A Station Eight Fan Web Site
Thanks for doing such an amazing job with The Spectacular Spiderman. Both seasons are really enjoyable. I've just got two questions:
1) Why is it that a lot of the background music in season 2 was stuff that had previously been used in season 1? Aside from character themes, nothing seemed to be repeated in season 1, but in season 2, lots of music from previous episodes kept popping up again and again. Was a smaller budget used for the music in the second season?
2) The animation in season 2 seemed to be weaker than season 1 as well. Some episodes looked beautiful, but others seemed a bit choppy and off-model at times, like "First Steps" and "Identity Crisis". Was there a smaller budget for the animation in season 2?
1. Themes were reused intentionally -- and by the second season we had a LOT more themes to reuse -- but to my knowledge, no actual music was reused, and I attended EVERY music spotting session, muisc preview session and sound mix.
2. No. We've had inconsistent animation here and there both seasons. Both our seasons contain some of our most gorgeous stuff and some of our weakest stuff.
This Spider-Man question pertains to the show's relationship to the official "canon" of the long running comic book (now in the early 600s for issue numbers).
When Marvel comics first started getting more popular due to books like Amazing Spider-Man and Fantastic Four, the connections between the books began to take shape along the way, sometimes independant of the individual on-going arcs. In some history channel documentary on comics I saw, Stan Lee talked about the creation of the shared world of many super-hero characters, the "Marvel Universe," began in an issue of Fantastic Four in which Reed was giving some press conference. the artists decided to draw Peter Parker as one of the photographers, clearly representing the Bugle at the event. That was somewhat of a digretion, but an interesting tidbit nonetheless.
Anyway, The Spectacular Spider-Man has clearly not had any interaction with any other Marvel characters for all the obvious reasons, but has also not to my knowledge acknowledged - even peripherally - the existence of other Super-Heroes elsewhere. Is it still safe to assume that the action depicted in the show is in the context of the Marvel Universe's continuity of, say, the mid to late 60s, which comprises a good portion of the storylines from which you are drawing?
In my mind, yes. But until we get legal permission, I can't acknowledge that in the series itself. I even had to fight to use the phrase "Amazing Spider-Man" in the first episode, as we're not allowed to use that either generally.
Spidey's original suspision of Norman as the goblin seemed justified when he saw Osborn come out of the disguised doorway at a time convenient to a quick goblin getaway. However, later Harry reveals that the door just led to a wine cellar. Seeing as how they already seem to reside on a top floor penthouse, how much extra room do the walls have? WAS there a goblin hideaway behind the hidden wine cellar?
Do you know what Spectacular Spider-Man's ratings on Disney XD are like? There is no mention anywhere.
I have a vague idea. Relative to the network's general ratings and given the fact that so far they've only aired reruns, they seem to be respectable, especially after being cumed. I'd like to see them higher, but frankly no matter high they get, it's hard to imagine me NOT feeling that way still.
Hey Greg. I love the Spectacular Spider-Man and wanted to know if you have anymore plans for Venom in future seasons.
And before anyone starts posting a shopping list of characters, let me state that, YES, I have future plans for EVERY SINGLE character already introduced or mentioned, including the dead ones, and for many that have not yet been introduced or mentioned. And NO, I'm not going to reveal them here anytime soon. So there's no need to ask.
And, since I haven't asked a "Gargoyles" question in a while, I figure... why not.
You've said in the past that Demona still carries a torch for Goliath. Now, some have disagreed considering how often she's tried to kill him. But, I see it. I think it is most apparent in "Hunter's Moon Part Two"
When they were trapped in the Hunters' airship and Goliath was talking about vengeance, and shortly after seemed to kill one of the Hunters along with her. Demona seemed... excited... aroused even.
Granted, she still didn't tell him about her master plan, but... she seemed to me to think that maybe she would finally get through to him.
So, was she hoping to finally get her man back once it was all over? Obviously, we all know that even if Demona had succeeded, he'd never have gone back to Demona, but the way she's animated there and the way Marina Sirtis performed her dialogue definitely suggests to me that her attraction to Goliath is alive and... not sure if I'm going to say well, but it's definitely there.
I definitely think it's there, but I'm not at all sure she recognizes or is capable of acknowledging her true feelings.
Another Spidey question.
Is Midtown High a private school in "Spectacular Spider-Man?" I'm a bit puzzled that Peter and Flash both live in Queens and attend High School in Manhattan.
It's got to be top notch if they can get a major Broadway star like St. John Devereaux to direct the school play.
Obviously, Norman Osborn would send his son to a top notch school, and Liz's parents seem well off enough to do the same. Ditto with Robbie being the Editor-in-Chief of a major metropolitan paper. As well George Stacy as a police captain.
But, considering the Parkers' money problems, if Midtown is a private school, how did they afford to get Peter in there and keep him there?
M-cubed: Midtown Manhattan Magnet Senior High School. It's a public "magnet" school, with a number of different magnets on campus, including a Science Magnet, a Drama Magnet and a Civics Magnet. Flash is in the latter, though one gets the sense that his football prowess may have had something to do with getting him in.
It is considered one of the best overall programs in the city.
*** MAJOR SPECTACULAR SPIDER-MAN SPOILERS ***
*** I'M SERIOUS ***
*** OKAY, DON'T BLAME ME ***
1. So, I'm curious. When did Norman Osborn start preparing for his stint as the Green Goblin? Before "Survival of the Fittest"? After?
2. I also noticed that on Osborn's laptop monitor when he calls Peter and Harry out onto the balcony, there's a pumpkin bomb.
It seems to me like he's been preparing for this for a while now. Granted, he stole the glider just after Hammerhead threatened him. But, since "Catalysts" and "The Invisible Hand" take place on the same day, and Norman had that Goblin mask, costume and weapons ready to go, it makes me wonder.
So, question 3. Was he always planning to take control of the Big Man's empire? Or did Hammerhead threatening him push him there?
*** OKAY, DON'T BLAME ME ***
*** I'M SERIOUS ***
*** MAJOR SPECTACULAR SPIDER-MAN SPOILERS ***
1. Depends what you mean by "preparing". But the main impetus was being kidnapped and attacked by Vulture. He did not enjoy being that vulnerable. There was a line to that effect in "Final Curtain", but it was cut for time.
2. Was there a question here?
3. It wasn't just Hammerhead's single speech.
Big fan of all your work and just wanted to ask some general questions, none of which involve the possible Season 3 of TSS. (We're all hoping the show gets picked up!)
1. I'm very much interested in a career in screen writing, comic writing, and/or video game story writing. What steps did you take or what steps do you recommend for those pursuing this career? I'm an English major with a writing minor and I wondered if college degree played a large role.
2. Can you elaborate on any of the possible restrictions you may face if you persue the death of the Stacy's storyline or the introduction of Carnage? I'm not asking "if" you will develop these storylines in later seasons, but more of what kind of restrictions were you presented with for TSS. We all know how strict FOX was for the mid-90s animated series.
1. It helped me -- a lot. Both in terms of the education I received making me a better writer and in terms of the resume thing helping me get my first jobs at both DC Comics (from Dick Giordano) and Disney (from Gary Krisel). So I'm big on education. Beyond that, I've gone into greater detail in the past, so check the ASK GREG archives. But my recommendation is to READ a lot. WRITE a lot. And PROOFREAD a lot.
2. I haven't had any significant restrictions to date. Standards & Practices is NOT the reason those stories you mentioned weren't part of the first two seasons.
I have a question about language and translations.
Concerning the language "issue" in the Avalon World Tour, and the fact that everybody encountered by the travellers seems to speak English, you once wrote,
<<"Avalon compensates when it sends people to where they need to be...">>
From your response to my "Reunion" review, long ago, it appears this is still the case in canon-in-training. But is this also why Angela can apparently speak English? She seems to speak English in Manhattan. At least, she and Elisa understand one another. It also seems that something was happening when Tom came to New York, and spoke to Morgan and Elisa. Likewise, King Arthur is able to speak to Griff and the Manhattan Clan. And the Avalon clan and their human parents had no trouble talking to Elisa. King Arthur, Tom, the Magus, and Katherine all went to Avalon before the Norman Invasion of England, so they cannot possibly have learned anything resembling modern English before they went there.
1. What is the reason that Angela, Tom, and King Arthur can communicate with modern English speakers?
2a. Do they notice they (or the people they are talking to) are speaking a different language?
b. Did Elisa, Goliath, and Angela notice the language changes during the World Tour?
3. Yes or no: Is this effect(s) on Angela and/or King Arthur permanent?
1. Again, I'm reduced to the notion that Avalon compensates.
2a. They don't seem to.
2b. They didn't seem to.
3. Seems to be.