Greg responds...

1. Yes.

2. You also didn't see Artemis or Aqualad.

3a. Yes.

3b. They all know now.

Greg responds...

1. To infiltrate and destroy his heroic opponents.

2. I don't know. Though to correct your "rumor" - we were informed before we even really got started that WG (both of them) were off limits, so she was never really included in our development of Season One. Obviously, that changed during the Season, so we included Cassie during our development of Season Two.

3. No set ending, no. I'll keep going as long as they're willing to put up with me.

4. Yes, I can tell lies until the cows come home. But I have to be in the right mood.

Greg responds...

How does any runaway with the skills of an assassin survive?

Seriously, I'm not saying there isn't a fun story (or sixteen) to tell about this, but this is NOT the forum where I'd tell it (them).

Greg responds...

1. At the time of "Image", Marie is 47.

1b. "Hello, Megan!" aired during the 1979-1980 television season.

2. They were checking to see if it would get any ratings.

Greg responds...

I guess it would depend on context.

Greg responds...

I think you're seeing things, I'm afraid. Let's blame the pixels.

Greg responds...

0. I understand and feel your pain, but it's now fair game to check the unanswered questions as the moderators are booting all spoilers out.

1. It was fake.

2. It's pheromone driven.

3. Sure. But not easily.

4. On occasion.

5. Nabu doesn't, but his host does. And when is he NOT on duty?

Greg responds...

Sure.

1. We start/started by breaking down the entire season on index cards on a VERY large bulletin board.

2. Once the basic arc was approved, I wrote up premises for every episode in the season. Each premise is about a page long.

3. We brought in our freelance writers and broke down a handful of episodes at a time, with each writer in the meeting (myself included) taking one episode as their own, but with every writer in the meeting contributing ideas and notions to everyone's story.

4. The writer goes off with my written premise and the notes from the meeting and writes up an outline. This is a prose document, broken down by scene/sequence of about 8 to 10 pages in length. For me, as a story editor this is a VERY important step, as it nails down the story, making script writing much easier.

5. I do a rewrite on the writer's outline and submit it to WB, CN, DC, Brandon Vietti and the episode's director for notes.

6. The writer goes off with my revised outline and all the notes and writes a script.

7. I do a rewrite on the writer's script and submit it for notes to WB, CN, DC, BV, S&P, legal and the episode's director. Usually showed it to Kevin Hopps as well, who was great at catching my mistakes. The first season, Kevin was on staff, and it was part of his job. The second season, he just did it as a favor. Good guy.

8. I do another rewrite or polish based on all the notes.

9. We record the script, casting any new rolls, etc.

10. Simultaneously, the storyboards are begun...

11. While at the same time, design work for the episode begins: characters, backgrounds, props, effects. This is ALL black and white line-art at first.

12. The boards are roughed out and get notes from the director.

13. The boards are cleaned up and submitted to Brandon and myself.

14. Brandon and I give notes, and the boards are revised.

15. Meanwhile, designs are approved and then we go through the same process with color and background painting.

16. Boards are slugged for time to make sure the show isn't too long or too short.

17. X-Sheets (timing sheets) are created to give detailed information to the animators about how long each individual action will take and to give mouth movements to the characters.

18. All these materials are shipped to Korea to either Moi or Lotto to be animated.

19. We occasionally call for "Wedge Tests" that allow us to preview important or tricky bits of animation in advance to make sure we're getting what we want.

20. The animation comes back rough from overseas. Our editor Jhoanne Reyes compiles it into what we call an A-Frame. It's a very ROUGH cut.

21. Brandon, Jho, David Wilcox and myself call retakes, i.e. we ask the overseas studio for animation corrections. We also call out visual effects for Matt Girardi.

22. Brandon, Jho and I edit the episode, LOCKING it to the exact time that the network requires.

23. We spot the locked episode with our composers, Dynamic Music Partners, pointing out where and what we are looking for in the music.

24. We do the same thing with Audio Circus, our sound effects experts.

25. We preview the music in advance of the sound mix to make sure it's on target.

26. Generally, by now most of the retakes have come back from Korea and Matt's done most of his effects work too.

27. We mix the show for sound. That is we sit in a room and painstakingly balance the sound effects with the foley with the music with the dialogue.

28. We "On-Line" the episode. This is our last final view of the finished product to make sure everything is as good as time, budget and our abilities will allow it to be.

There's obviously more to it than all of the above, but that should give you the basics.

Greg responds...

1. No. It has more to do with already existed in the DC Universe (pre-New 52, which didn't exist yet when we were working on our seasons).

2. I can't think of any other conscious influences, but I won't deny that it's all part of the soup.

3. The Team is big enough now - and has been, frankly, since the beginning - that it doesn't always make sense for everyone to go on every mission. That's why we have squads.

An Ask Greg Helper responds...

Greg Weisman says:

"I'm very ambivalent toward fanfiction . On the one hand, it's very gratifying. I've created something that has taken on a life of it's own. That people like enough to invest their time into and create anew. On the other hand, I have a territorial instinct that exhibits a kind of knee-jerk negative reaction to seeing other people controlling the destiny of my characters. (That's the main reason why Goliath Chronicles was so painful for me to watch.)

For example, I know that TGS is doing their own TimeDancer spin off. That's very cool, but somebody mentioned (though I don't know if this was the final word) that they're not naming Brooklyn's son Nashville, because they think the name is silly or because they hate country music or whatever. I can't help resenting that. (I know it's not rational, but I'm trying to be honest about my emotions here.) I haven't explained the Nashville name. I don't intend to explain it yet. Obviously, I have no intention of making Brooklyn into the next Garth Brooks, but I'm not in the mood to go into my reasons yet. But when someone else decides that GREG THE GARGOYLE MASTER made a misstep regarding the name of a character, I bristle.

But going back to the first hand, I have to acknowledge that once a thing is created and sent out into the world, it no longer belongs to the creator, but to the interpretations of those who received it. If a fan believes that Gargoyles were created by fey sorcery, then to that fan they were, no matter what I might say to the contrary in a comment room. Fanfiction is the ultimate example of fans interpretating (and extrapolating upon) what they've seen."

[Response recorded in the Station 8 "Gargoyles" FAQ, Section XXXIV.]