Forged with steel writes...

Can you tell me how many new episodes have already shown on W.I.T.C.H, cause i haev only seen the first 4. And wanted to ask if any have come on.

niki writes...

I believe the song "Dance With The Gypsies" is played, uncredited, when
Johnny Depp and Juliette Binoche's characters are dancing with others
at a party at the river.

"Dances With The Gypsies" is performed by Stoney Larue or Bob Childers.

Can anyone confirm the song is used there?

Ed Reynolds writes...

GARGOYLES #1.

My review/ramble.

But first, a moment of glee. It's 'Gargoyles'! In a comic! By Greg! For real! Magnificent! Big, big, big thanks to all the people who made it happen.

'NIGHTWATCH'

I think I always kind of overlooked 'The Journey'. I always liked it, but it was always a bit of an odd duck, stapled onto the front of a season I didn't care for, a second ending after 'Hunter's Moon' which was an immensely satisfying conclusion. So now it's been many, many years since I saw the episode and although I can still rattle off most of the lines by heart, I'm still coming at it with something of a fresh perspective and, to some extent, seeing it as a creature in its own right rather than 'the last one before TGC' or 'the one after the Hunters'. A few things strike me.

Most obviously, 'Nightwatch' is really very dark indeed. Well, obviously. But there's no talk of journeys or Vinnie's redemption at this point, and read with David Hedgecock and Will Terrell's gloomy take on the city, it really does feel much more oppressive than the optimistic world Elisa introduced Goliath back in '94. It also puts the world tour in perspective a little for me, as seen against the long period where the show had been becoming much brighter and more optimistic than it had been before - the clan isn't alone! Goliath has a daughter! Heroes are awakening to their destiny! - the darker turn seems fitting and I'm interested to see how everything develops once the initial shock fades.

Right now in this issue there's a sense that the walls are coming in. No Faeries or robots or magic or many of the more fantastical elements of the show. No grand romantic statements from the leads, just affection in small ways - comforting each other. And the story says a lot about humans, and humans under fire. Fear, knee-jerk panic, anger, prejudice. It's very raw - especially since we don't have the balance offered by Vinnie's decision yet. It's also a little eerie to return to this story for the first time since some of the major terrorist attacks of the last few years: the story is, after all, in the wake of a major attack on a New York building, and I think the script captures that heady uncertainty of a long, dark night where the news is on loop and the world's turned upside down and everything doesn't seem quite so safe any more.

Despite what might have been a very choppy narrative, all the plots are beautifully intertwined: the newsreaders, the Quarrymen, the cops, the gargoyles, Xanatos and Elisa. Most of the supporting characters have only a couple of lines but each suggests a completely different take on "the gargoyles issue". The people investigating it, the people hiding the gargoyles, the people concerned for their families, the people hunting the gargoyles for vengeance, for pleasure, or worry, for a sense of social activism, out of a concern about science, the gargoyles wanting to keep a low profile, wanting to go about their business, and so on. Different characters, different viewpoints, different loyalties and agendas and levels of information - it's just incredibly sharp stuff. And the people who seemed to be comedy extras in past episodes are now active and outspoken and shaping events: in fact, thanks to the Nightwatch framing the gargoyles are presented as intruders into their life stories instead of the other way around as it's seemed in the past. It's intricate and marvelous.

The Hedgecock/Terrell Gargoylesverse feels a little murkier than we're used to. Part of this is the less distinct backgrounds in places, the more sketchy style; partly the colouring. It's a great interpretation of this script which fits the post-'Hunter's Moon' New York: a little stunned, a little on edge, a little depressed. But I can't help but think back to 'Awakening' and Elisa's comments on the beauty in the city. Although this episode is very bleak, I hope that at some stage when the shock of the gargoyles revelation dies down we'll get to see New York in a context that's a little less 'Gotham'.

But it's still lovely. The colours are moody and ominous, the art revels in the small scenes - I love Matt & Chavez and Elisa & Cagney; and the emotions of the characters in their normal conversations. The action seems to be very tightly framed with lots of close-ups, which gives the emotional stuff a lot of clout (which I love), though the fight scene felt perhaps a bit cramped in places and in the 'louder' scenes the characters seem slightly exaggerated in places.

All in all, I was very impressed by how much 'Nightwatch' got under my skin, even all these years after having seen 'The Journey'. While I always liked the episode, I would definitely rate this issue alongside my very favourites from the first two seasons for its sheer complexity and ambition and its sense of fear and confusion and hurt and a hundred emotions jumbled up.

RANDOM THOUGHTS

- Adapting 'The Journey' works really well as a starting point. There's a lot going on in it and I wasn't sure it wouldn't become overwhelming to a new or casual fan of the sort I'm trying to hook on the comic. But I think most of the roles are pretty obvious (benefactor, cops, etc.) even if you're just looking with no pre-conceived ideas. A couple of the continuity references might be more of a stretch (I wonder what people who haven't seen 'Vendettas' will make of the banana cream pie!). But we only really see much of Goliath and Elisa at this point, and the social situation the gargoyles are being flung into is well-realised and a compelling entry point.

- The Art & Lois scene is new to me and it's very effective. It's funny because I saw the previews for this which ended with Goliath flying into a rage and although I was excited to read it, I had no preconceptions about what might follow. I just didn't really think about it, I wanted to wait and see it 'for real'. But somehow I found myself pleasantly surprised by Goliath's solution. It's not a new solution for him ('Deadly Force' and other episodes obviously spring to mind), but it's an effective one, a peaceful one, a dignified one, and it really gets to the nub of Goliath's character at a very early point. I like that even after feeling I've known the character for a decade, he can still pleasantly surprise me by, literally, his grace under fire.

- The monstrous Quarrymen-designed gargoyle amused me. Didn't the TGC version have an actual replica of Goliath or something? I always assumed Jon Canmore had it for some reason, or the Illuminati had provided it or something along those lines, but it seems more credible that the Quarrymen mock-up would just be a plain old scary monster. So now I'm guessing they used Goliath in the TGC version to save the cost of drawing up a new stone model? It also explains why the Quarrymen didn't recognise Goliath on the rooftop later (though Banquo ought to have, I'd have thought).

- Grigori, not Gregorino? Or is Vinnie just assuming an alias in case the Quarrymen are as unsavoury as he seems to fear even at this early stage? In any case, I like the name Grigori. It's got the in-joke, but it's not intrusive.

- Speaking of the Quarrymen, I always had trouble making out the line "no way you're fighting this hard if stone-face weren't the real thing..." in the cartoon. It sounded like "heart of stone" something. I think I worked it out eventually (or perhaps through Blaqthorne & Crimson Fury's transcript) but it's nice to see it in the text. And Banquo nearly said 'whore'. I guess this scene was one of the punch-to-the-face moments that was possible in S2 but which TGC got stopped from doing.

- The titles took a long while to grab me. I now quite like 'Nightwatch'; it seems to resonate on a lot of levels. 'Clan-Building' is kind of dull still. I admit, the traditionalist in me would kind of like it to be "The Journey" Part 1 & 2... 'just like 'real' episodes!'. Going to have to get used to the fact that it's a comic now. 'The Journey' was one of my favourite titles in the series, and although I realise it would probably not make much sense for #1 (since it's only really explained right at the end), I still really like it. I hope Part 2 is called 'The Journey'. Also, the nerd in me misses the nice, blue title font - it always gave me that 'new episode buzz' in the good old days, especially when a "part one" or something popped up after the first titles, and so it has a strong sentimental value. Okay, okay, I'll shut up about the titles now.

- Greg Guler's cover is ace. The colours are wonderful too. Deep and crisp and gorgeous.

- Also, on the colouring front, I especially liked the transition from day to sunset to night, with a darker twilight than the show sometimes had. There's a lot more red used in the comic as a whole than I remember of the cartoon and that gives a different flavour to scenes like the Quarrymen mob scene especially - maybe it makes it a little too on-the-nose, I'm not sure. I kind of liked my recollection of it with cool colours predominating -- the banality of evil or something like that.

- I felt the sweatdrop on Art was a bit on the cartoony side. I think 'Gargoyles' works best when it's kind of understated.

- I really love the page where Goliath flies over the head of Vinnie. A really memorable, iconic image. The original cartoon did this sort of thing a lot but with cuts and silhouettes and odd angles; the shape of an animation frame obviously isn't really useful for this sort of thing. This image is to me a nice encapsulation of... well, the series. Gargoyles trying to live their lives watching over humans who are blundering around uncertainly in the dark.

- One thing that I'm unsure about is the portrayal of Castaway, just in terms of artwork. He's very animated here - his hands-on-hips introduction, his psychotic expressions. This is where it's a case of me being used to one interpretation (the cartoon's) and suddenly questioning what I had assumed: how stable is Castaway? He's obviously not such a fruitcake that he puts off scared citizens from joining a violent organisation, but then again he set up the Quarrymen in the first place. Jon Canmore seemed to keep things close to his chest and then snapped. Does Castaway return to Canmore's very repressed attitude, or will his anger always be as close to the surface as some scenes here? My memories of the cartoon are quite different from the tone of the art here; the latter much angrier and more forceful and animated, the former slicker and more comforting. Incidentally, this is one of the best and most powerful speeches in the series. I just love the way the theme of community and 'aloneness' is threaded through the series.

- And one bare-faced quibble on the 'About Greg Weisman' page... it's 'Talespin', not 'Tail Spin'! Grr! :)

I just hope that by the time this post reaches the front of the queue the comic is a runaway success! Keep up the great work. :)

Todd Jensen writes...

Finally got my copy of Gargoyles #1 (I'd ordered from Amazon.com, and it took them longer to get a copy to send me than I'd expected) in the mail today. I thought that I'd give you my thoughts on it.

While most of the material was familiar to me from "The Journey" (of course, it's been nine years since I last saw it - I never taped any of the Goliath Chronicles), there were some new things that I liked in it, such as Matt's meeting with Chavez and Goliath's encounter with Art. (The latter gave us another one of those rare moments when Goliath displays a sense of humor, when he lets Art keep his gun - now twisted into a spiral shape.) And, on the smaller level, Vinnie's remarks during Castaway's Quarrymen recruitment speech (I was particularly amused by his "Well, I don't got kids" line).

I'll probably be saying this again when/if you do a ramble on "The Journey", but I get a big kick out of Castaway's speech and all the ironies in it. First, he talks about how his audience is struggling with such problems as "violence, racism, injustice..." - while signing them up for an organization that typifies all three. Then he asks them "Are you afraid these creatures will attack while you sleep?... Are you afraid they will steal your children away?" When reading those lines, I find myself remembering two things: first, gargoyles clearly fear also that humans will attack them in their stone sleep (and they have even better reason for that fear - a sleeping human has some possibility of waking up in time to save himself or herself, but a sleeping gargoyle is doomed unless the would-be gargoyle-killer made the mistake of attempting to smash him or her at sunset), and second, in "The Reckoning", Demona views Princess Katharine and the Magus taking the gargoyle eggs away to Avalon as "steal[ing] our young". And finally, Castaway constantly uses the word "alone" in his speech - when I remember where I last heard that word in "Gargoyles" in a significant moment, it's definitely chilling. Kudos to you for writing that part.

I'm assuming, also, that you've got more liberal S&P on the comic than you did on television, in light of what Banquo called Elisa (no wonder she interrupts him with a punch and "shut up"!).

I'm looking forward to #2, and hope that the comic has a long run.

Alex Garg writes...

Hey Greg,

Thanks for rambling again (at the time of this post)! Always enjoyable.

No Gathering 2006 report I'm afraid. I was stuck back East starting a new job (well, returning to an old job) and helping to pump water out from my home's flooded basement (my understanding is that L.A. doesn't have to worry about getting 14 inches of rain in three days - we here in the Mid-Atlantic do).

Fun stuff, let me tell you.

However, I'm glad y'all had a good time and I'm pretty darn sure I'll be able to make '07 (though by the time you read this, we'll have probably known the outcome of this prediction for some time).

Anyway, rambling aside, I do have something of potential value to offer - my personal review of the comic, which after weeks of hunting for (all places in my area which ordered it sold out of no fewer than two orders, and the place I asked to order it from, um, forgot to and then, in a CYA move, insisted that the comic was not coming out in June) and eventually waiting for two weeks after ordering direct from SLG, "Gargoyles #1" is in my hands.

On the whole, I like it. I think you did a good job of adapting what we saw on screen to the pages and providing a way for new fans to get acquainted with what's going on. Of course, what's fun for me is seeing in print what I had the honor of acting out as ART back in Montreal during Radio Play, but I digress. The story's well-paced and moves along nicely, but I'm going to hold back on really looking at the writing aspect until *very* new material starts coming out. I have THE JOURNEY so internalized that I don't think I can be objective in a review of it.

As for the art, I think it's clear that David is still working with getting the models down, but some panels particularly demonstrated that he has the ability to nail it down. He seems to be more comfortable with up-close work than whole characters or multiple characters, but it's clear that he has the potential to pull it off. Right now, consistency is the major issue I have - some panels are great, others not so. I don't think it's off-putting by most measures, though I suspect those with a keener eye for art would be able to find more to take issue with. However, I'm going to remain optimistic that the art will improve with each issue.

I like the comic, I'm glad it's out, but again I'll wait until we're really in "uncharted" territory before I roll out deeper reviews (and might even, for once, have questions to ask).

And... that's all. Take care and I'll hopefully see you in '07 (or '08 if you get this closer in that neighborhood). :)

P.S.: Oh, in answer to your question on my '04 journal, "How did Leo get home?" He stayed in Montreal another day or two and flew out from there.

Now I'm done.

Anonymous writes...

RelenaS
Level 2
Sweat Hog
Posts: 2 35. Re: W.i.t.c.h. in the U.S.A. | 06/20/2006 7:32am
A hint I would love to give most corporations who are interested in markets by gender on the TV: Despite it being an action based series, with fighting and good verses evil, if it has female main characters, heroes, ect. It has a female audience. Period. There are girls out there who enjoy action, adventure, and seeing their heroines focusing their attention beyond cosmetics and boys. It is extremely biased to assume that all females love to see cartoons on the newest hair accessory. More over, it's biased to assume that only males enjoy action cartoons.

They can keep W.I.T.C.H. as it is, it doesn't need a "makeover" to appeal more to females for merchandising, nor does it need its more female relationship aspects toned down to keep it a male focused show. They tried to tone down the female aspects in Card Captor Sakura on Warner Brothers and look what happened.

Fans would appreciate it if the companies, who are broadcasting the cartoon/animation, would not mess with the original version more then absolutely necessary, and means of marketing are not such reasons.

Understandably this isn't marketed on the main stream Disney because it doesn't follow the same kind of animation produced for the main stream. Its more anime like, and thus gets anime status on a circuit that doesn't show random episodes, but the order of the episodes. Thus Jetix. Cartoon network did something similar with Toonami and the new Maguzi. The problem is they focus on action, and thus assume only male base audiences. The reason why they seem action like is they actually follow a somewhat coherent story, unlike other such shows, like Jake Long and Lilo and Stich, which although they have a story line and an order of episodes, they don't need to be played one right after the other to make sense, they work beautifully as individual episodes. As such they are easier to present to America as very few people have the dedication to actually track a series to find the next newest episode to continue the plot.

The only problem the Fundamentalists running America would have with this show is A: its name (Witches have been their enemies for ages. B: the Elemental basis on power (too earthy and pagan like for them) C: where that power comes from, they weren't exactly born with it, it comes with age, and was not granted to them by a single deistic power. Thus the show must be teaching immoral lessons on power and encouraging some kind of nature worship. In addition there is a female power focus. All the main high power characters in this show are female. The guardians, their mentor, the principal, while the King was bad, the Queen is good ect. A few exceptions, the rebel leader and the Oracle are both male, but you get the gist. Despite all this however they really shouldn't have much of a problem with the show. It's not like the fundamentalists to attack anything unless it shows a considerable threat to their cause (IE Harry Potter).

For fear of rambling I shall stop now. But keep WITCH on.

Twiggess writes...

I'll try to keep this short, as I kinda already gave my 2 cents yesterday.
I didn't catch the Star Trek reference at the time, b/c I hadn't heard of that episode. Now that I've seen clips of it, I realize it was a brillant (for want of a better term) spinoff. Although I think over all the Angie-Desie-Broad-Cold kiss was better than Kirk and Uhura (spelling, sorry- that chick who voiced Diane! That'll work!)'s. I mean, I haven't seen the whole Star Trek episode, so I don't know what the alien's relationship was like, but those 2 were so freakin SHAKY. They looked like they were having a seizure out of passion, or something.
(I am sorry if this offends any Treky's out there. Like I said, I haven't seen anything but a 5 minute clip of the kiss. I'm much more of a Next Generation gal, anyway. Two words: MARINA SIRTIS. Plus it's really fun to see "Xanatos" and "Demona" flirting.)
I'm assuming you left Ms. S out of the TNG voice credits in your ramble cuz she wasn't in the episode. I'm cool with that, and I realize that if you gave credit to all the Star Trek voices, we would be here all day.
So yeah. I'm not really a big Cold trio fan (although I am a big fan of Coldstone's icecream-sorry, couldn't resist! I think of Micheal Dorn whenever I go in that creamery now!), but this episode was okay. And I was really excited that I finally got to see Angela (even if she WASN'T white with red hair like I always imagined. Don't ask me WHY.)
Oh and one little confession: Before I could remember what her name was, I used to call Coldfire "Starfish Face." I sincerely apologize for this crudeness. I never really got a good enough look at her, and I thought her horns kinda made her look like she had a starfish on her head. I really hope the animators and fellow fans forgive me for this, as when I got a better view of her in "City of Stone" and "Legion", I realized she was actually quite pretty.
OK, so that's my confession for the day (again, REALLY REALLY sorry!) Now I better go before some random Treky or Desdemona fan gets some vitual tar and feathers for me!
P.S.: Was it ever confusing to have both a Demona AND a Desdemona? I realize that other than in the first "City of Stone" they never had an episode together (CF wasn't in "Reawakening, was she?) but it's still seems like kind of a nusiance to me.
P.P.S: Have i mentioned I'M SORRY?!

Blair writes...

Hi! Before I ask my question, I just want to ask what the chances of a fourth season are. But thats not my question. If there were to be a fourth season, when and where would it take place? WOuld it take place right after the last episode, or many years into the future? Also, instead of making a fourth season, would Disney ever redo the whole series? Thank you so very much! :)

Peter Brülls pb@rogue.de writes...

Hi.

Ypou write

"4. Would Disney ever consider selling the rights to Gargoyles?

No. They won't even let go of Clarabelle Cow. They don't want to take the risk that someone else could make a mint on their property and make them look bad."

"Clarabelle Cow" is actually a bad example, I think. She's making regular appearance in Non-US Mickey Mouse stories, acting as best female friend to Minnie Mouse.

Battle Beast writes...

Posession>

<<FINALLY...
We wanted that giant pocket watch (or whatever) that Puck pulls out at the end to be a MICKEY MOUSE WATCH... but Disney would just not allow it. They were afraid it would come off as product placement in a kid's show or something.>>

...Because Puck is a mickey Mouse kinda guy???