes), and so forth in the show. While I was a child, I never noticed just how much detail was there, but now that I am an adult, I can see just how much effort went into it.

My question to you: How much research did you put into these real world locations that appear on the show, and did you check to make sure that the art for the locations were accurate?

PS. Thanks for having a great and dedicated site where we the fans can ask you our questions! I only wished my other favorite shows had similar sites.

Greg responds...

I lived in New York for years. So I did very little locational research myself. Mostly relied on my memory. But our artists (both in L.A. and Tokyo) did TREMENDOUS amounts of research. I never had to check to make sure it was accurate. I trusted those guys and gals. And my trust seemed well-placed, don't you think?

Response recorded on June 07, 2008

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Dichellddrwg writes...

Hi Greg,

Of course I have to be a fanboy and say thank you very much for all your work with both the cartoon, comic and everything else you've devoted to this series. And thank you for how accessible you make yourself your fans. I know how easy it could be to just churn this stuff out and let it speak for itself, especially in light of some of the creepy stuff an obviously small minority have been doing. But you do really do go the extra mile, and for that, I think we're all appreciative.

Anyway, onto the question, and please forgive me if it's been asked. How much control does Disney currently hold on the comic. So to flesh it out a bit, when it was the cartoon, I have no doubt they they were quite involved in setting the boundaries of where the series could go thematically, in terms of character development and in overall tone. For example I'm sure they didn't want you going out too far with violence, character relations or anything else that may run counter to its image. So now that they are licensing their IP, do they require approval of scripts, story arcs, art and the such? Are their broad guidelines? Or is it simply yours to run with and develop as you see fit?

Anyway, thanks for time and effort; it's really appreciated by a lot of us.

Greg responds...

Well, back in the day... we were all "Disney". Full time employees. But I set "the boundaries of where the series would go thematically, in terms of character development and in overall tone."

They approve everything now, but I still set "the boundaries of where the series would go thematically, in terms of character development and in overall tone."

Response recorded on May 28, 2008

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Bill Rodebaugh writes...

Hello Greg,

I'm an animation fan....particular from the days when everything was animated in the US....such as the earlier Hanna-Barbara days or Filmation's cartoons. Has "Gargoyles" and the new animated "Spectacular Spiderman" animated overseas? Do you have direct input into all the stories that go or have gone into these series?

Sincerely,

Bill

Greg responds...

All the writing and voice recording for both shows are/were done in the US. On Spider-Man all of the pre-production and post-production as well. On Gargoyles, most of the pre-production was done in the U.S., but a few episodes were pre-produced at Walt Disney TV Japan, but under the supervision of myself and Frank Paur. All the post for Gargoyles was done in L.A.

The actual animation was/is done overseas. Gargoyles was about 1/3 Japan and 2/3 Korea (with a bit of China thrown in). Spidey is all animated in Korea at one of three studios: HanHo, DongWoo and Moi.

Response recorded on April 17, 2008

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Jess writes...

Hey Greg! I'm still keeping up with Spectacular Spider-Man and "Natural Selection" didn't disappoint. I feel like each episode is slightly stronger than the one before it as everyone gets more in-tune with the material and each other.

I think you found just the right note with the Billy subplot, where it was genuinely emotional and not cloying. I liked the "I took a cab" bit with Eddie at the zoo. Just a fun little jab a typical cartoon logic. I was not expecting Peter to be fired, so that was a cool moment for me as well. Somehow I have a feeling we'll be seeing the serum again.

Nice continuity nods with the ring-tone alarm, the mention of Electro, and especially Peter and Eddie calling each other "Bro", then having Spidey try to cover it up when he does the same.

One thing I noticed was that during Peter's voice-over before he plans on taking the serum is that he mentions "a hard 9PM curfew" where before it had always been 10.

The cast continues to be amazing (or rather spectacular). In particular, Kath Soucie and Lacey Chabert just completely nailed their parts this week.

Since this is "Ask Greg", I do have a quick question: For small parts i.e. the people at the coffee shop in "Interactions", or Thug #1 in this past episode do you have certain people in the cast in mind, or do you just ask whoever's in that day if they want to do it?

Thanks for your time!

Greg responds...

We plan ahead, dealing out our bit parts from among the actors who will be present for the session. SAG rules allow us to ask any actor to do one additional character for free.

Response recorded on April 10, 2008

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senthusan writes...

hi Mr. Greg i wanted to tell you that i enjoyed watching gargoyles. One question is when you ended the show, are you going to continue it from the comics in animated version this year because that would be wonderful for all the fans out there. also i wanted to ask you why did you end the show quick before in the 1996? thank ou very much.

Greg responds...

I didn't personally end it. I was released from Disney and they continued without me. Then they ended it, for a variety of reasons I've gone into ad nauseum in the past. Check the archives.

Response recorded on April 02, 2008

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legion writes...

you said before that you came up with the name Thailog from listening to Goliath's name backwards but wouldn't it be spelled/pronounced htailog instead of thailog?

Greg responds...

No. Sounds don't respect spelling conventions. "TH" is a sound. In any case, it sounded like Thailog.

Response recorded on March 18, 2008

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Jordan writes...

Hey Greg,

I caught the spider-man premire and I have to say it was one of the best saturday mornings I've had in years. Congrats to you and your crew.

In the time between Gargoyles and Spider-man, how would say the overall process of creating an animated show has changed, for better or worse?

Greg responds...

Mostly worse for me at least, because in those days I had the occasional ear of Michael Eisner. He was hard to sell, but if he said yes, we got to MAKE OUR SHOW with no more bologna attached. Nowadays getting a "yes" is nearly impossible as it's always a decision by committee. Heck it took them years to decide to make Spider-Man. I mean... Spider-Man?!! If any show is a no-brainer...

Response recorded on March 14, 2008

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Rebel writes...

Hi Greg, this is something I meant to ask in my earlier comment, but I forgot to. For the comic, how much direction do you give to your artists in coming up with the designs for new canon characters?

I am specifically referring to the two new London Gargoyles at the end of #7. I know you had mentioned before that the London gargs would look like unicorns, lions, or griffins. Did you change your mind recently, or had it always been your plan to make them look like other heraldry animals, and you were just teasing us? Did David Hedgecock talk you out of it? Did the two of you decide together what animals they would resemble, or had you already decided? If you chose beforehand, did you give him specific details about their appearance, or relatively vague details and let him come up with them himself? I would be interested to know any information you can tell me about this. I find the process of creating a character's look to be very interesting.

Also, feel free to volunteer information about the development of the designs of other new characters which have appeared in the comic. Shari, the Tasmanian tiger villain in Bad Guys, Coyote's new look, etc. Whatever comes to mind.

Greg responds...

Here's my description in the script of the two characters, minus a couple of personal details that I don't choose to reveal at this time:

• [New Male Gargoyle] - Biologically age 19. [New Male Gargoyle] is a gargoyle of the London Clan. His head is modeled off a large stag (i.e. male deer) with fairly magnificent silver antlers. He should have feathered white wings. And deer-like hooves for feet, but his hands should look like normal gargoyle hands. He should be tall (and feel even taller thanks to the antlers) and slim in build. Not so slim that he looks fragile, but he's definitely not the bulky type. This is a new character, but for inspiration take a look at UNA at http://lynativerse.artchicks.org/Screencaps/GL_Una.htm.
• [New Female Gargoyle] - Biologically age 19. [New Female Gargoyle] is another gargoyle of the London Clan, this one modeled off a wild boar or sow. She has a pig-snout and tusks. She is brown. Her wings are the more traditional bat-like wings we're familiar with. Normal gargoyle hands, more pig-like feet. She's medium-height, muscled and burly - nothing fragile about [New Female Gargoyle].

As you can see, the basic choices were mine, but I give Dave full credit for bringing them to life.

Here's my descriptions of the other characters you asked about (and some you didn't)...

• COYOTE 5.0 - This is only SORT OF a new character. Basically, there have been four Coyote robots that preceded this one. They all have a lot in common thematically, but they're all different too. And lucky you get to design the new one! To see Coyotes 1-4, check out: http://gargoyles.dracandros.com/Coyote_%28robot%29 or the episodes "Leader of the Pack" (for Coyote 1.0) and "Upgrade" (for Coyote 2.0) both on the Season Two, Volume One DVD. (Coyotes 3.0 & 4.0 aren't out on DVD yet.) Note the basic color scheme and the coyote-head motif. And the fact that all the later robots have a circular VID-SCREEN that displays an image of a robotic head. The head appears to be half-Xanatos and half-robot-skull. This version of the robot will have the large Coyote Diamond inside its chest cavity… with lasers shooting into it. We may want a transparent cover for that, so we can see the Diamond even after the cavity is closed. Or not. In either case, Coyote 5.0 should be BIG.
• SHARI - Arabic female, age 18. A pretty, goth-teen runaway type. She wears a lot of chains, necklaces, pendants, etc. around her neck. [Shari was also visually inspired by a real person, and I provided Dave with a photo as reference.]
• DETECTIVE CEDRIC HARRIS - African-American male.
• DETECTIVE TRI CHUNG - Chinese-Vietnamese male.
• TERRY CHUNG - Asian-American boy, age 12. He's wearing a GOLIATH Halloween costume.
• AMBASSADOR CHUNG - Terry's mother, age 42. She's a short Asian-American woman, wearing a white evening gown and carrying a white, feathered mask on a stick.
• QUINCY HEMINGS - He appears to be about 60. African-American. Gray hair, trim build. He's dressed in a white tuxedo jacket with epaulets and gold buttons. White gloves, a red bow tie, black pants. He has for decades been the "Chief Steward" at the White House, a job loosely based on the job of Chief Usher. See http://www.whitehousehistory.org/06/subs/06_a07.html for info on Chief Ushers.
• TASMANIAN TIGER - (Age 24.) The Tasmanian Tiger is a somewhat clichéd costumed super-villain. His garb is inspired by the extinct Tasmanian Tiger (a.k.a. the Thylacine), and he's flanked by two actual (cloned) THYLACINES (Benjamin & Natasha). (See http://en.wikipedia.org/wiki/Thylacine.) His costume is largely form fitting with black tiger stripes and a cowl with Tiger ears and clawed gauntlets. On his chest is a symbol with two interlocking letter Ts. (Similar to the interlocking Ds on Daredevil's costume: http://en.wikipedia.org/wiki/Image:Daredevil41.jpg.) The Tasmanian Tiger also carries a large blaster weapon.
• BENJAMIN - A male Thylacine, one of Tasmanian Tiger's trained pets. To see how wide a thylacine's jaw can open, check out http://en.wikipedia.org/wiki/Image:Tasmanian_tiger.gif.
• NATASHA - A female Thylacine; the Tiger's other trained pet.

As you can see, sometimes I gave quite a bit of detail, sometime I pretty much left nearly the entire design to Dave or Karine or Nir's imagination. Usually, the artist does a design and sends it to me. We might do a bit of back and forth on it... but honestly, looking at the above list, with the exception of Quincy (who started out looking a bit too old and jowly for my tastes), I feel like the artists hit all of these characters on the first time out.

Response recorded on January 17, 2008

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Antiyonder writes...

With issue six, we finally got to read one of your Untold Tales for Gargoyles. Some others that I've heard about on Ask Greg:

1. You never gave a title, but this was set in New York during The Avalon World Tour. You mentioned that this story had Xanatos taking advantage of Goliath's absence.

2. Hobgoblins Of Little Minds.

3. The Weird Macbeth.

4. Arthur's adventure between Avalon Part Three and Pendragon.

5. The Multitrickster story.

Aside from those five, are there any other stories that you planned for the first two season, but never got to? Not asking for spoilers, just a yes or a no. I'll understand if you don't want to answer though.

Greg responds...

Well, saying I "planned them for the first two seasons" isn't really accurate for ANY of the above, including 3 and 5, which we considered doing in season two. But I have other stories from that era like 1 and 4 that I can/will tell some day. But 2, 3 and 5 haven't happenned yet in the continuity.

Response recorded on October 30, 2007


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