More of the "Leader of the Pack" memo...

This continues my transcription of the memo I wrote to Michael Reaves on 7-2-94 regarding Steve Perry's original outline on "Leader of the Pack"...

Specific Notes & Questions...
Some of these will be rendered moot by other changes, but for future reference...

--No YoYo's for Brooklyn. He's too old to be playing with that. (Not that I don't enjoy a well-balanced yo-yo myself, but it's embematic [sic] of being really young. Like having him play jacks. Remember, this is a guy who likes motorcycles.)

--I liked the Hudson game show scenelet. Maybe slip that in right before Elisa tells the gargs about the prison break. If it no longer fits, save it for another episode.

--I think Wolf is a descendant of Hakon's. [It's interesting to me now that I put this comment in this memo. It's absolutely apropos of nothing. I must have just wanted to write it down somewhere so that I'd remember. Greg 2000]

--The gargoyles exo-sheathe remnants don't dissolve into vapor.

--Is a smoking jacket really Xanatos' style?

--Suddenly, on the bottom of page 3, Goliath has spider-sense. Maybe not.

--Goliath seems to be brooding about things he's already come to terms with. "...enemy one day, friend the next." He learned that lesson from the Captain in episodes 1 & 2.

Beat sheet:
ACT ONE
(to be continued soon...)

SEASON TWO

Well, my plan had been to finished transcribing the "Leader of the Pack" outline memo. Then start on my new ramble on seeing the episode last week. However, I'm at home today and the only copy of the memo is still at the office. So I'll finish the memo soon. Meantime, here's a ramble that "Leader" inspired with a little background info on the transition to Season Two...

So the second season begins. And we had a new system in place. Tiers and tentpoles. As you may recall from a previous ramble we had run into huge scheduling difficulties with "Enter Macbeth". The animation had come back very problematic and the nature of the story was such that we couldn't air it out of order. I received a mandate to make sure in Season Two's fifty-two episode killer schedule that we do everything possible not to run into that kind of problem again.

Trouble was, I liked the sequential nature of the series. If all the episodes could air in any order with no effect on each other then how could the characters grow, evolve, change? How could the situations?

My solution was tiers and tentpoles. We would create tiers of episodes that could air in any order as long as they aired BETWEEN their tentpole multi-parters. We'd pay special attention to the Tentpole episodes to make sure THEY didn't get into production trouble that would derail the entire airing schedule. But if an individual episode within a tier ran late, we could skootch another one forward without causing any harm.

Tentpole One was retroactively set as the "Awakening" five-parter. Tier One was retroactively everything between that and "Reawakening", which became Tentpole Two by default. (Now obviously the Season One airing order was very important, but they had aired already, so I didn't have to worry about them anymore.)

Tentpole Three would be the "City of Stone" four parter. Tier Two would include eight episodes: "Leader of the Pack", "Metamorphosis", "Legion", "A Lighthouse in the Sea of Time", "The Silver Falcon", "The Mirror", "Eye of the Beholder" and "Vows". In theory, I was supposed to make sure that these eight could air in any given order.

In practice, it never turned out to be that simple. For example, how could I air "Vows", the episode where Xanatos & Fox wed before "Eye of the Beholder" the episode where they get engaged? I wound up having a strong order preference for ALL 65 episodes. Tiers and Tentpoles be damned. But the truth is, the system served us well. It did tend to keep us on track. Creatively, it allowed us to build to strong multi-parters. And we rarely ever HAD to air episodes out of my preferred order. We only screwed up twice. "The Price" aired too soon. "Kingdom" aired too late. But only someone paying VERY careful attention would notice that. (Of course, anyone fanatical enough to be reading this was probably one of those people paying VERY careful attention.)

So anyway, "Leader" was my choice to open the new season. Lots of action. Some really great twists and turns. Some great character moments. It all seemed like a great way to intro potential new viewers to the series. BTWE, is there anyone out there for whom "Leader" was their first GARGOYLES episode? I'd love to hear from you here at ASK GREG.

We made other changes off the first season, as well. We had rebuilt the opening titles sequence to include some new footage. Keith David/Goliath's narration was added as well. This was written by Gary Sperling and myself. And hotly debated around our offices. Hotly debated inside my own brain as well. Frank Paur and I both felt that the titles were more powerful, more dramatic WITHOUT the narration. But we wanted to make sure that the series was still accessible to new viewers. The narration would serve the same function as the GILLIGAN'S ISLAND theme song. If you missed our pilot, you could still get the set up. Frank & I could see the wisdom of both positions. Even our boss, Gary Krisel, could. He left it up to me. I finally decided to err (and air) on the side of caution. I needn't have worried about "drama". Keith's voice, as usual, was so dramatic, that the opening narration became a classic -- reprinted on nearly every garg website I've ever seen. My kids love to shout out "WE LIVE AGAIN!" in chorus with Keith.

Another thing we did was to permanently install those "Previously on Gargoyles..." recaps at the head of EVERY episode. This was done for three reasons. One, see above, we wanted new viewers to have a chance to get what was going on without requiring them to see every episode that had come before. So the salient points could and would be summed up in those recaps. Two, since at some future time there was the possibility that the episodes WOULD air out of order, the recaps would help ground a viewer in when this particular episode was falling. And most important, three, it helped us in editing.

You see, footage would come back from overseas. And sometimes it would be great. And sometimes not. But no matter how good it was there wasn't a single episode that couldn't be improved by trimming a few frames here, a few frames there. No scenes were cut wholesale, but timing was improved and sped up. Mistakes were edited out. The recap gave us thirty extra seconds per episode of editing flexibility.

Now, on some level, the recaps may have backfired. Though they provided useful information, they may have given new viewers the IMPRESSION that there was too much to learn. I'm not sure it's true, but I've heard that argument. Also, I started hearing from the Disney Afternoon mailing list that everyone hated the recaps, because what they included tended to give away too much in the episode that was about to air. We fixed that problem midway through the season. Me, I still have no regrets. As I've mentioned before, HILL STREET BLUES was a major influence. The "Previously on..." format (which everyone uses today) came right out of Hill Street, so I was comfortable with it. And that 30 seconds of editing flexibility absolutely helped the shows play better.

NEXT TIME ON GREG'S RAMBLES...
More from my original memo to Michael Reaves and my specific responses to reviewing "Leader of the Pack"...

I'm shocked...

There's nothing in the queue. I've got another hour and twenty minutes to kill and there's nothing left in the queue. ARGGGHHH!!!

Gore, Todd, help!!!!!

Greg Weisman Update

As promised, here's a little update on what's been going on in my professional life...

The first season (all thirteen episodes) of MAX STEEL have been completed. I've lost track of how many have aired. I think they turned out pretty good. At any rate, the show is a success and will be back for a second season. Unfortunately, I won't be. The WB didn't invite me to produce/edit/write season two. So you can forget about any long term plans/arcs I had for the series. Still, I wish the show well. (After all, it'll still carry my "Developed By" credit.)

In other news, today I finished recording all of the two volume (seven episode) video anime series 3X3 EYES. I think we assembled a terrific cast for the English dub. Here's a complete list:

LEADS
Christian Cambell* as Yakumo Fujii
Brigitte Bako^ as Pai/Sanjiyan/Pabo Ayanokoji/Parvati/Howasho

SUPPORTING
Thom Adcox^* as Monkey
Edward Asner^* as Grandpa Ayanokoji
Earl Boen as Benares
Leslie Boone as Ken-Ken
Susan Chesler as Lee Ling-Ling
Bill Faggerbakke^ as Steve Long
Elisa Gabrielli^ as the Doll Demon
Jean Gilpin* as Mrs. Wong/Xunquai
Taliesin Jaffe as the Frog Demon and Feihong
William Katt as Tinzin
Mia Korf* as Natsuko
Ralph Lister as Choukai
Erin Matthews as Mei-Shin Long
Yuji Okumoto* as Chou and Naparva
Gregg Rainwater^* as Jake MacDonald
Dina Sherman as Dawn and Ran-Pao-Pao
Rick Simone as Tatsuya
Keith Szaribajka* as Professor Fujii and Ryouko
Rosie Taravella as Grandma Ayanokoji
Greg Weisman^ as Hide

and Keith David^ in a roll so rocking, I can't reveal it here. :)

* indicates a Voice Actor I worked with on MAX STEEL.
^ indicates a Voice Actor I worked with on GARGOYLES.

Anyway, the voices are all recorded. I've got three mix sessions left to do. I should be done in a week or so, at which point -- I'm unemployed.

Or nearly. I'm still teaching the animation writing course through UCLA extension. That's been a lot of fun and it keeps me pretty busy. Plus I'm working on writing a spec screenplay with my brother. And I go on the occasional job interview.

All this means is that it looks like I'll soon have plenty of time to dive back into ASK GREG. At one point we were closing in on completely catching up. Now we're over three months behind. But I'll try to make some fast progress. We've now got Todd Jensen helping Gorebash out to keep the site current, so that should help us avoid the "Nothing in queue" problems that were slowing us up before.

And I hope to see most of you at Gathering 2000 this August. It should be a GREAT con this year. I'll be there with Thom Adcox plus my wife and kids. We'll have new and special treats from Gargoyles, 3x3 Eyes and another EXCLUSIVE radio play event -- something that I guarantee you won't want to miss. Plus Disneyworld is a shuttle ride away. Make your reservations now.

"Leader of the Pack" Background memo...

ASK GREG is back up and running. (Thank you, Gorebash.)

Unfortunately, Murphy's Law in in effect, and I'm now swamped with work. (More on that tomorrow.) I'll try to get to your questions and comments A.S.A.P. In the meantime, I've watched another episode "Leader of the Pack". I've taken notes to write a ramble but I don't have time to compose it tonight. But I also wanted to post my July, '94 memo to Michael Reaves regarding his first draft outline on this episode. (Like the one I posted for "Reawakening".) I have a hard copy of this memo, but unfortunately -- there's that Murphy's Law again -- I don't seem to have a computer file for it. (Which, frankly, is truly bizarre.) Still, retyping this is faster than composing something original. But I don't know if I'll have time to retype the entire five page memo tonight. So bear with me. This could take a while... (I'll try to keep all the typos intact. And I'll add a few new comments in [brackets].)

Greg Weisman 7-2-94

NOTES ON OUTLINE for "Leader of the Pack"
Michael, I think we can focus the story a little more. And I think there's quite a bit of padding that we can trim down, but on the whole, a good start.

General Notes...

--Let's focus this by making it Lexington's story. A real companion piece to "Thrill of the Hunt". In that story, Lex was too trusting. In this he'll be hell-bent on REVENGE. That's today's theme. And today's lesson is about setting priorities -- and how revenge ain't a great one. Lex comes close to letting his lust for revenge take priority over his concern for his life and his friends. Same with the Pack. They break prison; they could head for Rio. But they want revenge on the gargoyles more. It gets them in trouble. Ironically, only Xanatos has his priorities straight. He didn't give a damn about revenge on the gargoyles. He just cared about his "friend" Fox and getting her released from her unfortunate incarceration. [A DESIGNING WOMEN reference -- Greg 2000]

--Given the above. Let's see Lex as the true monster he can be. As frightening as possible, as often as possible.

--The stuff w/Dingo's change of heart was nice. It gave me a great idea for a story about him trying to go straight, set in Australia during the WORLD TOUR. But I think it's out of place here. It's distracting to the main story. I don't want Dingo to start to turn yet. He didn't have to come back from Europe to help the others. Let's keep him gung-ho for now. (When we do the Pack Upgrade Story, in which Wolf will submit to Doc Sevarius' genetic treatment ala Talon, and Hyena and Jackal will undergo cyborgizing ala Coldstone, we'll plant the seed there that Dingo thinks things are getting carried away. He'll choose removable robot-armor, and we'll play some of these beats then.) [When you're working on 65 episodes you try not to waste anything. And the characters begin to define their own destinies. But you need to pace them. -- Greg 2000]

--Coyote's abilities need some clarification. Let's start by thinking this is a stranger wearing some kind of power-armor. Jet black, anubis-headed armor. We'll modify or harmonize Jonathan's voice. Then when he removes the dog-faced armored head, we reveal that it's Xanatos inside the armor. The audience will buy this because of "The Edge" story. When COYOTE has the "helmet" off, we'll use Jonathan's voice un-harmonized. But obviously for battle scenes he'll put the helmet back on. A slight clue that Coyote isn't the real Xanatos will be that Coyote seems more determined to get revenge than we'd normally expect from the rational Xanatos we've come to know and love. Then at the end, we'll reveal the robot beneath the Xanatos face. We also need to make a bigger deal of this reveal. I think it would be cool, if after the body is damaged beyond repair, the semi-damaged head, takes off, shooting into the sky like a comet, abandoning the Pack. At any rate, we can now have Coyote be very powerful throughout the episode, without our audience suspecting the truth. What can the Coyote "armor" (i.e. the Coyote/Xanaots robot) do? Does it have built-in jet-boots and weapons systems? Let's make it real tough and cool.

--In general, we need to be really careful not to let the Pack seem weak or incompetent. I doubt Elisa can outshoot them. They've been defeated twice already. If we don't up the ante, we've lost these characters as effective adversaries.

--The huge emphasis on updrafts can be dumped. We've already shown the gargoyles glide to and from Liberty Island in "The Edge". How far out in the water is this tanker? Better not to go into too much detail.

--Same with the Pack's search for the gargoyles. Why raise the issue about how easy it is to find the gargoyles? Besides, the method used here could take weeks, if not months. Let the gargoyles find the Pack. We can dump the CD-ROM disk.

--The mirrored shields was a good idea. But it pre-supposes a Lexington who is rational enough to use his head and come up with it. Not this story. But remember it for later use. [O.K. I guess some things did get wasted. --Greg 2000]

--We definitely don't need or want Derek in this story. If it comes before "Metamorphosis" than we don't want to mess with his loyalty to Xanatos. If it comes after, then obviously he's not Derek anymore, but Talon. Anyway, we won't need him. The way I figure it, Elisa's role in this story is fairly minimal. I didn't like her as victim/hostage, so I largely dumped her. So we can leave Derek out, as well.

--Fox should protect he guard first, then refuse to go. When she refuses Hyena's inclined to kill her too. Coyote prevents it by indicating there's no time. Also, I've cut the middle Fox scene 14. Better that the audience forget about her until the end.

Specific Notes & Questions....
[to follow tomorrow, hopefully...]

Reprinting a ramble...

Just reprinting my response to an AIRWALKER post in the comment room. (Like to save this stuff for posterity. I don't mean to pick on Airwalker.)

AIRWALKER - I don't know if you're already en route to Israel (have fun by the way) and I hate to defend my own stuff (after all if it doesn't speak for itself then I'm doomed anyway). But I have to heartily disagree with the following statement you made:

(I know the reasons that were given by Greg as to why this edited version was used for the video release but
still it stands out as a not particularly good edit. There were so many other, better ways to do an editing - the
version that is usually shown on Halloween on UPN is a hundred times better than the AWAKENINGS that's
out on video, mainly because they spliced the episodes together while leaving in as much material as possible...)

To the contrary, AIRWALKER, I believe the version that wound up on video is a VERY GOOD EDIT. If what we're talking about is the edit itself. You don't like it because so much was cut. You prefer the episodes -- and so do I -- because they are more complete. You even prefer the version BVTV edited together without any input from the producers (me & Frank). Also because it's more complete. But I'd argue that's an objectively WORSE edit. If what we mean is the editing itself. I wouldn't go so far as to call it sloppy, but it is choppy. This is mostly a lesson in semantics. You like to have more material. So do I. The five parter is 110 minutes long (total give-or-take). The recut movie version is 90+ minutes long (give-or-take) enough to fill a two hour tv timeslot. The version we did for the Orlando Big Screen premiere screening (which wound up -- against my advice -- going on the home video) is under 80 minutes. That's all the time we were allowed. Plus we were given an absolute mandate that the thing stand alone. The egg references, for example, HAD TO GO. That wasn't a choice, that was an order. Given those parameters, I think we did the best possible job we could. And I think the work that the editor did is terrific.

Basically, all I'm saying is that you shouldn't confuse the editing with the assignment the editor was given. Feel free to have a preference in terms of which cut you like. But if you're going to criticize the editing itself... Look very carefully at that work, before you disparage...

Batman vs. Gargoyles...

As I believe I've mentioned before, there was once some fear at Buena Vista (our distribution arm) that GARGOYLES would be perceived as a rip off of BATMAN: THE ANIMATED SERIES. Now, that seems all but laughable, but then it was a sincere concern at BVTV. (The fact that we had Frank & Michael on our show, both of them major contributors to B:TAS, probably didn't help.) So they asked me to write up a memo showing the differences. That memo follows, unedited. Note the date.

(6-14-94)

Random thoughts on the differences between Gargoyles and Batman:

--Batman was traumatized as a child, by witnessing the death of his parents, which left him totally alone and psychologically scarred for life.
--Goliath had a major tragedy occur in his life, but it happened when he was an adult. He was not left totally alone. He is mature enough to realize that bad things can happen to good gargoyles and he is creating a positive life for himself and his clan.

--Batman fights criminals because of a deep-psychological need to stop their evil.
--Goliath and the gargoyles protect the innocent because they are protective by nature. It is a very primal instinct to them. They are not taking eternal vengeance.

--Batman is one man in a suit. (Two men if you count Robin.) He wears a mask to protect his secret identity.
--There are six gargoyles, each with unique personalities. And they are a different species -- monsters. Nothing put on. No secret identies. No posing as normal. Very little technology.

--Gotham City is New York at it's worst. Dark, ugly, cynical.
--Goliath's Manhattan is a dangerous but beautiful place, w/a rich colorful palate. A place of Hope.

--Batman faces a colorful array of villains, all with their own separate backstories.
--The Gargoyles face a colorful array of villains, whose backstories intertwine with the gargoyle's own rich history in ancient Scotland and modern Manhattan.

--Batman is reality based w/a few exaggerations and sci-fi elements thrown in.
--Gargoyles is more fantastic. Magic is quantifiable, but it exists. Immortals and sorcerers walk the earth.

--Batman is a man for his time.
--The gargoyles are creatures who are displaced in time trying to adjust to the modern world.

--Batman has no regular female character (unless you count villains like Poison Ivy or the occasional use of Batgirl.)
--The gargoyles are supported by Elisa Maza, a strong, capable but tender, female New York Police detective.

--Batman wears a cape.
--The gargoyles have wings which can fold over like a cape, but can also be used to glide through the air, simulating true flight.

--Batman wears a utility belt with gadgets included.
--Gargoyles don't. Hudson wears a sword though.

--Batman wears boots.
--Gargoyles are barefoot.

--Batman doesn't have super-human strength or powerful claws or a tail.
--The gargoyles do.

--Batman doesn't turn to stone every morning and then explode out of stone every night.
--Gargoyles do.

--Batman doesn't have a dog.
--Gargoyles have Bronx.

--Bruce Wayne has nearly unlimited wealth to subsidize his heroics with technology.
--Xanatos has nearly unlimited wealth to subsidize his villainy with technology. The gargoyles have a medium-sized t.v. set and a used barca-lounger.

--The Batcave is a high-tech top secret location located underneath stately Wayne Manor.
--The clock tower is a low-tech place to hide above the police precint in Manhattan.

--Batman has a butler.
--The gargoyles don't.

I hope this is helpful. Though I don't know why it would be.

As you can see, I didn't take the assignment too seriously. The only real key point for me is the first one. The differences between the tragedies and the heroes' reactions to those tragedies. Also that Xanatos is the anti-Bruce Wayne. But c'mon... "Batman has a butler. The Gargoyles don't". Was I stretching or what?

Scientific Addendum to Wind Ceremony

Even in peaceful times, Gargoyles -- even very old gargoyles -- all but never died in their sleep. Sleep for gargoyles is borderline suspended animation. If an old, weary Gargoyle actually made it to daylight and stone, that bit of sleep would tend to freeze the aging process, the deterioration if you will. Rejuvenate the gargoyle even just a little bit. They'd be much more likely to die after the sun went down, after transforming back into flesh. Even before the iron age, when Gargoyles had little to fear from most any species, when turning to stone was an excellent daytime defense and not a liability, most ancient Gargoyles died just before sunrise, after an exhausting night, rather than after the sun had risen.

So again, the disturbing notion of surviving gargoyle mourners having to pulverize a perfectly preserved stone corpse is a veritable non-issue. The practice of reducing stone remains to dust was a result of gargoyles having to come to terms with stone-sleep having become a vulnerability. If you're loved one is already rubble, there isn't much reason to keep the rubble intact. That doesn't mean the process isn't emotionally painful. But not much more painful, I would think, then cremating a corpse of flesh. (Though of course it's more immediate. You are doing the damage, not the Fire.) At any rate, that was the custom that evolved.

The Wind Ceremony

When a gargoyle dies, the disposition of his or her body depends only slightly on whether the gargoyle died during the day or at night.

If at night, the corpse is cremated.

If during the day, the rubble is pulverized.

(The notion of pulverizing the undamaged stone corpse of a gargoyle who has died peacefully in his sleep is disturbing. But in fact, gargoyles so rarely die peacefully in their sleep as to make this a non-issue.)

In either case, the cremated or pulverized remains are taken by the gargoyle mourners to the highest point on the local map. A memorial is held. Everyone who wishes to speak of the departed, may. No one, not even the departed's enemies, may be denied a voice. In the end, the mourners spread the remains upon the wind, saying, "Ashes to ashes OR dust to dust. All is one with the wind." (Over time, humans began to use a variation of the same at their funerals.)

The gargoyles then spread their wings, soaring amid the ashes or dust in the hope that part of the departed will stay with them forever.

[Note: There was no one to perform the wind ceremony for Coldstone, Coldfire or Coldsteel. That, and the location's ambient magicks coupled with the trio's own passions, may explain their accessability to Demona's ressurection spell.]

Chapter XIII: "Reawakening" (The new ramble...)

As promised, I'll now attempt to recreate the lost ramble on this episode, which I recently watched again with my family.

For those of you who haven't seen it, I refer you to my recently posted "Memo" on this episode dated back in April of 1994. One thing you might have noticed was that the title of the episode was "The Awakening". In the memo, I suggested what I thought was the more appropriate title "Reawakening". Michael liked that idea but had a suggestion that did it one better. He suggested renaming our pilot five-parter "Awakening". I jumped at the idea. At the time, the five-parter was simply titled "Gargoyles, Part One", "Gargoyles, Part Two", etc. I've never liked that sort of cop out where the pilot's title is simply the series' title. Among other things, it lacks imagination. And it's dishonest. By that standard, "The Journey"'s real title should have been "Gargoyles, Part Sixty-Six". So giving our pilot its own title seemed like a very good idea to me.

But there was another reason why I liked Michael's plan. We were working on our last episode of the first season. It was April of 1994, nearly a year before that episode would air. And a good six months before our premiere. There was no way of knowing whether or not there would ever be a SECOND season. And so to protect myself (emotionally) I had to operate on the assumption that their might not be. Obviously, I wasn't going to do anything apocalyptic. I wanted there to be a second season, so I wanted to leave the doorway open for it. So Michael, Frank, Brynne and I discussed the idea of open-ended closure. If there never was a second season, we'd go out with a bang. We'd give some small amount of closure to our characters. Let them reach a turning point. If this was to be it, we'd have created a little 13 episode novel that brought the Gargoyles from the past to the present and renewed (reawakened) their sense of purpose.

Nice. We'd done the open-ended closure thing (to a lesser degree) at the end of what would eventually be called "Awakening, Part Five" and we'd eventually do it again at the end of "Hunter's Moon, Part Three". And I'd do it for myself in my script for "The Journey".

But there are tricks to achieving a sense of closure. And one of the tricks is to create parallels with the episodes that launched your story.

So by retro-titling our pilot "Awakening" and naming our last ep "RE-Awakening" you can see how we gave ourselves a headstart.

But there were other parallels. The flashback to the past, (which we intentionally built so that it could theoretically be edited into the pilot if necessary) included the Magus at his most pre-Avalon obnoxious. Obviously, that flashback also intro'd pre-Coldstone, but it served the purpose of calling those first couple of flashback episodes clearly into the viewers' minds. (The only problem with that scene, is that Hudson has his sword in a couple of the shots. This is a mistake, as any good Garg fan knows that Hudson first acquired his sword in the battle with the Vikings that took place the following night.)

We also did the big event VILLAIN TEAM-UP thing, bringing Xanatos and Demona back together for the first time since "Awakening, Part Five". (I love the exquisite tension that plays between them. They are both SO using each other. When Demona tells Coldstone that X is her servant, you know that she's partly doing that to circumvent Coldstone's questions, but that she also partly believes that it's true.)

We also used Morgan in Times Square in a very similar way to how he was used in "Awakening, Part One" (reiterated in "Awakening, Part Two").

And then there's that moment near the end where Elisa asks Goliath if there's anything he needs. He answers "A Detective" verbally echoing a key moment from their first meeting in "Awakening, Part Three". That still tickles me.

HOMAGE

Obviously, Frank and I both worked overtime to pay homage to the classic Universal "FRANKENSTEIN" movie. I can say "pay homage" with a straight face (as opposed to rip off) because we so clearly acknowledged the source. Frank's art direction of the lab. X's line: "It's alive! Alive!" (Wonderfully undercut by Jonathan Frakes' reading of the follow-up "I've always wanted to say that.") And the whole idea behind Coldstone. (More on this when I eventually ramble on "Legion".)

Coldstone would be our Frankenstein's monster. Pieced together. Gargoyle & Machine. Reanimated (reawakened). I even love the Coldstone name. And wasn't Michael Dorn's sepulchral tones just perfect for the role?

And Goliath's reaction is so multi-faceted, so Dr. Frankenstein... [You know Goliath's response to his brother here, would be echoed later in his response to his "son" Thailog in "Double Jeopardy". Initially, Goliath's simply repulsed by what he sees, calling Coldstone "an abomination". But given a bit of time, Goliath quickly sees past appearances and attempts whole-heartedly to save his brother. He'll go through the same changes with Thailog. Well... at least we (and Goliath) were consistent.]

CONTINUITY

Snow. It started snowing in "Her Brother's Keeper" and now the city is blanketed in the stuff. (And doesn't Elisa look cute in her scarf and gloves.)

Brooklyn's still pissed off at Demona, specifically and sarcastically asking if she has anymore "spells to save you now". In fact, we wanted to make clear that the spell used to resurrect (reawaken) Coldstone was one of the spells she tore out of the Grimorum in "Temptation". Instead, we cheated a bit. By having her tell Xanatos that the "Cantrips have already been spoken" it saved us the trouble of getting another spell translated into Latin. We were either lazy or short on time or -- most likely -- both.

Following out of "The Edge", and until the helmet comes off at the bridge, the gargs assume that Xanatos in his armor is simply another Steel Clan Robot. The next upgrade. The red model. They have no idea it's actually Xanatos himself in armor.

Small observation: Mirrors don't fare too well in the Gargoyles Universe.

Emotionally, I think the story is very successful at taking the audience through Goliath's spiritual reawakening. I love how he starts out pensive and brooding, listening to that great exchange between the trio and Hudson, realizing that all of them have lost track of their true purpose. Hudson recites the Gargoyle credo merely as an excuse not to go out in the cold. (And I love Thom's reading on Lex's "We don't even live in a castle anymore" response.) The trio are clearly missing the point, but methodical thinker Goliath isn't sure he remembers what the point is either.

And that dovetails SO nicely with Elisa revealing the Police motto "Protect and Serve". The police motto/gargoyle credo connection is so perfect, it struck me even at the time as further proof that we were tapping into something very true in our little fictions. (And don't cops -- for better and sometimes for worse -- act just like a clan?)

From there, Goliath moves past the notion of simply being a reactive character, struggling only to SURVIVE one crisis after another. Now he will strive to be proactive. To rededicate (reawaken) the clan toward their original life purpose. Extending the term "castle" to Manhattan island was always our plan. Even that was intentionally primitive in our view. Goliath doesn't protect New York City. Not all five burroughs anyway. That's beyond his medieval scope at this still-early stage. He can get his head around protecting an island surrounded by water. Not the whole world. But eventually, the plan would include expanding the clan's definition until Castle Earth was the only thing that made sense. Of course, that might not have been fully realized until 2158. But we'd have gotten there. And the World Tour was part of that process too.

PROBLEMS
(Besides Hudson's sword...)

--One line in the ep. that for some reason still makes me cringe is Elisa's "My car's big." It just seems awkward to me. Not sure why.

X & D watch Coldstone's progress from the castle. Almost instantaneously they're at Times Square. We always knew we were just skating by on that.

Goliath & Coldstone go into the water at the bridge TWICE within the span of a couple of minutes or so. The first time, Goliath nearly drowns. The second time he's completely uneffected (physically) by the experience. We get away with it because the second time he's diving in on purpose. But just the fact that we had to dunk them both twice is an awkward construction (and my fault). At least, Goliath looks good with wet hair.

Some really graceful animation here. Goliath has some great moves, and I love that moment when Matt and especially Elisa are diving into the snow, out of the way of the car that Coldstone has just thrown... And speaking of that scene...

TIMES SQUARE SEQUENCE

There's some very interesting, fun stuff here besides what I've already mentioned about it above. A sampling:

Explosions in Bambi. :)

Demona's Clan: Herself, Coldstone, a Steel Clan Robot and Xanatos in Gargoyle Battle Armor. It's so twisted. I love it.

Goliath's very smart here. He doesn't want the fight to take place in public and basically convinces Xanatos to take his side on the issue by flattering him. Goliath refers to Manhattan as "your city" (i.e. Xanatos' city), this despite the obvious fact that Goliath does NOT regard Manhattan as Xanatos' personal property. And Xanatos, usually immune to such stuff, falls for it -- maybe BECAUSE it comes from the ultra-sincere Goliath.

I also am very fond of the Mr. Jaffe book-ends. I think they're a lot of fun. And I love how Matt talks about Mr. Jaffe. It gives us insight into Matt's character, his background, his youth. His empathy for Jaffe really helps humanize him. Matt was always eminently human.

Signing off now...

"Because six monsters just told me to..."