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Subject:controversial scenes
Greg did you ever recieve a lashback from some of the episodes Disney aired during its run ala Eye of the Beholder Fox's brief nude scene, Elisa removing her bottom gown (On this note some perves were ready to see Elisa in her panties, Which thank God you guys place a mini skirt instead also I bet you'll anticipated parent viewers on the The Mirror episode where Goliath falls showing under his loincloth and finally were you taking a risk on the Hunter's Moon episode where Elisa gives Goliath a kiss?
I think the Fox thing was a bit of a risk, though none of the other things you mentioned. (You're exagerating the loincloth bit where we had full wrap-around, so to speak.) But no, there was no "lashback" at all about these scenes or episodes.
The only thing that comes close to what you are describing is the episode "Deadly Force". We had no outcry over it at the time, quite the reverse, we received a lot of praise for it. But later, Toon Disney refused to air it for years because of the realistic depiction of violence (the exact thing we were praised for). I'm told they do air it now though.
Just so that I've gotten this straight - so in the very first outline for "Mark of the Panther", it was were-jaguars rather than were-panthers? I'm glad that that was changed; since jaguars live in South America rather than Africa, it'd be pretty strange seeing one (ordinary or were) showing up in Nigeria.
Yep, and that's why the change was made of course. We got the beast wrong. So we fixed it.
If Gargoyles hadn't (temporarily) ended when it did, would it still be going or would you have run out of material by now? 10 years is a lot of episodes. How many eps per season would there have been anyways? 13, 52, or somewhere in between.
Well, there are SO many "ifs" in your hypothetical question, I don't know how to evalute the specifics. But I am QUITE confident that I would not have run out of material by now. The new comic book can easily go twice that long assuming sales support us.
As for how many episodes per season, that's a financial question, not a creative one. We didn't do 13 in season one and 52 in season two for creative reasons, but for financial ones. Likewise the decision to make 13 in Season 3 (Goliath Chronicles) was again financial. So in the intervening seasons, the answer is zero per season, for what Disney perceived as financial reasons. So how to evaluate financials for a hypothetical non-existent season is impossible.
How exactly did you come to realize that Puck and Owen were the same person?
Was it because you looking at who Puck had served and needed somebody?
I can't believe I haven't answered this before here. But since Todd didn't field this one, I guess I haven't... or at least not here at ASK GREG.
Anyway... No.
We always knew there was something special about Owen, but didn't know what it was at first. Then when we first started working on "The Mirror" and created Puck, it suddenly occured to me that Puck was Owen. An epiphany. I immediately called Brynne Chandler Reaves and Lydia Marano. The conversation went something like this...
Greg: "I just realized: Owen is Puck!"
Brynne & Lydia: "We know!"
It was just so right. The references in "The Mirror" to Puck "serving the human" and in "City of Stone, Part One" to Owen being "the tricky one" were put in post-epiphany.
Hi Greg,
I have been a huge fan of Gargoyles for years. It still remains my favorite TV series of all time. One of the reasons I was so pulled in was the intricate storyline. I love the way we were clued in, little by little, to what happened in the past, real identities, and real motives of the characters. My favorite moment was when Owen was revealed to be Puck. I literally fell off my chair!
I've always wondered how far in advance you would plan out the episodes. It seems like you must have had the entire storyline in your head before you sat down to write a single one. Or were these things thought up as you went? (Maybe one day you just thought, "Wouldn't it be cool if it turned out that Owen was really Puck?"). Did you come up with Demona and MacBeth's entire storyline in the very beginning?
Thanks in advance. I truly hope that I can have the pleasure of enjoying new Gargoyles episodes some day in the future.
Not everything was figured out from day one, no.
For example, while working on "The Mirror" it suddenly occured to me that Owen was Puck. Note the phraising. It wasn't: "Wouldn't it be cool if it turned out that Owen was really Puck?" It was more like: "Oh my God, Owen IS Puck."
I immediately called writer Lydia Marano and Story Editor Brynne Chandler to tell them. They're response: "We KNOW!!"
That's when you know a show is working... when the characters tell you there truths. When it all just feels right.
Much of course, was planned out in advance. I didn't have all the details down, but in "Awakening" we knew that Demona was lying about sleeping for a thousand years. Certainly by "Enter Macbeth", I knew the broad strokes of Macbeth and Demona's relationship.
We did have a plan.
I still do for that matter.
Hi, Greg!
I was wondering if there were any plans to release the Mighty Ducks series (which you worked on), the Aladdin series (which you worked on), or the Tail Spin series (which you worked on) onto DVD. What's the latest word at Disney about that?
I have no idea about the if or whens of these series being released on DVD. Keep in mind, I don't actually work at Disney anymore. Haven't since 1996.
For the record, none of these three series were shows I had that much to do with.
I led the original development team on Mighty Ducks, but then I moved over to do Gargoyles, and I had nothing to do with the production of the series and its simultaneous redevelopment.
On TaleSpin, I was a junior creative exec giving notes on stories, trying to be helpful. I also did the voice of one of the Pandas of Panda-La: "Father, the rockets aren't working!"
On Aladdin, I was involved with the development of the series, particularly with "The Return of Jafar". I had little to do with the production on this one either. (Although a bit more than Mighty Ducks.)
First of all, I just want to say that Gargoyles is the BEST cartoon series ever made! You and your working crew did an amazing job at bringing it to life.
So, yeah. My question:
Why doesn't Elisa ever change her clothes? I know she changes clothes and her closet is probably filled with a lot of black T-shirts and a lot of blue jeans, but she would have looked great in the outfits from the comics. Or at least something similar.
But nonetheless, I LOVE the show and I am crossing my fingers for more episodes!
I also can't wait for the DVD to come out! I am SOO buying it! Thanx for your time. >^-^<
Well, she did change her clothes occasionally. La Belle Elisa dress that she wore on Halloween and "Eye of the Beholder". The tough girl outfits she put together for "Protection" and "Turf". The clothes she wore briefly in episodes like "Hunter's Moon, Part One" and "Eye of the Storm". The dress she wore in "The Journey". There may be a couple of more examples that I can't think of at the moment.
The short REALITY answer is that redesigning new clothes for her every episode would have been prohibitively expensive and cause multiple animation errors overseas. So we limited her wardrobe changes to situations where story called for it.
Think of her standard outfit as a dramatic conceit.
Within the show, I just think that's a look she's comfortable with. I pretty much where the same outfit everyday myself. Tennis shoes, jeans and a t-shirt. Of course I don't wear the same t-shirt everyday. I have black t-shirts, white t-shirts, red t-shirts. And most of them have some kind of decal or design on them. But...
Anyway, the plan for the comic book is to start giving her a wider variety of costumes. But we still love that red jacket, blue jeans and black t-shirt. So that won't go away.
Greg,
You have said that you thought of the Timedancer spinoff too late in the game to consider producing it, which brought this to my mind.
I'm trying to get a feel for how much of the Gargoyles storyline you already had thought out when you began producing the show vs. how much was you came up with as the series progressed.
When you producing the first episodes, did you have a lot of the specific details of the storyline, villains, or episodes already prepared in your mind (i.e. the World Tour, the existence of the Third Race, Angela choosing Broadway, Elisa and Goliath becoming romantically close, Demona's 1000 year history, etc.)?
Or was it more like you had some vague ideas for villains, and some general episode premises, but left the door open for creativity down the road?
Or did you just have a general idea of a groups of protagonist gargoyles who wake up 1000 years later in Manhattan, fight bad guys, and alter to the new world?
I'm just trying to get a feel for how much was thought out from the beginning and how much was created as the story developed. Thanks for your time.
Peace
Really, I'm not trying to dodge the question, but the answer is "ALL OF THE ABOVE."
There were certain things I had a clear vision of in my head from day one. Other things came to us as we went, but we still had planned out way in advance of when we sat down to write the specific episodes. And still, we left ourselves open to new ideas and serendipity, etc.
About the episode, "Deadly Force"...if I remember correctly, there was actually two verisons to it. The first time I saw the episode, it was a lot more intense with surprising amount of blood. But the next time I saw it again I was startled to see the subtle but noticeable changes in it....the blood are mostly removed, some animation (like Goliath's eyes...he blinked once in the first verison, but not the second verison) and even the positions Goliath and Brooklyn took up guarding outside Elisa's hospital room were changed (in the first verison, they took on more menacing poses as they turned into stone, but in second verison they merely crouched looking dull and unexciting.)
Sooooo....I'm really curious, what prompted the sudden changes, and why? I've been wondering about it ever since. (Personally, I thought the first verison was the best I ever seen.)
Thanks for your taking time to read this...
The blood was not "mostly removed"... but the puddle of blood was changed after the first airing so that it didn't look (incorrectly) as if Elisa had bled out in the first few seconds after being shot.
There were, as you noted, other retakes (corrections) which were not ready in time for the first airing, but which were inserted before the second airing. Note: THIS is not the stuff of censorship AT ALL. This was the producers (Frank and myself) correcting errors. And stuff like this happened in nearly every episode, not just "Deadly Force".
Hello, I'm a long time fan of the show, 'Gargoyles', and have a few questions.
What inspired 'Gargoyles' in the first place?
How did you get such a unusual idea for a tv series noticed by producers?
Were any of the characters replacements for original concepts you may have had early on?
Do you remember any ideas that didn't soar? (no pun)
And what other tv shows have you taken part in?
Sorry to ask so many questions, but I'm curious.
1. Actual Gargoyles. Also Hill Street Blues. Gummi Bears. Etc. Check out the Archives here at ASK GREG.
2. You've got it backwards. I was an executive at the time. I hire the producers. This time I hired myself. As for how I sold the idea, that took some effort, three pitches, two years and a lot of help from my development team, my colleagues and my bosses, Bruce Cranston, Gary Krisel and Jeffrey Katzenberg. Michael Eisner finally approved us to series.
3. I'm not sure what you mean. As many fans know, the show was originally pitched as a comedy, and every major character except Goliath and Angela (and maybe Bronx), had an antecedent in the comedy development. Demona was Dakota. Xanatos was Xavier. Brooklyn was Amp. Broadway was Coco. Lexington was Lassie. Owen was Mr. Owen. Hudson was Ralph, etc. In later pitches, we did add addtional characters that went through a few changes before they actually hit the screen. Catscan became Talon. C.Y.O.T.E. (or some such acronym) became Coyote, etc. The New Olympians were added in from their own development. And so on...
4. Yes.
5. Lots. Some much more than others, but an incomplete off-the-top-of-my-head list would include: Gummi Bears, Winnie the Pooh, DuckTales the Movie, DuckTales, Talespin, Rescue Rangers, Marsupilami, Bonkers, Goof Troop, Raw Toonage, Aladdin, Little Mermaid, Return of Jafar, A Goofy Movie, Bionicle Mask of Light, Atlantis: Milo's Return, Men in Black, The Batman, Hercules, Buzz Lightyear, Max Steel, Gargoyles, Alien Racers, W.I.T.C.H., Invasion America, A.T.O.M., Mighty Ducks, Kim Possible, Quack Pack, Goliath Chronicles, Roughnecks: Starship Troopers, 3X3 Eyes, Ikkei Tossen, Jem and the Holograms, etc.
I'm not too sure how much of a hand you had in scripting, but is there one line from the entire series that stands out in your mind as THE WORST? If you could rephrase/reword/delete one line, what would it be?
(I know mine: Eye of the Beholder - "Hey dude! Be cool!" -Guy in the Werewolf costume. <shudder>)
I don't mind that line at all. It serves its purpose.
There are a few lines that make me cringe a bit when I hear them again. Some of which, I'm sure I was responsible for. But there isn't one that specifically drives me nuts that comes to mind now.
I would like an answer but am not certain if this falls under an Ask Greg-approved category. So I will Ask Greg and see what comes of it:): Knowing what you know about Disney and those currently manning the biz, what would be the likelihood of an earlier show, say 15 years old, being given a chance at the big screen, given a stellar script. And character concepts provided as well. Waste of time? They'd likely rip me off? Or proceed with caution? You can be as vague or tight-lipped as you like in replying, if you choose to do so. Dunno how you'd feel about THIS type of question:) Thanks, both of you.
I'm not sure I'm clear. You want to write a spec script based on a Disney Property and your worried that THEY'd rip you off?
Odds are against anything, ANYTHING, ever getting made. Always. Personally, I wouldn't spend too much time working up spec stuff that you don't own. But in any case, I've learned you can't proceed in this business at all if you're paranoid about getting ripped off. It's not that it can't happen, but it's just as likely that someone will independently come up with a similar idea and then where would you be?
HOW (or better) WHY in "BUSHIDO" the japaneses Gargoyles speak in ENGLISH?????They should speak in JAPANESE, NOT ENGLISH!!!!! And the HUMANS TOO!!! A BIG MISTAKE, HOW DO YOU EXPLAIN THIS?????
Anyone who read what i write and wanna speak with me , well, here is my email: cazedamtv@ig.com.br
When we started the World Tour, I raised the point with Frank Paur that in some of the episodes we might want to do a bit with subtitles and foreign languages. The notion was rejected.
LATER -- after we recorded "Bushido", Frank came to me, having changed his mind. He wanted the Japanese (gargoyles and humans) to be bilingual. So that we'd open the episode with them talking in Japanese, until they meet the English speaking Gargoyles, at which point they'd switch to English out of politeness.
But the problem was we had already recorded Bushido, and so we needed authorization to pay for a re-recording. Our bosses wouldn't spring for the cash, basically. I thought it was too bad, but I can't say that I blame them. We had spent our money already. It's not like they cheaped out on us. They just refused to overspend because I hadn't pushed for something in the beginning and/or because Frank changed his mind too late.
hi Greg,
i was wondering, from your experience, how do the higher ups at Disney view the Gargoyles property? do they see it as something they could use someday or something they just want to sit on? do they feel it was a series that stood above most of their other animated series' or do they believe its just another old cartoon they made in the 90's?
similiarly, how do they view the fans of Gargoyles? do they even know we exist in the numbers we do? do they care about what we want for Gargoyles? do you think they even bother listening?
i don't know if you'll be able to answer these questions since i doubt you have the honest opinions of Disney higher ups, but i was curious.
thanks Greg.
Corporations "listen" with dollars.
I think, clearly, the fandom spoke to them with the DVD sales. And now we're getting another DVD and... hopefully... the comic book too.
But a caution: the First Season DVD sales weren't SO great that putting the 2nd Season on DVD was a slam dunk. We did well enough, but it was clearly still a decision that they needed to make.
So if sales on the next DVD fall off at all, don't expect a third one completing Season 2.
Otherwise, Matt, you're just overthinking it. Gargoyles is old news at Disney. Most of the execs there now, weren't there when Gargoyles was originally on. If they see profit potential, they might go for it. If not, they won't.
Were you or the other creators and writers of the series of frustrated with what I term "cartoon cliches"? For example knock-out gas, lasers or having to replace profanity with the word jalapenia.
A specific example: the beginning of deadly force. Does the mafia in all animated shows have stock in chloroform or something? If the Supranos or police reports have taught us anything it's that organized crime tends to be accomplished with a lot of people being shot.
There are others things certainly, so i ask simply, do tell us what you found frustrating, stupid or just plain wrong in creating stories for Gargoyles, the constraints and cliches you hated.
I didn't hate much, frankly. At least we got to use real guns within reason. Today, not even a cop can pull a real gun. You'd never see a "Deadly Force" on broadcast today.
I don't mind being either more creative or slightly more fanciful in a world and in a universe where that is appropriate. I'll reserve my "hate" for more serious concerns.'
Do I wish sometimes we could swear? Maybe. Occasionally. But not often. And I LIKED "Jalapeña" even if my art staff hated it.
Sorry if that's not strident enough for you.
I'm not sure if you're the one to ask about this, but they've yet to make an "Ask Jamie" segment, so here goes:
It's a pretty frivolous question, anyway.
The Hound of Ulster was one of the better World Tour tales, if you ask me, but I found the character design and direction of the Banshee was superb, both in terms of looking like the Banshee of myth and just as a cool design in and of itself.
My question is: How much of that is Sheena Easton? I know she's a singer, but, wow! That was crazy! Was it enhanced at all, or was that all her? If it was, I'm very impressed.
Even if it's not, I'm still moderately impressed :)
A lot of it was Sheena, but credit should be stretched around. To voice director Jamie Thomason too. But mostly to the wonderful people at Advantage Audio, our post-production sound house.
Marc Perlman and Paca Thomas combined to create sound and music effects to play alongside Sheena's voice. And then Advantage did a great job mixing that voice. (I'm afraid I can't remember who specifically did the mix but choose two from the following list: Jim, Bill, Ray and Melissa.) It was stunning stuff -- I remember thinking that at the time. Should have won a Golden Reel in my opinion.
Recently I rewatched my tape of one of my favorite World Tour episodes, "Grief". While there are so many things I enjoy in that episode, the thing that never fails to blow me away is when Jackal becomes the avatar for Anubis. Oh, the merging of the Packster and the Death God's voice is just... W-O-W, wow! I absolutely love Tony Jay's voice, it's so powerful and majestic with just the right amount of creepiness, great as Anubis just perfect for any role of quiet menance and dignified sophistication. The technique of mingling the two speakers was brilliant-- it was so powerful, and expertly done. Just wanted to tell you I loved it!
Thanks! I will take credit for the IDEA of merging the two voices. But of course credit for the execution of that idea goes to actors Tony Jay & Matt Frewer (and later Tony and Tony Shaloub) under the direction of Jamie Thomason. Plus the excellent soundwork of the gangs at the now defunct Screen Music Studios and at Advantage Audio.
I noticed that in one episode a writer named Steve Perry is listed. One line makes me think this is the same man who wrote the "Matador" series of books back in the late 80's and early 90's: Hyena finds out that coyote is a robot and responds "Even better" with just a hint of sexual tension.
Is this Steve Perry the same one who wrote "Shadows of the Empire" for George Lucas, or am I seeing something that isn't there?
I honestly don't know. Steve was hired by Michael Reaves. I've talked to him on the phone a couple of times, but I don't know him or his resumee very well.
I have a language question. The gargoyles (Manhattan Clan)come from medevil Scotland, right? Well, English 1000 years ago wasn't the same as it is now. It actually bears little resemblence to old English, so how could the gargoyles understand our English (Modern English) when they woke up in NY in 1994?
When you really think about it they should be speaking Scottish since they're from a time when people in Scotland spoke Scottish, not English.
So either way you look at it there should have been a lot of communication problems at first. (I can accept we can understand everyone in Scotland 994 since you'd have to use subtitles otherwise. Thanks :)
You are essentially correct, although I'd use the term Gaelic, I think, rather than Scottish.
The "behind the scenes" answer, as I've mentioned before, was that we chose Scotland in part because it's a place where people CURRENTLY speak English, so we felt we could skate past the language question without too much of a problem.
The "in universe" answer, which I've also mentioned before, came, I believe, from Michael Reaves, who suggested that a spell was cast (perhaps by Demona before Goliath & Company were brought to the top of the Eyrie Building) to bring the Gargoyles up to speed language-wise without any of them realizing that they'd been effected.
Hi.
I was just taking a look at your last ramble. I never noticed this liberty your background artists had taken which you alluded to. Their inclusion of all of these portraits of Elisa in MacBeth's home. I was wondering if that kind of material (outside where you probably would have intended to take the series) would have emerged as it's own story if it had the chance?
What I mean is, when creative contributors outside the writing team took liberties like that, or even if some kind of happy accident developed, did you ever try to develop them into their own story? I, personally, would have been interested in learning why Mr. MacBeth had those portraits adorning his home.
Often, story ideas came from sources other than me or my writing team. Sometimes happy accidents definitely contributed.
I don't know whether I would have addressed those portraits because I find them utterly mystifying. I don't know what the bg painters were thinking. The only thought that comes to mind is that Macbeth is obsessed with Elisa -- and he's just not. So sometimes I ignore what I can only categorize as mistakes.
Still if a great idea occured to me, I certainly wouldn't be above using it...
I was reading some of your answers and was reminded about how Broadway was originally female. I am an overweight female, and the thought that a overweight female gargoyle wouldn't have bothered me in particular. I think it is all in the way the character is. Broadway knows he is big, and his self esteem is pretty good, considering the jabs his rookery brothers make. He is smarter then he looks too. Naive, but so were the rest of the clan, it's a learning process. New time, new people, new culture, new ideas. I love Broadway, think he is a great character, but I hope one day they can come out with an overweight, young, smart female. Most overweight females are all the Miss Potts type. Mother hens, grandmothers, etc. I like the way Broadway is and acts, and I wouldn't want that to change, but I still want to see a similar female character one day, human, gargoyles, whatever. I know a some people blow things out of proportion when a female actress puts on a fat suit, like Courtney Cox in Friends. If your going to make the character humourous, it should be tasteful, not hurtful. Someone for people to look up to, not a joke, most characters should be. Look what they do to mentally retard people, Adam Sandler still does it, and it's still funny to a large amount of the public. (Not me.) Maybe it's just me about the whole thing, I am overweight, but I am secure in my look. I think the ones who bash the overweight characters are the people are unsecure with themselves. But there's my ramble. What do you think?
I basically agree with everything you've written here. And, as I think I've admitted before, I'll blame our original decision (to change Coco into Broadway) on a combination of cowardice and commercial interests. We were doing a show that was designed to appeal to a wide audience on many levels. But fundamentally (i.e. economically), we still needed to hit our main target audience of Boys 6-11. We felt -- and I'm not defending our decision, just revealing it -- that that particular audience could enjoy and appreciate a tough male warrior garg that was (at least at the beginning) both overweight and fairly obsessed with food. We felt that the same character as a female would come across as (a) less interesting to that target audience and (b) likely to bring negative attention to the series.
The conventional wisdom, for example, at toy companies is that female action figures don't sell as well as male action figures. Kenner would not have been interested in Coco -- as they were not interested in Angela. But they were interested in Broadway.
Another conventional wisdom is that no good deed goes unpunished. We felt that if our one heroic female was overweight, we would not be praised for it, but attacked -- perhaps even called misogynistic, which I hope no one thinks our series is.
We justified all this creatively with the notion that the Gargs situation was more tragic when the only female left alive was the enemy Demona. But adding a female gargoyle to the cast was a huge priority for me for Season Two. Granted, Angela is quite svelte, but that made sense given who her biological parents were.
My hope, over time, was to introduce the audience to a whole bunch of individual gargoyles and gargoyle beasts -- in both genders and of all shapes and sizes.
hello, I want to say that if there is any way that any one cares,that I'm one of the third race(lol) and yes my real name is Forliya. how did you come up with the show GARGOYLES in the first place???????
viva Gargoyles!!!!!!!!
A team of us worked together to bring it to life.
Personally, I've always been fascinated by Gargoyles. For more info, check the Archives for this site.
Greg, what age group was gargoyles ment for and what age group did it attract?
It's primary target was Boys 6-11. But the show was created and designed to reach a MUCH larger audience than that. For financing purposes we had to hit our target. (And we did, though not as well as Power Rangers.) But we also sought out and reached an audience that included both males & females and everyone from age six to sixty, as far as I can tell.
'Kingdom' ramble:
It's funny how you mention Xanatos finding out that Goliath is missing, then not hatching any kind of a plot as a result, because you honestly couldn't think of something. I strained my brain to try and figure out how X might possibly use such knowledge to his advantage, and came up dry, so when nothing happened, I kind of expected it. In fact, felt validated by it. In my head, knowing that Goliath was missing let him put two and two together in episodes like "Cloud Fathers."
X's new security system DID suck, but it's cool to know why it was installed (as a result of "Double Jeopardy"). Those cannons were out of control. I think the sequence would have worked, thanks to the atmosphere and X's cool lines, if the cannons just would have aimed AWAY from the castle. The redundancy didn't bother me. Sure, Mac's place has these spiffy blaster cannons too, but HE'S not Xanatos.
Where did those Cyberbiotics rifles come from? Why did Cyberbiotics abandon them? Okay, so they pulled out fast, but jeez, talk about corporate neglect, leaving an arsenal of deadly weaponry in a subway. So much for Renard's integrity. (I'm trying to bait you here.)
Oh, the climax with Maggie and the key card? One of my favorites. The build-up is perfect and Carl Johnson composes it well.
Carl is great, but much credit should go to Marc Perlman, our music editor. We couldn't afford to have Carl score every episode. So Marc had to edit Carl's music to fit any situation. Though they were rarely in the same room together, the two made an amazing team.
How you doing, Greg?
Okay, let's take a look at a hypothetical (this is my disclaimer in case you want to just stop reading now). If things had gone differently, and the show had never moved to ABC, meaning you never left, and Disney offered you 13 more episodes, but made it clear that these 13 would be the LAST 13 the show would get... how would you have approached them? Lord knows you had enough material to make another 13 just in picking up loose threads, let alone new ones such as The Quarrymen. Do you think you would have turned the whole third season into a good-bye like with "The Journey"? Would you have been more optimistic than that and ended it just like seasons one or two? Or would you have tried to wrap it up, like The Goliath Chronicles boys did with "Angels in the Night"?
I don't think life COMES TO AN END. So I would not have attempted a full-on closure tone, as "Angels" did.
I would have, most likely, done the best 13 stories in my arsenal at that time. In continuity, as before, but 13 stand-alone episodes that were the best I could come up with, starting with "The Journey" and ending with an episode (like "Reawakening", "Hunter's Moon, Part Three" and "The Journey") that contained a sense of open-ended closure. A sense that even though we're going away for a time and some amount of loose ends (though surely not all) have been tied up in bows, that life goes on.
In between Journey and that Open-Ended Closure Episode, I would have done 11 other stories that picked up on the loose ends that were screaming the loudest to be addressed. One of which, certainly would have been the Illuminati. One would have been Brooklyn. One would have been the Weird Sisters. &tc.
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