Clark Cradic writes...

Any characters you were surprised to see becoming popular? The ensemble darkhorse in other words.

Jurgan writes...

Not a question so much as a comment. You've said several times you think you missed a bet in "Grief-" namely, that Coyote should have killed the travelers, to show that death was impossible with Anubis locked up. I may be in the minority on this, but I prefer the story we got to this alternate version.

First of all, it would reopen the Highlander-esque questions that you get regarding Demona and Macbeth. So, Angela's shot through the heart but doesn't die- when Anubis is freed, is the wound still there? If so, would the wound then kill her? If Goliath were decapitated, would the head still talk, or would it sprout spider legs and walk back to him (sorry, I just watched The Thing the other night- incidentally, Keith making a surprise appearance in a movie is something that always makes me smile)? I imagine that, if only for S&P reasons, the death would simply be through bloodless laser beams (sorry, "particle beams") and the issue wouldn't have come up, but it's still confusing.

The bigger point, though, is that it cheapens the characters' abilities. I've read most of the Lee/Ditko and Lee/Romita Spider-Man comics, and while they're great stories, one thing that always bothered me was how supervillains always let Spidey live. Typically, a new villain would dominate the wallcrawler and then arrogantly announce "I don't need to kill Spider-Man- I can beat him any time I want!" I don't have a count, but I really think this happened dozens of times in the Silver Age. I could understand if the villain had a reason to run, like Doc Ock's power running low in your show, but most of the time they just seemed stupid, since of course Spidey trounced them next time. The point is that it seemed like he was surviving more through luck than any particular skill. Likewise, our gargoyles have survived countless battles because of their own abilities. To say that they finally lose- but it doesn't count because, for this one day, they can't die, seems to cheapen their earlier successes. It feels like the only reason they're winning is because the writers want them to win, and if they get in big trouble, a deus ex machina twist will save them. The show starts to feel artificial, and I wonder if these characters are really that special, or if they're just the designated heroes.

Now, of course, this is hypothetical. It's possible that, if I'd seen the episode the way you envision, I would have loved it. As it is, it's kind of hard for me to imagine it working. Just something to chew on.

Laura 'ad astra' Sack writes...

I’ve heard you mention several times that you have had very good luck with S&P over several series, praising people who really understood the series and were more interested in showing consequence than keeping any violence off screen. When they put their foot down it was generally to avoid what a child can copy, even willing to have a different violent action in place they couldn’t. Did you ever have bad experiences? (Either on a series you were running, or one you freelanced on.)

Trevor Duke writes...

Why does Lexington have different wings from the four other gargoyles of the manhattan clan? The behind the scenes answer please!

TZ writes...

Tana writes...
You Asked:
"Does anyone know if "Maza" means "iron" in any Native American language or dialect?"

According to my book of names (it's got like 20,000 names and their meanings, which is totally cool, especially the Athurian names) Maza blaska, which is a Dakota name means "flat iron." So if it's one of those languages where the adjective comes after the subject, then Maza does infact mean Iron in Dakota. Which interestingly enough adds more irony since Dakota was an early choice for Demona's name. ^_^

And you know that J.R.R. Tolkien claimed that all of his novels were fact...you seen to have the same symptom with the Gargoyles.

Greg responds...
I'm not claiming they're fact so much as acknowledging that sometimes storytelling on this show just seems to click with history, existing legend and with dramatic necessity. It's a rare feeling, and I'm humbled by it. All I'm saying is it sometimes feels like the stories are true somehow somewhere, and all I'm doing is (imperfectly) tapping into them.

But I'm not actually delusional.

Ok, this is TZ now......

I was looking over the archives and was simply amazed by this response of yours, Greg. I have always felt that art (in all forms, from literature to sculptures to music) is discovered, not created. I subscribe to that theory because there are such famous examples of great work that endure for years, sometimes even centuries. Why would something like Michelangelo's David or Beethoven's 9th remain so popular through the ages? I think it's because those pieces already existed and were "discovered" by those artists, because certain works like theirs touch us so deeply. When one of us "finds" that piece of art, and shares it, it seems to strike something in all of us. I think creativity is God's alone, but I think He gives some of us a gift to find or tap into (as you've put it) something He's already created that reveals a great truth or lesson or feeling. Anyway, just a ramble of mine to share based on something I was amazed to see here. I'm not sure if I got my point across to others (I found it really hard to put this into words) but I think you get it. Thanks for "discovering" more great art for us all!

RandomStan writes...

What animal noises and sound effects were used to make the gargoyle sounds, like when they roar, growl, sigh? Also for Bronx and gargoyle beasts as well? What sound was used for when the gargoyles would dig their claws into stone? That one sounds a bit familar, almost like popping bublbe wrap.

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.

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.)

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.)

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.

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.

Anonymous writes...

who paid for gargoyles

Bazell writes...

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

Anonymous writes...

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

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"?

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.

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.

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?

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?.

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?

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

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.

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.

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.

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