Hello my frist qustion here writes...

hello Greg ,I was doing some research for my finals
and I had to look son zoidack symbols. so any way I notice that the star sings
have a color that is appealing to those borne under that specific sign.
anyway here is my question do you think the people borne under the sign of Scorqpio (fond of dark colors. dark reds ,blacks .ect )
would be more tempted to favor brooklyn, as a character, and or fiend him Physically attractive.
(hope I did not sound to perverted)

thank you for tacking the time to read this

Greg Bishansky writes...

Just a silly little question. Obviously, Thailog makes his residence in the Nightstone building. So far we've seen a throne room, and we've seen a jacuzzi. Thailog is quite the hedonist, isn't he? Doesn't surprise me, he always came off as one to me. My question is, are these new? New as in, since "Hunters Moon"? Or were they there when Demona was running the place, if so, did she make use of them? The throne doesn't seem her style, she's never come across as all that much of a hedonist to me.

zuher writes...

greg i dont know iff u will read this ortake it seriously ur great and im not just sayin that i have all the episodes where did you get the inspirtion for this samrt idea?

Vicky82 writes...

Greetings from England

Got Gargoyles 7 from Midtowncomics.com (2 copies) on Wednesday and I love it,

*********************SPOILERS******************************

Wow can't beleive it Maggie's pregnant, I'm guessing that Maggie due sometime in July 1997 but i got a feeling this aint going to be a easy pregnancy

Goliath chooses Brooklyn, Broadway, Angela and Lex to go to England with Macbeth but Brooklyn chooses to stay behind I guess to avoid Angela and Broadway but after Angela whisper something to Broadway (I love to know what she said) they stay behind too which Brooklyn doesn't seem happy about it.

I hope Brooklyn gets over Angela Choosing Broadway because I got this feeling he could get himself into trouble by doing something stupid before he goes on his Timedancing Journey.

Anyway Hudson goes with Lexington to Englan to help Macbeth

Elisa and Goliath kiss again (squeals)

As I live not far from London (30 miles north of London)It's great to see the Gargoyles in England

which Airport did you use was it Gatwick or Heathrow as they are the 2 main Airports just outside London, I wonder if Hudson and Lex are going to glide up the M1 next (thats one of our main Motorways)

Funny that I live in England but don't really know that much about the Stone of Destiny or the transporting it from London to Scotland in 1996 (14 years old at the time)

Interesting story about Gathelus and Scota that Shari is telling Thailog.

I like the 2 new Gargoyles.

Can't wait till issue 8 but first Bad Guys 2

Ed Reynolds writes...

GARGOYLES #7

Amazing issue.

I love how jam-packed each of these comics are. Some comics you've got all there is to get first read-through; this gets better and better with each successive reading. The non-linear structure flummoxed me first off, but now I'm completely in love. It's got a rhythm completely of its own. (Piecing together the Ask Greg clues to work out where the missing parts of the story are made it doubly fun so thanks for that 'Easter Egg'!). I'm really curious about the inspiration for this. Obviously in literature there are plenty of books which disassemble time but usually to mirror consciousness. 'Memento' is the only film I can recall which is this fragmented, but again there's a strict order. (Sometime, not while the story's still running necessarily, but eventually, I'd be interested to read about the thought processes behind this structure.)

Here, we're really dotting around but it gives the impression of a patchwork of themes: sibling rivalries (Jacob/Esau, Brooklyn/Broadway, Othello/Iago) particularly stand out. Perhaps also lineage -- never has the interconnectedness of man been so apparent than seeing the links from Egypt to Portugal to Ireland; and in modern times, we have the Maza family expanding into new boundaries, with Elisa & Goliath and Talon & Maggie's child. And of course, we have all these dark mirrors to our leads: Xanatos and Coyote, the ColdTrio and the Angela triangle, Lex/Brentwood, and as has been mentioned, Thailog/Shari who look very Goliath/Elisa in some panels.

I love the scene of Thailog & Shari playing chess though -- more Fox & David. I wonder if the bathtub scene is meant to suggest how Sevarius would like to spend his nights. Shari is by far my favourite new character so far. She's utterly fascinating. And while we have no evidence there's anything between them, they certainly seem pretty intimate. And whatever their relationship is, it fits that while Goliath & Elisa's life is based on protecting and serving, Thailog & Shari's seems to be about knowledge and power.

Although this is another story on a huge scale, I'm really glad the clan is proactive at the centre this time. I love, adore, the big, eclectic 'Gargoyles' cast, but more than that, I love our core guys. And Macbeth. Broadway and Angela seemed kind of mean to Brooklyn -- I hope this is in aid of them intervening to resolve their issues. Lex and Hudson taking centre stage fills me with joy.

(Oddly, I was in central London in November 1996. My brother was in Great Ormond Street getting his cochlear implant and it was around this time that we'd recently discovered 'Gargoyles'. I know he watched 'A Lighthouse in the Sea of Time' on television with his ward; and also I remember looking for 'Gargoyles' figurines in a London toy shop and coming out with a Lexington one for his Christmas. It's one of my most vivid memories, but it gives me a real kick to think that the 'real' Macbeth and Lexington would have been running around about the same time only a few miles away.)

The cover -- bit of a quiet one. I don't mind covers that don't reflect the inside too well (#1 and #3 are probably my favourites to date and have no real relevance to the interior), but this one attempts to find a hook from inside and comes up with something pretty mild. I still love Greg Guler's covers though. Will be very interested to see David Hedgecock on #8 but I hope Greg sticks around.

The art -- Really gorgeous. David Hedgecock has received some flak for his model work, but I have to say... I grew up on lisenced books. Spidey and X-Men were all too convoluted to get into, but Turtles, Sonic, Bucky O'Hare -- this stuff I knew where I was. And I know being 'off-model' is considered a pretty heinous crime by people who read these kinds of books. But my favourite artists, and often the most popular artists, were never the most on-model. Often the artists who tacked closest to the models produced characters who looked just a little plastic, a little too perfect, a little dead behind the eyes. David's model work is decent given the scores of characters he has to master each issue, but more than that, we really get a sense of the characters' intelligence and purpose, of momentum and fluidity. It's good, compelling art and I'm so glad he's having a good run at it. (My only hope is that if it is necessary to switch artists for a future issue that we can have the same person working on a sequence of stories -- this was what felt a little jarring about #3-5, though it was for entirely understandable reasons).

The colours -- Rich, atmospheric, true to the original, but really dramatic and bold as well. I particularly appreciate London on the last page looking like the late 20th century and not the late 19th -- alive with light. Often I'll see American presentations of London -- including in 'M.I.A.' where admittedly there was probably pressure to reuse the same backdrops for the 1940s and 1990s sections -- where it feels somehow dated. And of course, parts of it are historic. But growing up in London, all this seemed normal to me and so presentations which really honed in on the ancient aspects always startled me a bit. The Shari/Thailog colours are especially splendid. (Although -- being ultra-pernickety -- stars can't turn up in front of the shadowy portion on a crescent moon!).

I'm thrilled King Arthur is turning up, the London clan look amazing, and the details about the history of the stone and the naming of Portugal really stand out for me. I'm completely psyched to see where this goes next.

Big thanks to Greg, David, Robby, Greg G and the guys at SLG!

Ed Reynolds writes...

Hiya Greg. The comics take a while to reach me and I don't always manage to get the reviews in before the queue closes, but the comic's really going from strength to strength. Anyway, my BG #1 review...

BAD GUYS #1

'Bad Guys' doesn't instantly grab me. I love the universe and I trust the creators, but I don't yet feel close to the characters. I care about Hudson and Demona and Macbeth because we've been through so much with them, and with these guys we've known them for a long time but relatively shallowly. I'm really excited for the comic to peel back the layers on the characters in the same way the original series has done with the 'Gargoyles' leads. Glad to see Dingo used as a starting point for this reason; he's already the most familiar, and the most intriguing (though my favourite is Fang!). The Harry Monmouth tease is lovely. I got into 'Gargoyles' first off because of the 'A Midsummer Night's Dream' characters so I can't wait to see this angle developed.

I'd be lying if I said it didn't take a while to adjust to the lack of colour. Nothing against B&W as a form, I'm all for it; but colour, to me, is in the DNA of this universe. But the art's really great. The beautiful Sydney panorama, the exquisite fight scenes and the lovely stuff of Dingo in flight. Oh, love the logo too. The paper actually feels a bit more solid than the parent title, if less glossy. There seems to be an errant red dot in the middle of the cover but perhaps that's just my copy.

So the story. I love the structure here. The opening section reminded me of 'Awakening', although it's a standard thing with television pilots (and a few comic #1s) to start in the middle and flash back. Often, I don't like the effect. Occasionally it works really well, but sometimes it feels like an in-story trailer. But that final panel of the flash-forward -- "redemption" metaphorically and literally dead in the water -- is fantastic. Same with the "redemption taking off" image at the end. And then there's the music. Threw me at first, but it actually gives the thing a real linking thread and a sense of pace. I've found a clip of part of it on youtube but by now I prefer to run my own music to it in my head -- truth be told I always like to score things I read (and write) in my head anyway as I go. The explosion panel is particularly powerful contrasting with the music. It's an interesting experiment. Not sure it would work too often, but I think it sets the tone quite effectively. And I just like innovation with the narrative.

There are plenty of great moments as always. The helicopter gag was the funniest; Matrix's spine-insertation the creepiest.

One thing nags me though. The masked supervillain -- concept and execution. Concept-wise, it interests me how this guy was in a position to do something like this, and I love the idea of Dingo living this weird idealised hero v villain world. But in a period fast developing DNA testing and biometrics and CCTV, would anyone really go blowing up downtown Sydney and then walking around in a highly recognisable suit? In the Marvel universe, I wouldn't blink twice, but in 'Gargoyles' it seems startling. Not what I'd have expected.

One of the things I often have trouble tracking with the universe is what the perception of the man on the street is to everything that goes on in the stories. Yeah, the Vinnies and the Brendans are people who have had exceptional encounters. What about people who live in Oregon or Melborne or Cardiff -- nowhere that's a hotbed of activity in the universe (yet, anyway). How is their experience of the world different from ours? What's known about advances in technology on robots and cloning and artificial intelligence? And how astonished should they be at a guy in a mask blowing up a bank only to be accosted by an ex-con TV superstar in a metal suit which allows him to fly? Not very, is the impression I get from this comic. And that surprises me a little.

Overall, it's an enjoyable read, but hasn't yet got under my skin quite like the parent comic. And that's fine -- I'm not going anywhere and I have nothing but faith it's going somewhere amazing. I do suspect it's one of those I'll enjoy best in trade since we're only yet dipping a toe into the waters of 'Bad Guys'.

Thanks to everyone who worked on it -- Greg, Karine and David, as well as Greg & Stephanie and the SLG editorial people!