Greg responds...

Multiverses are so much fun, but like unrestricted time-travel they are subject to massive abuse.

The short answer is, I haven't decided definitively, but I'm leaning toward a "NO".

I'd never want to, for example, cheapen the Magus' death by introducing the Magus from another dimension. And isn't our Demona quite enough fun, so that we have no need to meet the so-called Good Demona from a parallel world.

Of course, I suppose it could help explain GOLIATH CHRONICLES. Hmmmm....

Greg responds...

No. It was the pure evolution of the characters of the Trio. I saw very clearly that they were going their separate ways. Writing "The Journey" cemented the idea in my head. I believe that Brooklyn, Lex and Broadway would never find better brothers, better friends than each other, but I also saw that the days when they acted as one were gone.

I wanted to visualize this. The initial Phoenix Gate story (the one that somehow melted into "Runaways" in TGC) came first. The idea of him coming back older, mated and with kids and a beast, was a great shocking ending. But I felt it would really demonstrate what I had in my head.

The spin-off idea was of course obvious after that. I mean he was gone for forty years. What was he doing all that time? But, as you noted, by the time I came up with that, it was too late. Disney had already made me feel unwelcome.

Hybris, on my part, played a big role as well.

Hindsight, whatchagonna do?

Greg responds...

You're just way ahead of me. I had the robot plotted through 6.0. I hadn't plotted him out farther, though I probably would have brought him back in some form in G2158. I hadn't thought about what I would name him at that point. Maybe COYOTE-2158?

By the way, though I wish I had used the Bible's spelling, the fact is I didn't, so it's COYOTE, not CY.O.T.I.

Greg responds...

Arrgghh...

Now, I'm nervous....

I answered this last time I visited ASK GREG. Man, I hope we don't have another technical problem. Hopefully, human error was involved...

Anyway, Phoenix, after we finished the writing on the second season of Gargoyles, Gary Sperling and I began working on some potential spin-off shows for the series.

One of these was set in the future, the year 2158 to be specific. Originally, we called it "GARGOYLES: FUTURE TENSE". But I later changed the name to "GARGOYLES 2158".

The series featured Goliath's grandson SAMSON, a largely-reformed DEMONA and a Time-Dancing BROOKLYN, among others.

CBS was interested in airing it, but before we could put a pitch together, the whole CBS Saturday Morning dept. was fired. And shortly thereafter Disney bought ABC, rendering any deal with CBS all but impossible. At about the same time there was a major regime change at Disney TV Animation as well. The new regime wasn't too interested in Gargoyles at all, at least not in making it a priority. ABC asked for a new version of the show. But no one wanted 2158.

Oh, well.

Greg responds...

Uh, it depends what you mean.

I came up with the original concept for the Pack. At least I think I did. At any rate, I led the development team that did. I definitely had Fox pegged as female. Her birth name came later. "Renard" was used in "Outfoxed" as both a clue to the clever viewer that Halcyon and Fox were related and a clue to the clever viewer as to where Fox got her name. I know it sounds like I'm always taking credit, but I think that was my idea as well. (But it might have been Cary Bates. I just vaguely remember that Cary named the character Something Halcyon. And I made Halcyon the first name and made the last name Renard. Frank Paur came up with the character of Halcyon Renard in the first place, though I think Cary and I figured out that he was Fox's dad.)

Greg responds...

1. The writers and story editors worked for me directly.

The actors worked for our Voice Director Jamie Thomason, but I sat right next to Jamie at every recording, so I knew them very well.

The pre-production artists worked under Frank Paur, Dennis Woodyard and Bob Kline, and I largely dealt with those three Director/Producers as opposed to having direct contact with the artists. BUT -- there were tons of exceptions and I got to know many of the storyboard artists fairly well. Plus I had brought our (2nd season) lead character designer Greg Guler onto the show in its development phase. So I worked fairly closely with him.

I also had one on one meetings with our timing directors.

As for the actual overseas production artists. People like Roy, I had no real contact with them. Mostly I left that to Frank, though I occasionally communicated with the head of Walt Disney Japan via FAX.

In post, I worked directly with everyone. Editors, Sound folk, music, etc.

2. There isn't one answer to this. I had a tremendous amount of authority on the first two seasons, but I did have people I answered to. Largely, they gave me pretty free reign. Frank had equal authority. We generally agreed or at least could reach a solution together. Occasionally, whether we agreed on something or not, a decision would go up the ladder.

Greg responds...

Yeah. Two reasons.

I felt that Dracon didn't look distinctive enough in his first appearance, so Frank and I discussed it and decided that Goliath scared him so badly it turned part of his hair white. We even considered doing the same thing to Glasses. The idea appealed to me on some level, but it just seemed to artificial. And in some ways Glasses already looked more distinctive. (I always loved Glasses.)

Greg responds...

1. Behind the scenes, we wanted Lex and Broadway to resemble Thom Adcox & Bill Faggerbakke as much as possible.
Within the universe, though some gargs are bald, few human teens are. So it made sense to add hair.

Plus, I've never said that Lex and/or BW ARE bald. Maybe they shave...

2. Lex isn't a different species. He's also not fully grown yet, so he will get bigger. Though he'll never be as big as Brook or BW. Some guys are just short. Like me.

3 &tc. Thanks.