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Great reviews, I need to revisit this show. 

This is a good change of pace to avoid having the series fall into a rut or for the audience to expect only certain types of stories out of "GARGOYLES", but that it is a universe which can do mythical Shakespeare adaptations one minute and urban mysteries the next, with it all flowing together.
Elisa meets the elderly G.F. Benton (Darren McGavin) in Dominic's old address - who turns out to be the old time hood himself.
It is fun seeing Broadway don a trench coat and fedora like his TV heroes,
I wasn't fooled by "Benton" in the slightest, and it does lead to an interesting rooftop confrontation as the real "silver falcon" is discovered - even if the loot is for naught.
"BATMAN: THE ANIMATED SERIES" wasn't the only cartoon at the time which could wrest a suspenseful episode around some mafia secrets, as well as around people.
We learn more about Matt Bluestone here, especially about who he used to be before joining the NYPD. He's a character who could have easily been boring or even a bumbling comic relief but instead the show gives him enough texture that he avoids falling into a cliche and even manages to propel this and other episodes.
Tony Dracon has a white streak through his hair; perhaps at the stress of being chased by monsters in "DEADLY FORCE", which this in some ways is a sequel to.
While Dracon may not be a villain on par with Demona, Xanatos, or Macbeth, to me he stands out because he represents the organized crime element within the modern day city the best. He isn't an immortal being or a scheming billionaire industrialist or even a member of a squad of mercenaries. Naturally, one could argue that if you've seen one mobster, you've seen them all, but he helps ground the series in some reality as it allows Elisa and the Gargoyles to have to protect the city from street crime as well as against far out monsters or spells. So many of the series' villains are over familiar with the Gargoyles, so Dracon and his boys also manage to remind audiences that the Gargoyles are fantastic creatures in a modern world. Besides, it isn't as if Batman or Spider-Man should have a monopoly on occasional mafia plots. Such episodes in this show also manage to sell a certain mood as well as showcase Elisa's detective skills quite well. Broadway's knowledge of detective TV shows would also come in handy later on in "PROTECTION". The mystery of Mace Malone would also be settled to dramatic fashion in "REVELATIONS".
It is an episode which is set around Halloween and plays with the holiday in many ways; Greg Weisman would go on to make hay of the holiday in "REACTION" from "SPECTACULAR SPIDER-MAN" and in "SECRETS" from "YOUNG JUSTICE".
Not only is it a romp which involves a lot of characters and plays up on some of the romantic subtext between Goliath and Elisa, it is also another episode which seeks to reveal another layer to Xanatos himself.
Not long after, the city becomes plagued by attacks by a vicious werewolf
Xanatos seeks to employ the Gargoyles' assistance in stopping the werewolf, and at first as soon as they're convinced he'd playing them for pawns as he usually does. Elisa, especially coming off "METAMORPHOSIS", is in no mood to help Xanatos, even mocking how he seems to have a "plan C, D, or F" and so on.
Speaking of which, the very notion of love isn't something which Xanatos seems to easily admit.
He cites things such as equal goals or genetic compatibility in his proposal and seems to dismiss Fox's question of love a bit as he considers it a weakness.
It is especially fun to see Elisa in Belle's dress from "BEAUTY AND THE BEAST" since she and Goliath have a very modern, non-lilly white version of that classic romance. It doesn't hurt that the dress is detachable so Elisa can draw a gun from her garter belt, and they get to share a nice dance together and enjoy some time in between adventures. Thankfully, there's no singing furniture this time.
This is also an interesting episode for Goliath with "CITY OF STONE" on the horizon as it showcases what makes Goliath a strong character. When it's revealed that Xanatos wants their help in a mess of his own making, he attempts to be genre savvy and avoid wasting his time as a pawn this time. He's not a goody-good like 1980's He-Man and it makes perfect sense that his initial inclination would be for Xanatos to earn some just deserts this time.
While Xanatos does lose the "Eye of Odin" to Goliath here, he does succeed in arranging Goliath's aid in saving Fox, and it's hard to argue with that success.
The bottom line here is "GARGOYLES" doesn't do flat characters. Even some of the side characters such as Officer Morgan or reporter Travis Marshall have some details to them, but the core characters especially have some layers to them.
Many animated shows involve plots where the series' lead villain falls in genuine love (or as close as he can get to it) to the point that he's willing to bury the hatchet for a week to save her.
As a matter of fact, the lion's share of romances involving villains tend to be highly dysfunctional: Joker & Harley from "B:TAS", Skeletor & Evilyn from the 2002 "HE-MAN" series, or the Lex Luthor, Grodd & Tala triangle from "JLU".
Subsequent episodes will show that Xanatos and Fox get along very well and their very foreplay turns out to be dangerous to their enemies. The creation of a "battle couple" for heroes in network animated epics is itself rare as many heroines fall into "damsel in distress" territory; Elisa clearly isn't one of them as she kicks butt alongside Goliath and the Gargoyles routinely. The creation of a "battle couple" for series villains, outside of "VENTURE BROTHERS", is even rarer. The next episode will cement Xanatos and Fox further, and then the saga afterward will play on themes of love and tragedy on an epic scale.
"EYE OF THE BEHOLDER" cements just about everything the show does well. It develops its villains as much as its heroes, pays homage to classical themes and stories, offers a lot of thrilling action and smart dialogue, and seems set to break just about every TV trope and cliche for afternoon animated series for network TV that it comes across. It's hard to imagine it getting better than this, but it does.
We're headin' to a weddin' with the next episode, titled bluntly as "VOWS" to lay it on the nose. Wedding episodes may be common in soap operas but in daytime network animation with the intended target of 9-12 year old boys (and others), they remain fairly rare. In fact the most notable episodes I recall all aired after this one did in 1995. "SPIDER-MAN: TAS" had the even more bluntly titled, "THE WEDDING" from 1997 saw the web-slinger marry a hydro-clone of MJ in a ceremony that's interrupted by Black Cat, Green Goblin, Scorpion, Kingpin's lame robot, horrible dialogue and poor pacing.
Understandably, Goliath is less than convinced that the wedding isn't yet another scheme when he's invited to it (which results in some fisticuffs), and even more understandably Elisa and the others at the clock tower warn Goliath not to go.
However, not only does Goliath still hold out some hope that Xanatos could be redeemed by love,
but that attending a wedding reminds him of a long ago time when he and Demona attended the wedding of Malcolm and Elena at Castle Wyvern and exchanged their own vows back in the 970's. To that end they split the time-spanning "Phoenix Gate" between them instead of rings.
Time travel episodes are a tricky wicket; done tightly they tie up some loose ends but done poorly they can become confusing or convenient. Fortunately the show appears to set in strict rules for time travel much as it has for magic. The rules for magic tend to be, "all incantations/spells are taken literally" and the rule for time travel is that attempts to alter it wind up fulfilling it.
Demona winds up traveling back to Castle Wyvern, circa 974 - roughly 19 years before the betrayal and massacre which kicked off "THE AWAKENING".
even if the seeds of what are to come are still within the younger Demona; she is still wary of humans and is working as the Archmage's apprentice - explaining how Demona would seem to have an affinity for magic later on.
It was he who wanted the "Phoenix Gate" as a part of his own plot to betray the kingdom, and doesn't take kindly to Demona seemingly botching it.
Meanwhile, Xanatos' membership in the Illuminati proves to be a boon even as far back as this, when the cabal was in its infancy. Petros learns that it was Xanatos himself who organized his own wealth by rescuing the royals from attack and making sure one of the coins he earned in reward would be sent to him in 1,000 years. As David brags to Fox's awe and Petros' chagrin, he really is a self made man.
More to the point, it lays in the critical seed to the upcoming "CITY OF STONE" with one swoop; Demona's quest for revenge winds up being the cause of all (or at least most) of the misery which befalls her for the next thousand years.
"CITY OF STONE" is a tragedy written in four parts, and is the longest single arc since 'THE AWAKENING" which kicked off the series with his own five chapter adventure. Despite all of the innovations and brilliance the series had rolled out until this point, "CITY OF STONE" was, and perhaps is, the most ambitious the show ever was.
Furthermore, it mingles the history of King Macbeth of Scotland with the theatrical play "Macbeth" from William Shakespeare, while also forging its own mythology for the series around and within the two.
It was a great risk to helm a four part saga which spends roughly 70% of its efforts to flesh out two lead villains in the past, but it was a risk which reaped glorious results.
The figures who manipulate the events of the story as well as bookend certain chapters and episodes for the audience are the Weird Sisters (Kath Soucie), three mysterious women who seem to exist across time without aging and who hold vast powers.
With an entire city at her mercy, Demona goes about smashing random stone civilians each night in full murderous glee;
As has been previously established, Xanatos may be many things but he has a sense of honor and loyalty to those closest to him; he is not the thankless mastermind who blasts key minions for slight errors or abandons them to their fate on a whim yet expects them to serve him endlessly, as many villains during the 80's and 90's did. Heck, even the 2002 Skeletor didn't evolve past this, and one may ask Baxtor Stockman how forgiving the 2003 era Shredder was.
Frankly, Demona had a clear choice between telling the clan about the devil's deal she made to convince them to flee for their lives or take SOME course of action, or keeping the pact to herself in the hopes of at least one human being good for his word - and specifically for Demona's own treachery to not be revealed to the clan.
This would begin a long and tragic chain of events where every attempt at Demona to lash out in revenge or bitterness would wind up causing more misery for herself and any gargoyles around her. It would be satisfying for Demona to get her just deserts for her treachery, but the dilemma is that often those around her pay the worst price; she always survives by luck or pluck.
As with most tragic figures she does have moments of clarity, but they are often rare and quickly lost to her vengeance fetish (or stubbornness). Regardless, the "What have I...what have THEY done to you!?" moment is touching and enlightening.
After 994, Demona would remain the terror that flaps in the night (I couldn't resist), eking out an existence for her and the few rag tag band of gargoyles she unites across Scotland by stealing food and terrorizing anyone in their path.
She spitefully carves a mark across the face of a small boy during one such raid soon after, and the unedited episode shows enough gore that we can imagine the brutality of the injury without it being too gruesome. That boy was Gillecomgain who would grow up and become the first Hunter, wearing his scar mark on his mask and acting as assassin for Duncan and slayer of gargoyles.
Sixteen years later, we meet the young Macbeth and witness his innocent love bud with Gruoch over a game of chess; a bond of lovers over chess would come up later in "OUTFOXED" and serves the message (to me at least) that a worthy love to have is someone who can challenge your mind, instead of just being "hot".
While Duncan (who starts out as a dead ringer for Prince Valiant, which probably distracts from his black, ambitious heart) is next in line for the throne of Scotland after Findlaech, he fears that Findlaech will instead bestow the monarchy to his son Macbeth; thus, "the Hunter" is set to execute him.
As the start of the 11th century marches on, the now King Duncan manipulates Macbeth into killing "the Hunter" once Gillecomgain stops following orders to the letter after being wed to Gruoch as part of his payment for regicide.
Their fate becomes intertwined when Duncan (who has now become the Hunter himself and continued the pursuit of gargoyles) and Macbeth encounter the Witches in a bog, Shakespeare style, and they foresee the end of Duncan's reign as well as Macbeth's own troubled tenure as king.
Despite Macbeth offering her equality as one of his advisers, haven to her people and even naming her, it is never enough to overcome her distrust and hatred of humans in general.
Fortunately, the show is wise enough to know when to try to bend those censorship standards to showcase the brutality and danger of the middle age battles without being too gory. Cut away shots just before Demona caves in a skull, showing more falls without landings, do well to note that people do tie in war (fancy that).
The flashbacks do well to mingle history with Shakespeare and the show's own histories for Demona and Macbeth. Make no mistake, John Rhys-Davies and Marina Sirtis are the stars of this arc and make great hay of the tragic material they are offered. Sirtis in particular seemed to put so much passion into her performance that I distinctly recall a particular monologue, either for this arc or some prior episode, where I thought I heard her voice crack, as if she was about to cry into the mike from the emotion of it all.
I've probably ruined some twists with my summary but I'll try not to quote the finale of the fourth episode, as it's probably one of the meatiest multi-arc finales put to Western animation - and it gets better once the fighting stops.
"GARGOYLES" is a show which manages to offer many things in its adventures, such as an education on history or Shakespeare as well as morals about reading or guns mixed into the tales enough that they're not preachy or condescending. The end of "CITY OF STONE" in a manner which may be difficult to equal or rival brings home the message of the tragic folly of revenge.
After all, Demona's vengeance against humans spans into slaughtering random ones who are many centuries removed from the Vikings and in no way, shape or form did her or them harm. Her zeal to destroy her enemies has made her far worse, and become a perpetual corruption cycle.
Xanatos and Goliath are a mirror of Macbeth and Demona in the modern era to a degree; human and gargoyle whose fates have become intertwined and who have waxed and wane from allies to enemies. Goliath of course has long been Demona's opposite - patient, loyal, stoic, willing to learn, and selfless to the needs of his clan - but even Xanatos seems to act as a contrast to Macbeth. Neither of them have taken vengeance as a motivation in life, either in general or against each other. Up until this point Goliath has even sought to encourage Xanatos' love to Fox, even if Xanatos still plays him for a pawn.
Even after all of their struggles against each other, Goliath and Xanatos care about other things - and other people - more than revenge to the point that they can unite against a common threat such as a city of stone - or Demona.
At the start of the show I compared Demona to Magneto, and while they have some similarities they also have many key differences. The chief among them is Magneto could at least claim legitimate grievances. Barring some future retcon, he didn't create the Nazis, or the concentration camps which he spent his youth in that took his parents. It wasn't his fault a crazed mob stopped him from saving his wife and daughter. Much of what came after was fueled by his "Brotherhood" crusades but he always had a point when he claimed he hardly started it - at least in terms of his life. While the people of castle Wyvern didn't treat the gargoyles as fairly as in prior generations, they still allowed them sanctuary. They didn't set them up for slaughter.
I'm probably going in circles (proven by the fact that I broke the SHH character limit three times tonight). "CITY OF STONE" is a stage tragedy which isn't on a stage or written entirely in poem, but has enough weight to it that you'd swear it hailed from the 11th century too (because much of it did). It is an opera without the songs, still managing to deliver on the emotion and tragedy with words. Sure, the animation by Koko Entertainment may not be as pretty as the animation by Walt Disney Animation Japan, but it's still on par if not better than most animated productions of the time or even some years later. Frankly, the story and performances were riveting enough that it hardly mattered; episodes with slightly better animation are just already great episodes with extra dazzle. It is a high point of the second season as well as what could have led to a season finale had Buena Vista ordered the episodes Weisman and co. believed they could produce (13-18) instead of what the studio wanted (52). It's an arc that not only shows its faith in its audience to accept a four part tragedy centered around two antagonist's lives for the most part, but it rewards it completely. You can't look at Macbeth or Demona the same now that their pasts have been revealed to this depth, that all or most of those mysteries have been answered, which is a good thing. Many shows have done "origin of the villain" episodes but few not only do it to such a exemplary fashion, but in a manner which continues to add fuel to the fire of new stories yet to come. Even after four episodes which lay their strengths and faults and cyclical violence bare, there's yet more to be done with Demona and Macbeth, and you forward to it as if this four episode masterpiece was just an appetizer. I used to wonder why the hell "SPECTACULAR SPIDER-MAN" never won an Emmy; by this stage I am wondering why Emmys for animation exist if "Gargoyles" didn't win one. From 1994-1997 was "The Simpsons" really more brilliant than this that it deserved to win twice in that span? I adored "Pinky and the Brain", which won it in '96, but "Gargoyles" was never even nominated for Avalon's sake. But, I'll learn the lesson of the arc; rather than be consumed by bitterness about the lack of awards of the past, it is best to appreciate it now, as DVD has belatedly allowed it to be fully experienced and appreciated by fans new and old.
TMS did great animation on some episodes as they know how to do awesome animation and i loved that it has the feel of Ninja Turtles with Batman TAS thrown in .
Anyone likes it that this show is made from the makers of Batman TAS and Spawn TAS? you can tell it's from them.
I know it's not from Bruce Timm but from some of the same character designers of Batman TAS/Gargoyles and some animators with Eric Randomsky who produced both shows did this.
Keith David even starred as Spawn and Xanatos is kind of similar to Wynn.
Demona uses her human form from "THE MIRROR"
This leads to Demona and Macbeth offering a showdown at "high noon" for the increasingly fatigued Elisa, who between her day job with the NYPD and her "night job" with the gargoyles is running on fumes.
As usual, Demona's primary motivation is revenge as she sees Elisa as Goliath's replacement of her and is eager to kill her to punish Goliath (before ultimately killing him, if given the chance).
The animation is by Disney Japan which always provides the best animation for the series; the greater volume of episodes meant they animated episodes less frequently than in season one so a "DJ" episode is always an extra treat.
There is a lot of great action in this episode, including the long awaited showdown between Demona in her human form and Elisa (in full chest kicking glory).
Turns out they've both become the servants of the Weird Sisters, who intervene when even mind control proves unable to overcome the pair's mutual hatred forever.
It has all been a "gambit" to make off with the Grimorum (there since "ENTER MACBETH"), the Eye of Odin (from "EYE OF THE BEHOLDER") and the Phoenix Gate (which popped up in "VOWS"). This is hardly the last we'd see of these magical items, which is also good news. Not only are characters advanced and utilized in future episodes, but so are some of the magical MacGuffins from previous episodes. Many action cartoons of the past, present, and future have always utilized MacGuffins which may mean a big deal in one or two episodes and then are never heard from again. The original "HE-MAN AND THE MASTERS OF THE UNIVERSE" from the early 1980's was perhaps the most notorious about this. Instead "Gargoyles" makes sure these items show up enough that one understands why it is worth obtaining and protecting them.
Furthermore, it is always good seeing more of Demona and Macbeth, and a showdown with Elisa was inevitable. She's the one who ends up rescuing the gargoyles this time around, which is always essential for cementing her role as an equal in the clan, rather than a damsel-in-distress like many female characters tend to be in action cartoons of the time.
Even in later episodes when she is captured, she's rarely alone in that regard and often is captured alongside Goliath if such things happen. There's no quit in Elisa, and underestimating her is usually something most villains regret. Considering her hatred of humanity, seeing how Demona copes with her daylight form is also interesting.
As the 26th episode, this was naturally the marker where "SPECTACULAR SPIDER-MAN" ceased, although we're not even halfway through "GARGOYLES" yet. Goes to show how incredible 65 episodes can be, eh?
It also features a guest voice by the awesome Robert Culp, an actor I got to appreciate more when I got to watch "THE GREATEST AMERICAN HERO" earlier this year.
Much like Xanatos, Renard has a second-in-command with glasses and a buzz cut in Preston Vogel (Peter Scoleri), who bares such a likeness to Xanatos' right hand man Owen Burnett that they may as well be brothers, or cousins.
Unlike Owen, Renard ends up sabotaging the Fortress-2 over money, but in the end comes to his senses when Renard proves willing to die than have it be lost, or crash into his other facility.
In the end, he admits that being tricked is no excuse for doing harm to someone, and admits his mistake.
We also learn that Renard is Fox's father, who seems to be on the receiving end of her exploits. Willing to hand her his company, Fox (whose real name is apparently Jeanine Renard) instead seems intent on trying to steal it from him for the sheer thrill; something which could come to an end as she reveals being pregnant with Renard's grandchild. Is the world ready for the offspring of Fox and Xanatos? The nations of the world may as well just offer the babe the planet and get the drama over with.
While the robot smashing race against time is thrilling enough, this episode further cements why Goliath is an engaging lead character. He may appear in virtually every episode even if he doesn't exactly get as much fleshing per episode as some other characters. However, when he is fleshed it is often because he has something to learn himself. He didn't hatch perfect and like most people, he is a work in progress. Many "leaders" in team shows are among the most boring of the cast because they seem to exist to issue orders and be perfect.
Goliath avoids that by always being a work in progress who eventually has to overcome an obstacle or misconception within himself given enough time. Often times the biggest difference between heroes and villains is that heroes own up to failures and are inspired by tragedy, while villains tend to only use errors or tragedies as excuses for future misbehavior.
Yet Renard treats Fox's attempts to destroy his company and her dangerous exploits as a hobby he'd wish she'd grow out of more than something he seems disgusted for; to that degree I think they have a better relationship than Xanatos has with his own father, Petros.
I bet after so many episodes revolving around ancient mystical plots between Demona, Macbeth and the Weird Sisters, everyone is at the edge of their seats for another episode about mobsters, right? While some episodes like "REVELATIONS" may be dismissed or forgotten as they're not always as epic as episodes like "CITY OF STONE" or others, I feel they do well to ground the universe as well as help develop some of the human characters. They also help enforce the notion that the world of "Gargoyles" is rich enough that writers and producers can tell ANY kind of story within it without breaking the mold. It could be wizards and gods one week and cyborgs and mobsters the next, and it all works.
As stated before, Matt Bluestone (Thomas F. Wilson) in a poorer show would have served as bumbling comic relief (like Cash Tankenson in "THE BATMAN" or Doyle from "THE MASK" film and cartoon series), or even as an annoying, unlikable nuisance (Vernon from the 1987 "TMNT"). Instead the show chose to develop him gradually and ultimately bring him into the fold with Elisa and the rest of the cast when it made the most sense.
Still seeking to track down a mobster from an old photograph, Mace Malone, who hasn't been seen since the 1920's and is presumed dead, Matt finds his embittered step son, Jack Dane. Dane is voiced by Ed Asner, who usually voices Hudson, but who has fun here with a small character part ("Tell 'im he's a BUM!").
Bluestone manages to find the elusive Malone, who's looking swell for a man over 100 years old and who, he rightly deduces, is a member of the "Illuminati" himself. Malone is voiced by Efrem Zimbalist Jr., who cartoon fans will know bast as Alfred from "B:TAS" as well as Dr. Octopus from "SPIDER-MAN: TAS" and the first PS1 "Spider-Man" game from Acclaim.
He offers Bluestone a shot at the exclusive cabal so long as he manages to get one of the gargoyles - who the Illuminati know about due to Xanatos, one of their "lower ranking" members
It is easy to sympathize a little with Bluestone as he's hurt by Elisa lying to him all this time, even though as viewers we know perfectly why Elisa did so. This is one of the merits of the show, in that it can have characters oppose each other yet not be painted simply as heroes or villains or obstacles all of the time.
We also learn that Elisa was hesitant to introduce Matt to the gargoyles not entirely because she distrusted him, but because she enjoyed having the gargoyles as "her special friends" and wasn't ready to share them with others. Being their only human friend is a big role that she wasn't ready to share with someone else, which is actually a fairly reasonable and human angle for her in that regard.
Now Bluestone has been formally invited to the group he's been chasing for years - what's to become of him then?
And, the Disney Store is now carrying it on their website.
http://www.disneystore.com/gargoyles-season-2-volume-2-3-disc-dvd-set/mp/1341274/1000316/
I like to think this is because it's been doing well. If you were on the fence about ebay or joining the Disney Movie Club, you have a third and easier option.
It has been no secret that ever since breaking the spell that entombed the gargoyles for a thousand years and seeing what they were made of, David Xanatos has long sought to duplicate and improve upon them. They're stronger and tougher than men while remaining highly intelligent, can glide, scale walls and are long lived. Yet his "Steel Clan" have served as minions at best while genetic duplication attempts as revealed in "METAMORPHOSIS" produced varied results.
Bluntly, Thailog is literally an "evil clone". Such characters are old hat in many action stories, whether in spirit or as literal clones. Seeing a hero "meet their match" has long been a trope of comics, cartoons, and film series. From Slash in Ninja Turtles to Negaduck in "Darkwing" to Bizarro with Superman to Faker from He-Man to even Venom from Spider-Man, such characters are often a dime dozen and every major hero gets one.
While the black coloration may be for the sake of not confusing the audience, it also help set Thailog apart from Goliath.
This episode naturally features a straight-up villain complete with a deathtrap segment and maniacal laughter, but it succeeds due to execution as well as showcasing how Thailog differs from Xanatos or Macbeth or many other villains in the show. While Xanatos naturally considers Thailog a "creation" or an experiment, Goliath considers him a "son", as biologically that is quite true.
Weisman and company would go on to play with such themes in more depth in "YOUNG JUSTICE" with Conner Kent/Superboy being a hybrid clone via DNA from Lex Luthor and Superman.
While such a revelation about Conner came from the comics, it wasn't "revealed" in the comics until 2003; some eight years after "DOUBLE JEOPARDY" aired. Given that Miles Warren had become a supporting character in "SPECTACULAR SPIDER-MAN" continued past a 26th episode, that show more than likely would have played with such themes as well.
Ironically, while these days it seems Keith David often voices villains when he does some vocal work on a series, back in the 90's he'd been playing Goliath long enough that it was easy to simply consider him as a "heroic" voice, so Thailog allowed him to cut loose a bit and unleash that darker side (and "talk to himself" as many VA's who play more than one character tend to in 'toons).
Despite being chained up with the rest of the gang, Elisa also proves critical to their escape; she's nobody's damsel.
Speaking of which, it does make Sevarius' line about whether not having a tissue sample of Goliath to work with was a situation "that had changed" in "METAMORPHOSIS" have more meaning.
Yet because both Goliath and Xanatos have those attributes, Thailog isn't seen as just some evil clone to be disposed of; both feel a sense of responsibility for him. For a quick contrast, He-Man tricks Faker into plunging off a cliff into a bottomless pit without more than a warning in the 1980's.
I won't lie; once it became clear to me that Thailog was naturally a recreation of Goliath with all of his strengths and none of his "weaknesses" like honor or love or mercy or that sort of stuff, my first thought was, "He just made Demona's dream man". As evidenced in no end of previous episodes ("THE AWAKENING", "TEMPTATION", "CITY OF STONE", "VOWS"), the wedge which drove Demona from Goliath was his unending mercy and patience with the humans, which clashed with her self-generating hatred and vengeance against them. I was immediately imagining the two meeting and figuring that episode would write itself. I would prove to be right, only the show would naturally make us wait for such goodness.
Up next is "UPGRADED",
which features the return of the Pack as well as a display of a critical skill in terms of handling long term villains in action series which it seems is rarer in comics and cartoons than it should be. Many franchises, whether animated or not will feature reoccurring villains who keep coming back again and again. This naturally helps establish a rogue's gallery to build a world upon, but many franchises seem to forget these villains are characters to who would have their own development to do. More to the point, wouldn't being beaten a lot by the heroes get grating? Shouldn't villains seek to up their game with every appearance?
Naturally this allows for the squad to improve themselves using manners and techniques which seem to reflect their inner selves to a point. Wolf decides to become more of a monster with genetic enhancements while Jackal and Hyena make themselves living weapons of war with cybernetics. Dingo, being the only one of them left with some remorse or at least as the more grounded of the squad, simply dons a suit of technologically tricked out armor.
With all respect to Jim Cummings and Clancy Brown, but Matt Frewer and Cree Summer usually steal the show with Jackal and Hyena during Pack appearances. Hyena showcases how flexible she is, and this is still the craziest performance I've seen Summer give; she makes Elmira from "TINY TOON ADVENTURES" seem like Penny from "INSPECTOR GADGET".
In terms of allusions, this episode was the one that got me to think that some elements of the Pack would be utilized as inspiration for how "SPECTACULAR SPIDER-MAN" would handle the Enforcers (Montana, Fancy Dan, and Ox). They would serve as a squad of professional criminals/mercenaries who come across a superhuman opponent and fail ("SURVIVAL OF THE FITTEST"). Montana becomes Shocker with advanced technology to better challenge Spidey ("MARKET FORCES"), and after several appearances, both Ox and Dan would become advanced technology and redesigns "Probable Cause").
I won't lie; as the trio move past competition to uniting and capitalizing on each other's strengths to prevail, I honestly expected a wishy-washy choice where Goliath decided that all three were equal to lead or some sort of dodgy morality statement along the lines of many other cartoons. Fortunately, that expectation was a lingering memory from being exposed to far too many inferior or at least vastly simpler shows. Goliath chooses Brooklyn definitively, as he has the best attributes of both (stronger than Lex but faster than Broadway) as well as the ability to figure things out and lead the two of them swiftly. My, it has been a while since Brooklyn was a hot head in "TEMPTATION").
In the end of course Xanatos and Fox come to the end of their chess match, where Xanatos proves gracious in defeat. To a degree this would seem surprising, but after "THE EDGE" and other episodes, it would be expected for Xanatos to be more turned on by a wife who can match wits with him rather than want blind, dumb subservience. They still managed to enhance the Pack for future missions as well as test out Coyote once again. A missed merchandising opportunity is also glimpsed as that gargoyles chess set seems like it would sell quite well so long as it wasn't over produced. Both Xanatos and Fox are willing and angle to play chess with real people's lives and manipulate teams of people to suit their own needs, which is another reason why they're made for each other.
Which was nice to see, since we went through five episodes with Demona where we didn't see her human form, so it was nice to see how she uses it.
She actually works the night shift. So, for all intents and purposes, she's as nocturnal as they are.
On top of that, she sees Elisa as a threat to her own world view that humans are all scumbags. If that illusion shatters, then she might have to take a long hard look at herself and her own faults.
Agreed. Their episodes are just stunning to look at, and it breaks my heart that Disney shut that studio down.
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Damn man, she is hot in both incarnations.
Eliza was sexy too as was Fox and Maggie was cute
another one of those mobster related episodes I sometimes feel the need to defend.
To his credit, Goliath refuses to believe that Elisa has become corrupt and assumes she is under a magical spell or some other influence; hardly an illogical conclusion considering his experiences in "THE MIRROR" or "TEMPTATION"; even at this stage he trusts her too much to doubt her character under her free will.
I did like the fact that while Goliath and Broadway were puzzled, there wasn't some extreme, "oh my lord our friend has gone evil!" reaction as many shows with similar plots have done (off the top of my head, "CLASS OF THE TITANS" had an episode like that years later, called "THE TROJAN HORSE").
Considering Goliath is usually the leader of the Manhattan clan and Broadway can often play the comic relief (or the amusing glutton), it is interesting to see that dynamic change in a situation where Broadway is wiser and has more experience with it than Goliath does. To this end Goliath even takes Broadway's lead once they're interacting with the mobsters, even though Broadway is still seeing inspiration from crime films like in "SILVER FALCON".
She gets quite a thrilling fight with him at the shop when he tries to take her hostage; underestimate Elisa as a damsel at your peril. This time Dracon has admitted to his protection racket in blunt terms on camera, earning him a bail proof prison sentence which sticks; we don't see him again for a very long time.
The show would go on to bigger, bolder, more epic plots so now was as good a time as ever to put a period point on their mobster subplot for the time being. As I have stated before, I have appreciated these episodes involving organized crime as a means of keeping some sense of "reality" in the gargoyles universe as well as changing up the tone now and again along with showcasing the gargoyles "protecting" their "castle" of Manhattan from more everyday threats in addition to far out monsters.
during recording sessions, which resulted in a bet between voice director Jamie Thomason and series creator/producer/story editor Greg Weisman about working it in.
It all leads to quite a climax in the underground labyrinth once used by Cyberbionics between all involved parties.
Goliath's willingness to kidnap someone off the street and keep them prisoner for days is naturally a drastic shift in character, even if his intentions are still "noble" in the end. He wanted to force Sevarius into making a cure for Talon as well as, in his eyes, protect him should Talon discover he was alive and just seek to kill him. Despite him doing this out of being unable to watch Elisa suffer through her brother's disappearance, he doesn't get her approval (since she's about law and order, and the ends not justifying the means), so they do have a good scene where she talks him into releasing him. It also showcases the slippery slope which exists between "good" and "evil" or wanting to do something right but using terrible means to do so; the road to hell being paved with good intentions. It's another episode that shows that Goliath's far from perfect and needs to be kept in check by those around him sometimes, like most people have to be; even today, it's rare to see a "leader" character in a genre team show who is challenged and shown to be as imperfect as Goliath usually is, but that's usually where the most growth comes from.
The final episode before the next major arc, (the three part "AVALON" saga) is "THE PRICE"
While the action is quite good in this episode, the real crux of the episode is the conflict of ideology between Xanatos and a captive Hudson over mortality. After "DOUBLE JEOPARDY" and "THE CAGE", Xanatos has abandoned attempts to recreate or mass produce the gargoyles (even if Dr. Sevarius hasn't) and has instead switched gears to attempts to fend off mortality and live forever. Citing the desire to enjoy his wealth as long as possible (although considering later revelations about Fox's heritage, it could also be some attempts to match her lifespan)
As "LONG WAY TO MORNING" showed, Hudson is not to be underestimated as he capitalizes on patience and opportunity.
Considering that Xanatos usually matches wits against Goliath or Elisa in most episodes, it was a refreshing turn to pit him against Hudson this time around as the opposite of what he sought to attain.
We also learn that Hudson was already 100 years old by the time Magus' spell zapped him in 994.
Ages in parenthesis represent biological age when that age differs from the character's chronological age.
As of December 31, 1996:
Hudson - 1118 (59)
Goliath - 1058 (29)
Trio - 1038 (19)
Angela - 952 (21)
Bronx - 1018 (9)
Demona - 1058 (35)
Coldstone - 1058 (28)
Macbeth - 991 (52)
Xanatos - 41
Fox - 30
Alexander - not yet 1
Elisa - 28
Talon, Dracon - 26
Beth - 21
Katharine - 1020 (62)
Tom - 1010 (52)
Gabriel, Ophelia, Boudicca - 952 (20)
During the ordeal, Xanatos seems to gain more respect for Hudson, who doesn't lament his age and successfully escapes his cage.
Xanatos, for his part, seemed to gain some respect for Hudson that he feels he's "earned" his escape and allows him to leave unharmed; after all, Xanatos got what he wanted out of him, and he isn't one to kill flippantly (especially since the gargoyles "come in handy sometimes").
Owen proves to be ever the loyal guinea pig, as it seems the cauldron turns any flesh within it to stone. Future episodes, naturally, would maintain this continuity with Owen's stone hand.
Despite Goliath's insistence on everyone in the clan being "brothers and sisters" of equal importance, Hudson is his mentor and in my mind is the closest thing Goliath has to a father.
In the end, this is another excellent Hudson episode, even better than "LONG TIME TO MORNING" was. We get beautiful animation of the peak of the series, a debate about legacies between two great characters, a ton of action, and some exciting roles to play for all the other characters in the cast. As the last episode before the start of "AVALON" and through that the "world tour" arc, it's hard to ask for much better.
It also marks a departure from playing things "safe" or to a formula to risk offering something truly new for fans of the show. As with all multi part arcs, it's easier to cover it in one longer review.
We learn through the flashbacks that they were as good as their word, tending to "the eggs" as if they were treasured possessions and ultimately relatives.
Katharine literally knights Tom to be their guardian as a boy, and it a role he took seriously into adulthood.
The princess, Magus, Tom, and his mother Mary would trek to the kingdom of Katharine's uncle, Kenneth II for sanctuary. Unfortunately, as seemed common at the time, they wind up waltzing into another brutal shift in politics as Constantine plans the assassination of the king and manipulates Lady Finella to this end.
Constantine's treachery is witnessed by Tom, although the murderous social climber makes a critical error in underestimating the woman he'd just dismissed. Seeking to marry Katharine to strengthen his royal credentials (and using the eggs as hostages to force this end), Finella helps to arrange their flight from Scotland to the secret isle of Avalon (where, according to legend, King Arthur lays in slumber).
As with "CITY OF STONE", the genuine history of the monarchies of Scotland provides more than enough ore for drama without a lot of embellishments, although naturally the show's creators do alter things to fit their own mythology - the historical details simply add more weight to it.
Tom grows up and dons his armored gargoyles cosplay
To be blunt, the Archmage is one of the show's closest attempts at something one could call a "traditional super villain". His plans are simple, he toys with his prey long enough to prove his undoing, and his efforts are very over the top.
It all works through the performance of David Warner (the original voice of Ra's Al Ghul) as he gets to talk with himself as the elder Archmage prepares the younger (or, at least, less old) Archmage for his eventual rise to power.
What the Archmage may lack in charm or pizzazz he makes up for in long scale time travel planning and background manipulations.
Having become the employer of the Weird Sisters (or at least aiding them enough that they decided to unite with him for a time)
Besides, David Warner is too great a voice actor to simply use as a guest stint for a flashback villain, and "AVALON" gives him a lot to do as well as a chance to show some range. Much like with "VOWS", the time travel paradoxes also all work, which can be a tricky thing to pull off.
The Magus in particular makes the ultimate sacrifice to save everyone from the Weird Sisters without the protection of the Grimorum. There is a bit of a romantic triangle between Tom, Katharine and the Magus although naturally there is more than one type of love and ultimately it was about the Magus proving that he wasn't as helpless without his spell book as he thought, as with enough spirit and determination, almost anything is possible. So long as I am making "Lord of the Rings" references, I suppose Magus and Gandolf might have some similarities, except that Magus' sacrifice for his friends isn't simply a stage to a higher power, but a price he is willing to make for those he loves - gargoyle and human alike.
It is in these three where we see that Demona is wrong; that not every human is incapable of change, destined to hate them and thus deserving of genocide (although of course Demona might had learned that in Macbeth if not for her own vindictive nature, but that's her tragedy). Not only was Demona wrong about humans in the 20th century, she was wrong about them even in her own century.
Speaking of new gargoyles, now is as good a time as any to talk about the new addition to the cast. "AVALON - PART TWO" sees the introduction of Angela, voiced by Brigitte Bako (who at the time was probably best known for "RED SHOE DIARIES").
As Elisa notes at the start, she bares a striking resemblance to both Goliath and Demona, a fact which Goliath is mum about but rises to the fore over time.
Angela had a difficult task ahead of her; being introduced as the first heroic female gargoyle for a stretch where most of the rest of the Manhattan clan members were off stage while still having a personality which wasn't set in stone.
Having been raised in the bliss of Avalon where chaos are war were things which had become very recent, Angela had to have a sense of innocence and naivety while at the same time having quite wits and some of the fire of her parents in battle. Done poorly, she easily could have been seen as a Scrappy Doo or an affirmative action character; as always with this series, Angela is handled well and works perfectly in the context with which she is introduced.
Had she been tossed in with the rest of the clan back in NYC, the writers risked either losing her to the shuffle or having her actively upstage the Trio and the rest of the cast. Instead, with the "world tour" placing most of that cast off stage for a bit, it allowed her the opportunity to properly introduce herself to the audience but also grow and change from some globe trotting adventure.
Considering Demona's own self sustaining darkness and cruelty, it actually is ironic that Angela emerges this way. While I certainly can agree that Angela fills a notable role in the series, I actually didn't even seem to notice that Demona was close to being a "Smurfette". I imagine this is due not only for the fact that Demona is a character who is not defined by her gender nor does she utilize it as her only weapon as countless female characters (good or bad) seem to do in fiction, but that "Gargoyles" has other notable female characters in its universe so Demona doesn't have the task of being the representation of her gender. Elisa, as has been said many times, was shattering gender roles for heroines in "boys action series" since the pilot, and remained as vital a part of the story as any of the gargoyles. But you also had Maria Chavez, Diane Maza, Fox, Hyena, heck, even Margot and Maggie the Cat.
Goliath of course gets to meet his daughter and begin the route to his own growth as a character. He will be tested not only by the Archmage himself, but by his developing bond with the daughter he never knew as well as in protecting the Eye and the Phoenix Gate from other evildoers - both of which would later go on to test him at his very core.
Goliath was often at the center of the universe, the seed at the middle of the fruit of the series, and part of why that works is not only does he rely upon and intermingle with and enhance so many other characters, but the show also was never shy about testing his mettle or challenging his core either. "AVALON" proves to not only be a prelude to a lot of character development for Elisa and Angela, but him especially.
Finally, it adds another vibrant new character to the already tremendous cast who brightens it in many ways. From here on out, the universe of "Gargoyles" expands outwards and things are never the same again - a vow often promised but rarely delivered out of major arcs - and as always the show is better for it.