Gargoyles Season Two, Volume Two Finally Coming? - Tentative Plans Announced

[The Navigator]

Great reviews, I need to revisit this show.

 

[Sarcastic Fan]

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.

I'd be lying if I said this one was my favorite because I do like the other kind of episodes better. But variety is the spice of life.

Elisa meets the elderly G.F. Benton (Darren McGavin) in Dominic's old address - who turns out to be the old time hood himself.

Pretty sure that was Mace Malone's old office, but it's been a while.

It is fun seeing Broadway don a trench coat and fedora like his TV heroes,

And no one gets fooled by it as a disguise.

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.

Nor was I, at the time. He was fun, and he showed up again in the Radio Play crossover with SPECTACULAR SPIDER-MAN.

"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.

And I love those and missed them when it became "THE NEW BATMAN ADVENTURES"

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.

They say Batman has the best rogues' gallery in comics and Spider-Man has the best supporting cast. Well, I often tend to think "GARGOYLES" could give them a running in both categories. Of course, it helps that actual change happens as opposed to the illusion of change.

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.

In universe, yes. Out of universe, they wanted to give him a slightly more interesting design. Having a skunk on his head will do it.

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".

I'd be lying if I said Dracon was my favorite, but you do a great job of justifying his presence in the series.

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".

You mean "THE UNCERTAINTY PRINCIPLE" And for completion, he also did this in "W IS FOR WITCH" in "W.I.T.C.H.". Will he do this in "STAR WARS: REBELS"? That'll be a trick.

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.

And how!

Not long after, the city becomes plagued by attacks by a vicious werewolf

Werefox!

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.

And she was right.

Speaking of which, the very notion of love isn't something which Xanatos seems to easily admit.

He wouldn't until basically pushed into a corner. Notice how he pretended to be more worried about getting the Eye back at first. Even to Owen.

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.

I love that proposal, he treated it more like a business merger.

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.

And Elisa pulled off the gown even better than Belle did.

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.

That's what I love about him. He seems to have a lot more humanity than most cartoon heroes without being human.

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.

Fox was way more important to him than that jewel could ever be. The man knows his priorities.

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.

And that is, I believe, the greatest strength of the series. Even Brendan and Margot (the yuppie couple) get layers added to them. As does the guy with the motorcycle in the AWAKENING pilot.

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.

Or they're psychotic stalkers.

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".

I can't speak for Skeletor and Evilyn, but I wouldn't call the other two romances. Harley loved her Mistah J! But the feeling was so not mutual. And Luthor, Grodd and Tala's triangle had no romantic feelings at all. Just Tala being a great big ho.

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.

They are one of my favorite couples in fiction. I can't think of an insistence where anything like Xanatos and Fox has been done again. And it does make me wonder what Greg Weisman had in store for us with Emily Osborn in season three of SPECTACULAR SPIDER-MAN.

"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.

Indeed.

 

[Dread]

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. A year later, "BATMAN: TNGA" would produce "CHEMISTRY", in which Poison Ivy essentially tries to defeat Bruce Wayne with his one weakness - commitment (while essentially resulting in a lessor version of "HOUSE AND GARDEN" from '94). "VOWS" would prove to be a pivotal episode in this segment of the season as it would bring David Xanatos' relationship with Fox to a head while also serving as a prelude to the epic four part sage, "CITY OF STONE" to come.

Spoiler

Having invited his father for a special occasion, David Xanatos' wedding to Fox is intended to go off suddenly and without a hitch. Since being a billionaire industrialist bent on conquest usually results in few wedding guests to invite, Xanatos is intent on inviting Goliath and Demona as his best man and woman, respectively. Xanatos' father Petros is a poor fisherman who has a low opinion of his son's wealth and an even lower opinion of his lifestyle. We not only learn that apparently Xanatos got his first "start" from a gift of a rare coin from an unknown benefactor during in 1974 for a $20,000 payday, but that not only are the Illuminati very real, Xanatos is a member. Somewhere Matt Bluestone was weeping. 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. In the end, both Goliath and Petros are caught in a duel of schemes - Demona capitalizing on Goliath's sentimentality to reunite the Gate and travel through time, and Xanatos capitalizing on the time travel to build his empire.

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". Hudson still has his eye, and the Archmage is still the kingdom's royal wizard. Goliath and Demona are also younger and still very much in love, 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.

The highlight of the episode are easily the scenes between younger and elder Demona as she attempts to convince herself to ensure the massacre never happens by hating humanity, while Goliath attempts to convince his younger love of reason and compassion instead. Revisiting the scene of the massacre from 994 makes for some dark stuff, and while we in the audience know that events have to play out the way they've been laid, it is always a shame that it couldn't have been averted. 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. Such tragedy begins here when Demona lays the doubts within herself which would soon lead to betraying the castle to the captain and the Vikings, and all the events that came later. While learning how Xanatos built his fortune and watching Goliath try to redeem the soul of his former love are great dramatic fodder, it's the bit with Demona which make this episode crucial for being placed where it is on the schedule.

In the end it is always enjoyable to watch Xanatos smugly play everyone like a fiddle to get exactly what he wanted; following written instructions from himself via a time loop still counts as doing it all himself. In a roundabout way, while Demona's self fulfilling prophecy may have brought a lot of misery onto herself and a thousand years of sleep for Goliath and the Gargoyles, it also is in Xanatos' interests that history played out as it had to and to ensure it did so - after all, the Gargoyles have been instrumental to his success more than once. The only thing Xanatos fails to gain in all his scheming is the approval of his father, who remains convinced that his son only cares about money and his own success above anything else. As later seen in "OUTFOXED", Fox would wind up having a slightly more cordial relationship with her own father. This episode has a lot of action, pathos, and brilliant dialogue as always.

As an episode itself, it is brilliant, but as a prelude to the four act play which is "CITY OF STONE", it serves an especially critical role.

 

[Dread]

"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. While virtually every major character from the Gargoyles to Elisa and Owen would play a part, the true stars of these four episodes are Demona and her own rival, Macbeth. It not only vastly embellishes on the life and times of both antagonists, it reveals their tragic link as well as sows the seeds to future sagas later on in the season. 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. Much like with "THE AWAKENING" there is a lot to get in so one long review will suffice over four smaller ones. Given that Demona and Macbeth were already excellent characters going into this saga, "CITY OF STONE" succeeds in further cementing those foundations into forging them into unique and ultimately tragic figures. It spans centuries and weaves in and out throughout modern and primitive times very well, and much like a play or stage production even has characters which seek to bookend various chapters and episodes for both themselves and the audience. 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.

Spoiler

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. They appear before Goliath during a hostage crisis against a squad of terrorists and seek to ensure he remains on his noble path, while their observations and manipulations of both Demona and Macbeth stretch back into the centuries. Once again working alongside Xanatos, Demona sells him on the notion of attaining immortality (which will come up again for David in "THE PRICE") with a spell which she claims literally steals seconds of life from anyone who hears and sees the incantation. Thus commandeering a TV station which Xanatos owns, Demona goes about with her incantation - but it proves to be far more dangerous than Xanatos or anyone else fathoms. Rather than providing immortality to anyone, it instead transforms all humans on Manhattan Island into stone by nightfall so long as they both heard and saw the endless broadcast on TV. Only Xanatos himself and Hudson's blind friend Jeffery Robbins from "A LIGHTHOUSE IN THE SEA OF TIME" are spared (as well as one random woman who later claimed to Travis Marshall that she didn't watch TV). With an entire city at her mercy, Demona goes about smashing random stone civilians each night in full murderous glee; her only interruptions remain interference from a masked figure who has chased her for centuries, the Hunter, as well as Goliath and the Weird Sisters. This means that the Gargoyles have to not only seek to undo the spell and stop Demona, but to protect the stone Elisa from her wrath; Xanatos for his part also seeks to undo his mistake and protect those he cares about (Fox and especially Owen). 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.

To be honest, however, while the present day segments do well to begin and end the saga, and with various parts betwixt, the real meat of this arc are the extended flashbacks. They often compromise more than half of the latter three episodes especially and prove to be so interesting, tragic and dramatic that one barely even misses the modern era. We see extended elements of the massacre at Castle Wyvern from Demona's perspective and then go on as her life extends beyond that and becomes intertwined with that of the young Macbeth. Having convinced herself via time travel ("VOWS", which I see as a prelude), Demona naturally made her deal with Hakon and the Captain of the guard to allow them to sack the castle after they lead Goliath and the clan on a goose chase. The treacherous plan goes wrong virtually from the start when Goliath (given his usual selfless. impulsive, and direct demeanor) insists on only taking Hudson with him and leaving the rest of the clan behind. The Captain insists he'll protect the gargoyles as they sleep in the day, but Demona's distrust of humans causes her to hide on the shore come the approaching dawn. We see expanded glimpses of the original clan such as Othello, Iago, and Desdemona. 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. In the end we know the course events took; the Vikings smashed all of the gargoyles save for the cast of the show, Demona, and the eggs in the rookery. By the time she returns, Goliath and his squad have begun their 1000 year nap, Katharine, Magus, and Tom (the kid from "THE AWAKENING") are loading up the eggs and heading elsewhere. The first chapter would start off one of the themes of the arc in that the audience can or is expected to sympathize with Demona but not necessarily condone or forgive. Events took a darker path than she expected, but in the end her zeal for revenge mattered more than the lives of her clan; a zeal which was all but literally enhanced and reinforced by herself (from the future). 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". Despite the often oppressive censorship which animated programs faced in the 90's on network TV, "GARGOYLES" never shied away from the often brutal political "tactics" which was common for much of history (even into the 21st century worldwide). 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. Thus begins the manipulation of both Demona and Macbeth by the so-called "Weird Sisters" as well, able to appear in forms suitable for those they seek to manipulate. Thus, they can appear as triplicate handmaidens, witches, or even ancient gargoyles for Demona. They begin to encourage Demona to unite with Macbeth to destroy the Hunter, but she's hearing none of it and merely exploits their aid to figure out where the Hunter is at certain intervals. Demona winds up saving Macbeth on a whim, which begins the boy's impression of her as a potential ally in times of stress (a fact which often disgusts her). 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. In fairness, ol' scar face has a fair point that Macbeth's death would arouse suspicion, but Duncan is the sort who would rather be obeyed than told reason. This time as an older youth, Macbeth manages to return the favor to Demona as Gillecomgain earns a "Disney death". As viewers watch Macbeth grow older and prosper, rising in the ranks as his cousin rules, we also see Demona age and become more and more bitter. 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. Duncan sets war against Macbeth, he manages to unite with Demona against their mutual enemies, forming the bond which would sustain, and torment, the both of them for the remaining centuries. Trading his youth to Demona for the stability of his family, the two finally unite and rout Duncan, sending him to a flaming death (which was awesome, frankly; I never expected that in a network cartoon show) and unite under one kingdom. At this stage is perhaps where the tragedy enters into a stage where Demona seems to continue to seal her own fate. 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. Even after over three decades, when Duncan's son Canmore winds up rallying the English against Macbeth to conquer in him in revenge, Demona distrusts Macbeth enough to spy on him, as well as turn on him at one of his loyal allies Bodhe suggesting to turn on the gargoyles to dissolve Canmore's army, who were believed to be rallied by a zeal to kill them. The end results would bring about the end of not only Macbeth's kingdom and family but the rest of Demona's clan as well. Yet even death wouldn't stop them so long as one of them lived; able to feel each other's pain, they would both live forever so long as they didn't kill each other.

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). Unfortunately, I imagine many of these scenes may have been edited out in syndication. 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. In paying homage to history as well as the classics, the arc has forged its own unique tragedy around it and within it, adding its weight to the already drama-rich narrative. The climax in the modern day offers a lot of battle between Macbeth and Demona as their feud continues with a city of stone all around them. 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. From time travel exploits to betraying everyone around her, from Duncan to Goliath to Xanatos, Demona's choice to make her zeal for revenge into her primary motivation for her endless life fuels her eternal torment. And while Macbeth started out as a just and noble man, his own zeal for revenge against Demona has also motivated his centuries of life, causing him to do things he otherwise wouldn't do. Yet in the end while Demona seeks to continue her own self perpetuating war against humanity, Macbeth simply sought to end their mutual existence. While I do wonder how Macbeth saw through an eyeless mask, "the Hunter" is one of the most vivid examples of Demona's self perpetuating life of destruction that there is. It all but literally represents how the scars of pain can be transferred to other people if all one seems to do is seek to redistribute it to others. 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.

Although neither Goliath or Xanatos are the stars of this arc, they still serve a pivotal role here beyond the simple mechanics of trying to undo the spell or aid the Weird Sisters in the climax. 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. In the end Goliath would rather see Xanatos redeemed than dead, same as Xanatos would prefer Goliath as an ally rather than a corpse (although attempts to recreate him suffice as a plan B). Hell, even after everything, Goliath would rather see Demona redeemed as well; she just makes it so hard on herself and everyone else. 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. The extended flashbacks also allowed us to see what the clan was like being run by Demona. And as such, they eked out existences fulfilling every fear the humans had of them as rampaging monsters as they mirrored her own tactics. Not even the approval of a sitting king was enough to slow Demona's engine of vengeance for crimes exaggerated or imagined. Yet in the end when one is told in stark (yet poetic) detail the extent to which Demona's misery is nobody's fault but herself, despite all of her horrible acts against various characters or random humans, it's difficult to not feel some pity for her - at least for a moment. Thankfully, in Goliath, the clan has managed to attempt to integrate themselves into the modern "castle" of Manhattan island in a more successful manner, aided in no small part to Goliath's core truth as a guardian and protector rather than the beast some would mistake him for. The ability to learn from mistakes, to see redemption or at least allow the opportunity for it in enemies, as well as such acts as simple mercy and nobility (i.e. Goliath refusing to condone murder except "in the heat of battle") are skills which Demona, despite her centuries of life has never learned. To a degree Macbeth is more redeemable or at least has more of a sense of honor, but he also knows the zeal of revenge and on carrying on a vendetta - justified or not. In the end of course, the ends through which he seeks his revenge often do not justify the means. And we see where these live have led them; despite being virtually immortal, their zeal for vengeance has made pawns of Demona and Macbeth of others (the Weird Sisters), while Goliath, Xanatos, and the gargoyles can revel in the loved ones their alliance saved.

 

[Dread]

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.

"CITY OF STONE" manages to allow Demona and Macbeth to upstage even Xanatos as lead villains of the show and with its ending, the expectation of more with them as well as the Weird Sisters could not be at a higher pitch. Thankfully, "HIGH NOON" will be wise enough to deliver.

 

[Sarcastic Fan]

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.

"THESE ROBOTS ARE EXCELLENT! EXCELLENT!" -Harry

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.

If you listen to Ed Asner's performance here, you can tell Hudson put two and two together and realized this would result in the time travel that was to come.

However, not only does Goliath still hold out some hope that Xanatos could be redeemed by love,

I don't think it was about Xanatos, he was hoping to patch things up with his Angel of the Night, one last ditch effort to save his relationship with his mate, because...

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.

... Yeah, "Vows" was the final nail in the coffin.

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.

You will because you did, and you won't because you didn't. To be honest, the time travel plots in the Fox Kids' "X-MEN" cartoon drove me nuts. Especially that four-parter in the Axis of Time. They previously made a huge deal that you could change the past, whether it was Sentinels ruling the world, then not, then ruling the world again... or mutant plagues, or what not. But then Cable and the X-Men go back in time, destroy Apocalypse's Lazarus pyramid thousands of years ago, thereby erasing him from existence and... nothing is different. Archangel is still Archangel. That four-parter did not make the slightest bit of sense, and that was on top of the previous time travel stories having minuscule internal logic.

Yeah, for me, in 1995, "GARGOYLES" time travel was a breath of fresh air.

Demona winds up traveling back to Castle Wyvern, circa 974 - roughly 19 years before the betrayal and massacre which kicked off "THE AWAKENING".

975. Massacre was in 994, so you're right about the math.

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.

Not to mention a craving for power, something I'm sure the Archmage taught her to appreciate.

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.

Yup, he wanted to unite the Gate with the Grimorum and the Eye of Odin so he could possess the ultimate magical power. Then he fell down a chasm to his death, so no chance he can ever fulfill his lifelong dream.

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.

I love this scene, it's pure David Xanatos.

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.

She is her own worst enemy.

"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.

I was fourteen when I first saw "City of Stone." I had never seen anything like it before, especially in a cartoon. And, to this day, I can't think of a western cartoon that has even attempted anything like this ever since. We've seen great villain origins, but four episodes devoted to them?

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.

"City of Stone" is so close to the true history of Macbeth, and the events affecting Scotland at the time, that watching through it with a little common sense is all you need to tell you what didn't actually happen. In a way, the true history is just as dramatic and tragic as the Bard's play.

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.

I wish more shows would try it some time. Imagine Batman the Animated Series doing this for Ra's al Ghul.

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.

Luna (silver haired), Phoebe (blonde), and Selene (raven haired). Fate, Grace, Vengeance. The Fates, Furies, and Graces in Greek mythology, and the Norns in Norse mythology. There is something primeval about them.

With an entire city at her mercy, Demona goes about smashing random stone civilians each night in full murderous glee;

I know they were statues at the time, but I am still amazed they got this on the air. She was murdering people, on camera (she also did this in flashbacks, where they weren't statues). This was a killing spree. They couldn't even allude to such a possibility on "SPIDER-MAN" when they brought Carnage in and he went on a public rampage to... touch people and drain their souls... yes, Disney was doing what Fox Kids (which parents groups decried for depictions of violence) wasn't doing (and some of those same parents groups were praising Disney for it).

... I still wonder what happened to that woman whose arms she blew off come sunrise.

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.

That's why Xanatos is the man, and why certain people who think the mark of a good villain is how "evil" he is confuse me. Megatron and Cobra Commander might be more bloodthirsty than Xanatos, but are they better villains? I don't think so, but others may disagree.

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.

Exactly, she could have prevented it at any time, but she chose not to; thus become the architect of her own misery, and this was just the beginning.

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.

True, true... and it makes me wonder how things will go after the series ends... I'd say more but you haven't finished season two, yet.

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.

And that quote, to me, is her defining moment. This tells you just about everything you need to know about who and what she is. Well, this and another quote from "City of Stone Part Four"

 

[Sarcastic Fan]

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.

We get a fun story with Demona and this clan she gathered together in the SLG comic book, believe it or not.

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.

I love that moment in Part Two where Demona finally unmasks him and has no idea who he is, nor does she recall the incident. Her attack on him scarred him and defined him for who he was for the rest of his life, and it meant less than nothing to her.

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".

Well, Gruoch and Fox are also hot! But yeah, the strongest relationships on this show are between those who understand and respect each other first. Xanatos and Fox, Goliath and Elisa, SPOILER and Angela.

While I do believe Goliath and Demona genuinely loved each other, he never understood who she really was in her darker aspects; and she didn't respect him enough to trust in his leadership of the clan. It was a bad "marriage".

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.

Findlaech wasn't King. Maol Chalvim (who you will meet in Avalon Part One, Kenneth II's son) was King at the time. King Kenneth II ruled until 995, then he was overthrown by Constantine... who was then overthrown by Kenneth III after a relatively short reign, and then Maol Chalvim overthrew Kenneth III and took the throne and rules for a long time, he had no sons just daughters, and through them had Macbeth and Duncan as grandchildren with Duncan the heir apparent. This is true history and "Gargoyles" history.... the comic elaborates on this more.

/nerd.

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.

Duncan was still prince. He wasn't king until part three.

/nerd.

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.

In the most Shakespearean scene in the entire piece. Ironic it comes after Macbeth saves Duncan's life and Duncan begins to think maybe his cousin isn't a threat after all. Fate, you are a cruel mistress... and so are the Weird Sisters, but I repeat myself.

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.

And to think, they were also genuine friends during this period and, in the audio commentary, Greg Weisman opined that Demona was also a little bit in love with Macbeth during this period. Oh, irony...

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).

And best of all, kids saw it and didn't imitate it! 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.

Like Mark Hamill before her, I think a lot of people underestimated Sirtis because of how the character of Deanna Troi was written. But I've often equated her with Hamill. Both of them were known for playing these iconic, good, nice person characters in gigantic science fiction franchises, and both have gone on to surprise people by playing these really evil villains in two popular animated shows. While you'd recognize Sirtis as Demona and not necessarily Hamill, the performances are just that wonderful, and I think both deserved emmys for them.

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.

Action is all well and good, but drama is better. Without it, action is hollow.

"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.

That's why it was ahead of its time. It's certainly a reason why I never stopped loving it.

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.

Exactly, I think she is one of western animation's all time great villains, and it pains me when I see publications write Top Ten Animated Villains lists and exclude her in favor of Megatron, Cobra Commander, Skeletor and the likes of them.

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.

I never thought about it this way before. I like that.

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.

He's a strongly practical man. I love that it was Xanatos who suggested the alliance when Goliath was ready to blame Xanatos for Demona's actions. Usually in villain/hero team-ups, it's the hero who suggests it and the villain later double crosses them.

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.

Despite what Demona says, destroying humanity takes precedent over the welfare of the gargoyle species. With Magneto, while I'm sure he'd be willing to push the genocide button, he doesn't particularly want to. In fact, when he ruled Genosha, he allowed the human population to live there in peace, and didn't pursue any kind of persecution and allowed humans to sit in his cabinet. For Magneto, genocide is a means to an end. For Demona, genocide is the end.

The key difference is that there is no self-delusion on Magneto's part. Demona's hatred of humanity is a rationalization of her own guilt and self loathing. Magneto, by contrast, truly believes in his heart of hearts that he's doing what needs to be done. Magneto is basically what Demona likes to think she is.

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.

Like I said before, in western animation, there hasn't been anything like it before or since.

 

[Hordakfan]

Loved this show since i was 13 and i remembered at night on UPN they showed the pilot movie and i thought it was cool as hell, i watched and taped every episode every morning before going to school and became one of my favorites.

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 .

Keith David was badass in this show as Goliath no doubt and Jonathan Frankes made a good baddie.

Anyone likes it that this show is made from the makers of Batman TAS and Spawn TAS? you can tell it's from them.


Who else thought Demona was hot? i did! i use to have dirty fantasies about her during my puberty, LOL. She was one hot monster chick i tell you, psycho but hot as hell in those skimpy clothes.

 

[Sarcastic Fan]

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 .

Actually, TMS never worked on this show. The best episodes were animated by Walt Disney Television Japan.

Anyone likes it that this show is made from the makers of Batman TAS and Spawn TAS? you can tell it's from them.

Frank Paur directed some episodes of "Batman the Animated Series" and he later worked on "Spawn". But neither Bruce Timm nor Alan Burnett (the masterminds behind Batman) worked on "Gargoyles", and Greg Weisman didn't work on "Batman". So, while there is some overlap, it wasn't from "the makers."

 

[Hordakfan]

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.

 

[Sarcastic Fan]

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.

Eric Radomski did not work on "Gargoyles", sorry.

Greg Guler designed Goliath, Demona, and was the lead character designer for season two, and he didn't work on Batman.

Bob Kline designed Xanatos, the trio, Hudson, etc. He did not work on Batman.

The only person in the animation department who worked on both was Frank Paur. Frank storyboarded and directed a few Batman episodes, but it wasn't his show the same way he was Greg Weisman's partner on "Gargoyles"

Keith David even starred as Spawn and Xanatos is kind of similar to Wynn.

Aside from the fact that Xanatos and Jason Wynn both had goatees, I don't see how they were similar.

 

[Dread]

Glad the reviews have proven so popular! How's about some more, then?

Now that the message board thesis that is my "CITY OF STONE" review is finally behind us, how about we march forward with some single episodes again? Following up on the spectacular finale of "CITY OF STONE: PART FOUR", the show displays no sign of slowing down as the thirteenth episode of Season 2. Given that Season 1 was comprised of thirteen episodes, this very well could have been a season finale had Buena Vista listened to the recommendations of Greg Weisman and his production staff as to how many episodes to order. Thankfully for fans, BV ordered 52 episodes, although "HIGH NOON" has many elements which could have been used for a finale. It sees an alliance among many villains and it builds off the previous episodes while producing ore for the next major multi-part arc for the second season, "AVALON". It also progresses the subplot revolving Coldstone from "REAWAKENING" and "LEGION".

Spoiler

Hot on the heels of the end of "CITY OF STONE", both Demona and Macbeth seem to return, and they're amazingly working together. Demona uses her human form from "THE MIRROR" as well as a disguises Macbeth to sneak into the police precinct and make off with the still dormant Coldstone, who neither Lexington or the rest of the gargoyles have been able to awaken. Attacking during the daylight hours, the pair get past Elisa and make off with the cybernetic mixed up gargoyle, and provide a method of reactivating him. Hesitant to venture into a new "void", Othello and Desdemona remain content in their "VR castle construct", although Iago is brave enough and enters, becoming able to pilot Coldstone. Macbeth and Demona quickly organize a trap for Goliath and the rest of the gargoyles. 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). Even Macbeth and Coldstone take a moment to watch. The question of why mortal enemies Macbeth and Demona are working together is hinted when within Coldstone's "astral plane", Desdemona seems to split into three forms at one point. Ultimately Othello retakes control of his body from Iago, and Macbeth and Demona ultimately flee. 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.

"HIGH NOON" is ultimately a worthy follow up of "CITY OF STONE" as difficult as it seemed to accomplish this. It not only reunites the villains who were so explicitly detailed in that four part tragedy, but it gave reason to their manipulators as to why they've interfered in the lives of the two for centuries. It offers a fast paced episode with some beautiful animation, great dialogue (as always, Macbeth and Demona steal most scenes they're in), and some entertaining action as well as developing Elisa and even Coldstone some more. This is a better episode for him than "LEGION" was, aided by superior animation and, let's be honest, a subplot from "CITY OF STONE". It also sets up the next multi-part arc, which will be the the three-part "AVALON" saga some seven episodes later.

Between then and now, however, the show will continue to produce solid if not exceptional genre entertainment to build it up. 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?

Some episode titles leave one with a sense of mystery and others can give a fair idea as to what to expect. With a title like "OUTFOXED", one can easily guess that this will be an episode embellishing Fox, formerly of the Pack and currently the blushing bride of David Xanatos. This is an accurate assumption, although it also offers the introduction of another new character as well as following up on details from "THE AWAKENING" along with offering Goliath a lesson on integrity. 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.

Spoiler

Back during "THE AWAKENING", Xanatos tricked the gargoyles into performing several surgical strikes against rival company Cyberbiotics; Goliath and Demona in particular crashed its flying Fortress, sending it plummeting it into the river. With the announcement that Cyberbiotics is launching a Fortress-2 which is run almost entirely by robotics and computers, Goliath decides to protect it from any interference by Xanatos. Unfortunately, the reclusive CEO of the company, the aged Halcyon Renard (Culp) quickly recognizes the creature which sunk his last Fortress and promptly captures him. With his company's life dependent on the success of Fortress-2, Renard and Goliath are forced to come to an alliance when this new ship suffers duress. 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, Vogel 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.

The lesson of the episode is about integrity, in particular facing responsibility for one's actions. Renard is so disgusted with the lack of such ethics in most people that he deliberately surrounds himself with machines. To a lessor degree the episode is also about not judging things or people as they appear. Renard, seeming to know Xanatos well, presumes that Goliath is a genetic creation of Gen-U-Tech much as Talon and the rest of his clan are. Goliath at first refuses to own up to his role in destroying the first Fortress, considering himself blameless because he was tricked by Xanatos. In the end, he admits that being tricked is no excuse for doing harm to someone, and admits his mistake. Earning Renard's respect, they soon join forces to save his ship as well as each other's lives when the robots succumb to a virus implanted by Vogel. 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. Their one flaw tends to be feeling they're not perfect enough; something Kaldur in "YOUNG JUSTICE" would struggle to surpass. 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. Renard also learns not to judge beings by their appearances and to not retreat into technology, as while humans can make mistakes, they can also atone; machines cannot. In my own travels I have said many times that people seem to confuse being reliable with being infallible, which are two vastly different things. It is impossible to go through life without making mistakes, but the truly reliable learn from them and try to make up for them. Atonement was a major theme in many episodes, this one in particular. Even Goliath has things to answer for, and naturally proves that he's not so big that he cannot admit it, and even Renard proves able to forgive; having a daughter like Fox probably makes that a given. 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.

"OUTFOXED" introduces some good character, fleshes out Fox's family as well as shows its lead hero isn't above having to learn something himself. Solid stuff.

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. The 2003 era "TMNT" show managed to create a world that deep and I always enjoyed that about it; little did I know that "GARGOYLES" was making that sort of thing look easy years before. Furthermore, this is a major episode in regards to developing Matt Bluestone, Elisa's often long suffering conspiracy buff of a partner, as well as a little about Elisa herself. It also serves as a good sequel and development from "THE SILVER FALCON".

Spoiler

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. This episode plays around with the timing of some events to get the beginning rolling and then tells the story, mostly from Matt's perspective. While he's still a bit obsessed with unraveling plots revolving around old time mobsters and the elusive "Illuminati", we learn that's because he has a keen deductive eye and isn't put off easily. When Elisa makes up an excuse for her visits to the gargoyles, he picks up that she's "lying right to my face" and uses that as fuel for his investigations. 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 - to Malone's personal deathtrap, "Hotel Cabal". Yet in the end, Bluestone manages to outwit all of them by coming to an alliance with Elisa and the gargoyles and setting up Malone for a fall.

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. Given his angle for conspiracies it makes sense that Bluestone would be open minded enough to accept the gargoyles - especially since he was less than convinced that they all were robots at the end of Season 1. 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. I barely remember April O'Neil going through such motions with the Ninja Turtles; although that could be due to in the original comics, film, and 2003 series, she ends up "sharing" them with Casey Jones fairly soon. It is fun seeing Goliath navigate Malone's "hotel Cabal", meant to break down someone's mind as well as their body; Zimbalist Jr. puts in a fine performance for a one shot villain, giving Malone the right air of intelligence and ruthlessness. Quick minded viewers like me would be fast to notice that when Matt's former FBI partner Martin Hacker (Michael Bell) shows up at the station house at the end, it's to reveal what some many have suspected all along - he himself is a member of the Illuminati, ordered to lead Bluestone on wild goose chases away from them. Now Bluestone has been formally invited to the group he's been chasing for years - what's to become of him then?

For the record, Malone's karmic fate at the end made for a good climax, and I didn't need any producer's notes to assume it was permanent. "REVELATIONS" reminded me of many good episodes of "BATMAN: TAS", which is ironic given that that show was one of "Gargoyles" biggest competitors (that and apparently, "MIGHTY MORPHIN' POWER RANGERS"). One-off villains are rare for this show, but Malone was built up in "THE SILVER FALCON" and I felt put in a good effort here. Mostly, this episode was a good character piece for Matt Bluestone as well as switched up the standard operations of Goliath and Elisa for a week, which made for some fascinating viewing.

 

[Sarcastic Fan]

Demona uses her human form from "THE MIRROR"

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.

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.

She actually works the night shift. So, for all intents and purposes, she's as nocturnal as they are.

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).

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.

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.

Agreed. Their episodes are just stunning to look at, and it breaks my heart that Disney shut that studio down.

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).

I am AMAZED they got that shot past standards and practices.

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.

And then their actions in "CITY OF STONE" suddenly get more ominous than they already were.

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.

Yeah. To be fair, most shows have said MacGuffins getting destroyed at the end of their episodes, so I agree that it's cool to make MacGuffins reoccurring as well as characters.

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.

I'd have to run a tally, but I think she's saved Goliath's life way more often than he's saved her's. But they often end up saving each other. We saw a moment like this in "THE SPECTACULAR SPIDER-MAN" when Spidey saved Gwen from the Master Planner, but then she got them both out of there. But, well, Elisa outdoes Gwen in this regard often... which makes sense. Gwen is a High School science student and Elisa is a cop.

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.

She is also expedient enough to see the advantages in having her human form. I like the fact that the transformation causes pain each and every time. So, twice a day she goes through this excruciating thing. That can't help her mental outlook.

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?

Oh, Spec Spidey... we miss you.

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.

I really should watch that some time, I've always enjoyed Robert Culp.

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.

Damn, lazy character designers! Somebody fire Greg Guler! t:

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.

You mean Vogel ends up sabotaging the Fortress-2?

In the end, he admits that being tricked is no excuse for doing harm to someone, and admits his mistake.

This is something else this show does differently. How many other shows, especially cartoons, would have all forgiven just because the hero was tricked by the villain? The hero wouldn't even have to apologize for it, because he was tricked. TVTropes calls it "Protagonist Centered Morality" and it drives me nuts.

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.

Janine Renard, actually. But, like she said in "Vows", Fox is her real name. Legally. Cher, Madonna, Fox... although she is way more fun than the other two.

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.

I know many guys of my generation will hit me for this, but Optimus Prime comes to mind first. Duke from "GI Joe" comes to mind as a close second.

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.

This sums up Goliath and Demona quite well. But, yeah, you see it in a lot of places, because it's tried and true. Very universal concept.

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.

That's an interesting way of looking at it, especially since he said he might probably still give her Cyberbiotics if she just stood up and asked for it, honestly.

Xanatos, although I doubt he'd admit it, pretty clearly cares about what his father thinks about him. I do wonder if the letter he received from himself told him to invite Petros to the wedding, or if he did that on his own to show his dad that he was a self-made man.

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.

This is something even some of my fellow hardcore "Gargoyles" fans haven't quite learned. I love Demona as much as anybody, but I am glad she wasn't in all sixty-five episodes. One thing I have gleamed in the years since the show came out, the fandom, and the casuals, is that she seems to be the most popular character in the franchise. While she does get a guest villain stint in "TEAM ATLANTIS" (although, the episode and the series itself ended up being cancelled halfway through production), when the time came for Weisman to write the "Gargoyles" comic books, she is NOT given the Wolverine Publicity treatment... and I am thankful for that. While I would have liked to see more of her in the comics, I would not have wanted it to be at the expense of anything else.

And now, back to discussing this episode she is NOT in.

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.

About ten years ago, or so, I remember reading a fanfic that took place after the show, except in the note, the author said that Matt never found out about Elisa's connection to the gargoyles because it is "more fun that way." I don't know why your paragraph jogged that memory but there is a reason I stopped reading fanfic ages ago.

But yes, I love a show that can develop its characters instead of using them as plot devices, no matter how background they are... you'll see this in spades later on.

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!").

Small part, but a damn amusing one.

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.

"You should see the dental plan."

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

If Xanatos is a lower echelon member, that goes a long way to making the Society more impressive. If he's at the bottom, who is at the top? The comic book answers this question.

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.

This is why not having protagonist centered morality is a good thing.

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.

That's why I like Elisa, she is allowed to have her own character flaws... and yeah, she has a bit of a selfish streak. It's not a crippling character flaw, but it's enough to humanize her. She's also fairly secretive, stubborn... and yet, the way Goliath greeted Elisa when Matt arrived: "so, you finally decided it was time" makes me think he okayed bringing Matt into the loop well before this episode, but she didn't for... the reasons you just mentioned.

Now Bluestone has been formally invited to the group he's been chasing for years - what's to become of him then?

Good question, and I still hope we some day find out.

 

[Sarcastic Fan]

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.

 

[Spidey-Bat]

Thanks for the heads-up. Just ordered one.

 

[ImmaDeker]

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.

I'm now filled with marginally less hatred for my fellow sapients.

 

[Dread]

Ready for another review salvo? I know I am.

Onward is "Double Jeopardy", or to paraphrase a title from "SPIDER-MAN: TAS", "I Really, Really Really Like Clones". To a degree this is an episode which breaks a lot of rules in that it creates a new character whole cloth while justifying it with some retroactive continuity which the show usually is very strong about and does only sparingly (revelations and retcons are not the same). I was sometimes critical of this in regards to Coldstone, especially his multiple personality gimmick that arose from "LEGION". Yet this works out far better than "LEGION" so to a degree this is an episode which bends the shows own rules yet gets away with it through sheer awesomeness. This episode offers a new villain, a display of range for Keith David, some terrific animation from Disney Japan as well as quite a few notable villains and a climatic showdown.

Spoiler

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. This episode "reveals" that at some point between "THE AWAKENING - PART FIVE" and "ENTER MACBETH" when Goliath and the gargoyles were still "guests" of Xanatos' castle Wyvern while he was in prison, a rogue Steel Clan robot went berserk and actually scratched Goliath. Owen claimed it was a fluke but it of course was by design, to procure a sample of Goliath's blood. Now all of a sudden "Goliath" is seen following Elisa as well as scaring the daylights out of Broadway and Lexington with hide-and-seek tactics and a booming laugh. Goliath insists that it isn't him, and this leads to a full scale investigation. It turns out that over the course of at least 19 weeks, that blood sample was grown into tissue and said tissue was grown into a clone of Goliath - with altered skin coloring and programmed with Xanatos' brain patterns. Named Thailog (Goliath in reverse), he's taken a perch at Xanatos' castle before being whisked away in stone form by mercenaries. Apparently Dr. Sevarius is kidnapping Xanatos' prized specimen for $20 million in ransom, and Xanatos winds up uniting with Goliath and Elisa on an oil rig to sort things out. But is it more than it seems? As always with this show, yes.

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. Poorer shows would have just produced an actioner for a repainted toy and been done with it. Fortunately, Greg Weisman productions believe that clones are people too, because they are. To that end not only is Thailog a vastly entertaining villain who allows David to have a ball voicing a villain for once, but he also acts as a commentary on how Xanatos and Goliath could have turned out without their positive attributes. While the black coloration may be for the sake of not confusing the audience, it also help set Thailog apart from Goliath. He has Goliath's physical strengths as well as Xanatos' cunning mind, but without the heart of either of them; yes, it may seem strange, but despite being a main antagonist, as mentioned in other reviews, Xanatos has plenty of positive, even heroic qualities (such as loyalty to Owen or love for Fox). All Thailog cares about is advancing himself, without a shred of loyalty and eliminating all potential rivals. 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). The same charisma that David brings to Goliath, he brings to Thailog with the opposite octane. Melodramatic villain laughter can be cheesy as hell when done poorly, but for Thailog it totally works. Despite being chained up with the rest of the gang, Elisa also proves critical to their escape; she's nobody's damsel.

The Disney Japan animation serves as a great way to introduce a new villain, with some terrific work with facial expressions and the explosions on the oil rig. Tim Curry as always cuts up the scenery as Dr. Sevarius, who turns out to be as much of a pawn as everyone else is in this episode. 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. To a degree this episode also works as a noteworthy bookend to "REAWAKENING" and "METAMORPHOSIS", and perhaps even the end of "THE AWAKENING". As mentioned before, Xanatos has sought to imitate the Gargoyles and improve upon them from the moment he learned they'd be too hard to control as flunkies. Being a genius industrialist, he seeks not simply to copy them, but to produce superior models. From the Steel Clan to his own armor to Coldstone and Talon and the rest of his gang from Gen-U-Tech, Xanatos has sought to combine the best attributes of the gargoyles (in particular, Goliath, who is the finest specimen) as well as himself. As Xanatos himself notes at the end (as another nod to "FRANKENSTEIN", the film or novel), his plan actually worked too well and he's unwittingly created a monster. Thailog is the end result of whether Goliath had grown up under Xanatos' complete control and mentoring to the point where the student became the master, without Hudson or the other gargoyles or even the tragedy with Demona and the rest of the clan in Scotland to mold him. Instead he wants the same things Xanatos wants, only without a shred of some of the things which may, in theory, hold Xanatos (and Goliath) back, such as love or loyalty. It is interesting to see a gargoyle as focused on enriching himself financially as Xanatos has been, while it also seems that a fascination with Elisa is also partly genetically transferred. 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.

"DOUBLE JEOPARDY" not only lives up to its title in several ways, it also introduces the last new villain for the series at least for another 8-9 episodes. The rules that the series has established for itself get bent and the end result is far superior to Coldstone (in my opinion) to the point that it may be no coincidence that we see little of Coldstone after "HIGH NOON" (and even there, he was a pawn for more interesting villains). It's great hearing David cut loose with a new character atop of being a action spectacle which, as usual for the show, doubles as a character study for its lead figures.

Up next is "UPGRADE", 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? Thankfully, this occurs with the Pack, who are further down the totem pole in terms of antagonists such as Xanatos, Demona, and Macbeth yet still compete against the Gargoyles fairly. This episode also features the return of another villain and shows why Xanatos and Fox are made for each other.

Spoiler

Coming off of "LEADER OF THE PACK", the aforementioned Pack have seen better days. While Fox married up, the rest of them have fallen from their perch of mercenaries by night and TV stars by day. Much to the chagrin of Dingo, the rest of them (Wolf and the twisted brother/sister act of Jackal and Hyena) are reduced to robbing banks and performing other "super villain" style operations for cash, as well as thirsting for revenge against the gargoyles. Xanatos' robotic experiment Coyote also returns from the season premiere offering to capitalize on the full benefits of the Xanatos empire to enhance or "upgrade" the Pack if you will so they can finally get their revenge on their enemies. 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. Coyote also upgrades himself with a new bulkier form as "Coyote 2.0"; not even looking like an extra from the Shi'ar Empire seems to slow down the oiled loins of Hyena for him. Getting the jump on their enemies with a trap, the upgraded Pack manage to capture Goliath, Hudson, Elisa, and Bronx; thus, it's up to the younger Brooklyn, Broadway, and Lexington to save the day. 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". Despite having inherited some of Xanatos' mind and charm, he has his own objectives for revenge and has another bad day with mass transit.

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").

The episode also has some critical subplots. One which seems to break up the episodes is a chess match between Xanatos and Fox, which mirrors the battle between the Gargoyles and the Pack as pieces on a board. Much like with Macbeth and Glouch in "CITY OF STONE", it also serves as foreplay, only they play with real life pawns. The other critical subplot is Goliath being injured and being encouraged by Hudson to pick a successor. True to character, Goliath simply asserts Hudson back into that role, as he was hardly seeking a promotion back in the 10th century; Demona was the one who felt he should lead (and Hudson eventually agreed: see "LONG WAY TO MORNING"). Much as Hudson before him did, Goliath also has to choose one of the younger generation as his second in command should he fall in battle (or go missing for a slew of episodes). To this end, Brooklyn, Broadway, and Lex (or "the Trio" if I want to use Gargoyles Wiki lingo like all the cool kids do) are eager to prove each other the better gargoyle in terms of crime fighting. Naturally, it falls to them to save the rest of their clan from enemies who are far stronger than before. 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").

For my money, Officer Morgan delivers one of the best lines of the episode once the Pack are undone. "What I want to know is, where do we take them? A hospital, a machine shop, or a vet?" 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.

As with most episodes of the series, "UPGRADE" provides some appreciated character development for its characters (good, bad, and in between) as well as lays the foundations for future episodes to come. Can't ask much more than that of an episode leading up to the next multi-part arc.

 

[Sarcastic Fan]

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.

You'll notice, after this episode, that he gives up trying to create his own gargoyles.

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.

I think that what makes Thailog work so well is that he isn't just the evil twin. His dynamic with Goliath is that he is sort of the "evil son." "The Bastard". Like Edmund in "KING LEAR" or Mordred in the Arthurian mythos. His hatred for his fathers and his attraction to Demona and Elisa almost makes it Oedipal.

While the black coloration may be for the sake of not confusing the audience, it also help set Thailog apart from Goliath.

I thought they had a great in-universe explanation for it, the artificial aging produced an odd skin and hair pigmentation. Out-of-universe, it's a nice way of assuring the watchers that they won't go for the tired "Which is the clone and which is the original" cliche.

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.

Xanatos speaks of Thailog as a son, sometimes. "Well, what do you know? The kid turned out to be a real chip off the old block."

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.

I am now imagining Superboy being written like Thailog. It is an amusing thought.

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.

I do wonder how a SPECTACULAR version of Ben Reilly would have been played. Or a SPECTACULAR version of Kaine, for that matter. In the comics, Peter and Ben came to regard one another as brothers... would it have been that way in the show, or would Ben and Peter have had a father/son dynamic? We'll never know

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).

Weisman cast Keith David as a drag queen in his dub for 3x3 Eyes. It is as funny as it sounds.

Despite being chained up with the rest of the gang, Elisa also proves critical to their escape; she's nobody's damsel.

Because, Elisa Maza is awesome. I can never stress this enough.

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.

Yeah, he was lying out of his ass, and Xanatos knew it. They were playing to Derek as the lone audience member.

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.

He-Man is a dick.

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.

And that would turn out so well for her, wouldn't it? Demona, in a lot of ways, is the epitome of someone who thinks they know what they want but is kidding themselves.

Up next is "UPGRADED",

"Upgrade"

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?

Yeah, it is common sense... and like you said, I hardly ever see any other cartoons or comics do this. Oh, sometimes the villain will get a new, more advanced costume, or something, but they're always back to basics in their next 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.

His reactions to them are my favorite parts of the episode. "I hope you're not planning to eat your catch." "You're not our leader, Wolf. You're barely our species."

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".

Yeah, they're a lot of fun. I always enjoyed Jackal and Hyena.

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 once heard someone complain, they didn't like that episode because upgrading the Enforcers "misses the point of the Enforcers" or something. I don't know, I would think they would want to compete and the Big Man would want his Enforcers to be able to take on Spider-Man or the Sinister Six. Evolve or die.

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").

I thought it was obvious going in who Goliath would pick. Brooklyn was already the natural leader of the trio. This time he kept the cool head, and came up with the plan. Even at the beginning of the episode, when Goliath is injured, Brooklyn says that helping Goliath is more important than pursuing the Pack, and Lex and Broadway defer to him on instinct.

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.

Name one finer power couple in animation? Or comics? I can't think of one.

 

[Hordakfan]

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.

Damn man, she is hot in both incarnations.

Eliza was sexy too as was Fox and Maggie was cute

 

[Sarcastic Fan]

Edit

 

[Dread]

It's long past due for some more reviews, eh?

We're trolling the mean streets in "PROTECTION", another one of those mobster related episodes I sometimes feel the need to defend. I do hope that this episode proves the exception as it goes on to be one of the best episodes to feature Dracon and his goons Glasses and Pal Joey. The focus of the episode is on Broadway and Elisa (with Goliath in tow) in another organized crime thriller which wouldn't have been out of place in "BATMAN: THE ANIMATED SERIES" but also fits in well with this show, too. It serves as a proper culmination of previous episodes which developed the Dracon subplot in "THE SILVER FALCON" and "DEADLY FORCE". It is also an episode about trusting one's friends when appearances are deceiving.

Spoiler

Dracon has continued with his protection racket, resorting to fire-bombing businesses who don't play along and as usual, giving Mr. Jaffe's "general store" hell. Only now he seems to have a rival in a mysterious female cop who has invaded his turf and insisting that the businesses pay for her instead, lest she shut their places down with the long arm of the law. Suddenly, Elisa has been scarce with both her department comrades Matt Bluestone and captain Maria Chavez, but with the gargoyles as well. When Elisa puts the screws to a goon in an interrogation, the suspicion seems to fall upon her. Goliath and Broadway follow Elisa and soon become puzzled when she willingly goes along with Dracon's men and then, naturally, dons a sexy new black outfit with an exposed belly button and seems to be joining his gang. 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. Broadway, though, is genre savvy to detective TV shows and quickly deduces that Elisa is undercover, and soon they work in concert with this effort. It even helps her case when the mobsters stammer about Elisa "talking to those monsters like they were little kids" and bossing them around. It all climaxes in an undercover sting at Mr. Jaffe's shop with Dracon, his gang, Bluestone, Chavez, and the gargoyles with some fist pounding, bomb-thwarting action. 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". While their efforts initially catch Elisa off guard and risk exposing her, they prove valuable to her operation and aid in saving everyone. Salli Richardson gets to have some fun playing a "bad girl" for a little bit with Elisa undercover, even if she has to put up with some of Dracon's sleazy passes (and his use of the nickname "sugar"). 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. I still appreciate that instead of being an aging mobster, Dracon was the latest of an older legacy in his prime, eager to prove himself and thus privy to bolder actions. Years later "THE BATMAN" would attempt to accomplish something like this with a younger Rupert Thorne, but it was nowhere near the same.

Perhaps the biggest development of this episode is the birth of what will pass as the show's catchphrase. While meeting with Dracon's men, Broadway discovers the joy of scarfing jalapena peppers from the jar, and soon shares it with Goliath as the sun rises. The exclamation of "Jalapena!" would go on to be featured in many episodes by not just Goliath, but other characters such as Elisa and Hudson as well. According to legend, it was something which arose due to Keith David exclaiming it instead of "hallelujah" 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. Co-producer Frank Paur as well as some others on staff hated it, and I suppose given how I started describing "GARGOYLES" at the start of the show, it may border on hypocritical to suddenly approve of the show inserting catch phrase into its lexicon as is very, very, VERY common in TV animation. While all reviews and opinions are subjective (fancy that), there are some major caveats as well as critical differences in execution. Firstly, there is a difference between a show which as this which attempts to introduce a catch phrase in episode 31 of 65 versus a show like the 1987 version of "TMNT" which was introducing several catch phrases ("COWABUNGA!", "TURTLE POWER!" "TURTLES FIGHT WITH HONOR!") within its first couple of episodes. Secondly, the phrase is never over used or even said more than once or twice in an episode where it does arise. Thirdly, it serves the role as a curse word in many instances, much as "what the shell" did in the 2003 version of "TMNT". Even aforementioned 2003 "TMNT", which was a terrific and underrated show, was introducing its catch phrases (along with a rehash of "COWABUNGA!", even if it was often mocked in-show) far sooner into its run. As with anything, it is all a matter of use and execution which separates the lame from the acceptable, to even enjoyable. As the show was being produced, certain changes or additions to its lexicon evolved organically due to the cast and crew; the biggest of these is Eliza Maza being renamed and partially redesigned around her voice actress, Salli Richardson. This "catch phrase" therefore also falls into rolling with something spontaneously. At the very least, there was an in-story reason for the catch-phrases' use; just why did a ninja turtle raised by a Japanese rat decide to adopt surfer lingo anyway?

With the next major arc, "AVALON", fast approaching, this episode puts a satisfying definition mark on one of the show's lower key subplots involving a more minor villain. Yet rather than be a sense of obligation it succeeds by offering some great action and suspense as well as turning some character interactions on their heads - at least for a little while.

Continuing along the theme of tying up some subplots, or at least getting them in a satisfying position before an extended leave of absence is "THE CAGE", which is very much a direct sequel to "METAMORPHOSIS". On the surface its an episode featuring the return of some villains, Talon and his own clan of mutates, but below that is an episode which is about judging things by how they appear and how emotions and desperation can lead otherwise noble people to uncharacteristic acts.

Spoiler

As covered in "METAMORPHOSIS", one of the cruelest acts performed by David Xanatos was the manipulation and transformation of Elisa's headstrong kid brother Derek into the genetic creation Talon alongside Dr. Sevarius; the experimentation of at least three other random homeless people into monsters to these ends was just the icing on top. Having been maneuvered into believing Goliath was responsible for his mutation and that Sevarius is dead, Talon and the rest of his pack (Maggie the Cat, Fang the Jim Balushi and Claw the strong silent type) continue to live at Xanatos' tower as Elisa worries sick about him. However, Savarius is very much alive and still working for Xanatos, until he's kidnapped from his very own lab. All suspicion falls upon Talon, but it turns out to be Goliath bending the rules drastically to try to ease Elisa's sorrow. 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. Xanatos, as always, plays the situation to the hilt to keep Talon at his side, before ultimately knowing when to cut his losses to secure Sevarius' life. He's so busy managing his science fiction investments he hilariously dismisses Goliath's presence ("Oh, hello Goliath. Didn't even notice you there"). Derek, for his part, has allowed his own hatred (built by manipulation) to pit him against his sister initially as well as against Maggie when she tries to convince him that Xanatos isn't their friend. Easily the best scene of the episode is when Talon and Maggie are left with Sevarius' serum and are left to choose whether to trust it or not and which of them should use it (as it's only a large enough dose for one). I say this a lot, "a poorer show would have done ____", but that's just because there're a lot of poorer shows out there. Regardless, a poorer show would probably have revealed whether the serum was genuine or poison or not at some point to make the conflict more blunt, but this episode plays on their mistrust of Sevarius to build a stronger, more emotional climax. He certainly can't be taken for his word, after all. None of the characters' know, and neither does the audience. The scene feels more genuine that way, and the choice made more stark and dramatic for it. Xanatos is right; there's so much drama that it can be easy to forget Goliath is there sometimes.

The final scene with Derek and his "clan" introducing themselves to the Maza family was good. It was another area where the show was ahead of it's time; how many cartoons in the 90's had someone come out to their family as a furry? Complete with all their furry friends? Jokes aside, though, we do get to meet Elisa's kid sister Beth, who will later show up in "CLOUD FATHERS". And speaking of jokes, Balushi's performance as Fang sometimes waxes and wanes for me; I get the character is supposed to be a wisecracking villain, but sometimes I feel as if he sounds "on" too often. Like sometimes I don't know whether Fang expects to be standing on a stage in a bar or not. This isn't as big a deal now, but it sometimes can be distracting for later episodes with him. Regardless, Talon is freed from his "cage" of being manipulated into revenge, and even Goliath is helped by Elisa to avoid entering his own "cage" of justifying illegal and unethical acts with good intentions. Maybe I am getting too metaphorical now. Regardless, Nichelle Nichols (Lt. Uhura herself) once again cameos as Diane Maza, with Micheal Horse as Peter Maza.

Overall, the Talon subplot comes to a satisfying and very emotionally packed climax before the "world tour" arc begins. It would be revisited towards the end of the second season, but "THE CAGE" leaves things off in a good place for Derek for the moment.

The final episode before the next major arc, (the three part "AVALON" saga) is "THE PRICE", which originally aired out of order in the 90's but now is in its proper place due to the wonders of DVD releases. It offers some wonderful animation from Disney Japan (one of the most beautiful episodes since the pilot in some ways) as well as offering a debate of ideals between David Xanatos and Hudson, and some terrifically boarded battles with another of the series' notable villains, Macbeth.

Spoiler

The episode gets things off at a cracking pace as the gargoyles clan are immediately locked in battle against Macbeth, who has seemingly returned from "HIGH NOON" without either Demona or the Weird Sisters. He's armed with a new hovercraft and his usual mix of weapons and is more than capable of taking on the clan by himself. Things take a turn for the worse when Hudson is hit with a mysterious dust by Macbeth and the sunrise is fast approaching. Goliath seemingly crashes Macbeth's sled to earth with him inside it, but things get no less weird when they wake up. Hudson seems to remain in his stone from unable to wake up. With Macbeth "dead", Goliath and Lexington do their best to search his estate for a clue while the others look after the seemingly comatose Hudson. The twist is, of course, that Hudson is hardly a statue; he's been exchanged for a replica by Xanatos, who is using him as a pawn for a scheme to gain immortality itself.

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), Xanatos' latest dabble into sorcery is the "cauldron of life" which requires as an ingredient the stone skin of a gargoyle. Being wisely weary of plunging into magic, Xanatos also considers Hudson a worthy test subject for it considering his own age. Hudson, however, has gained perspective in all his years of life as well as his experiences regarding the loss of his clan and their enemies, Demona and Macbeth who are also immortal. We get a nice debate between Xanatos, Hudson, and Owen about such maters as life, age, and servitude, which is all very rich stuff of the sort that even live action productions struggle to match. To give credit, Xanatos claims that replicating Hudson's sword for his fake statue was the hardest part, and eagle eyed viewers will note that for the replica, the sword is stone; usually the animation is consistent to make sure it always looks like metal even when Hudson is sleeping (since it wouldn't convert like their bodies and clothes do). Speaking of twists, the show is also fair in regards to giving a hint as to "Macbeth" when it seems he keeps using the same phrases over and over again, like a machine. 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. During the ordeal, Xanatos seems to gain more respect for Hudson, who doesn't lament his age and successfully escapes his cage. Naturally, as with prior episodes, characters in this show don't usually fight to the bitter end without quite a reason; instead if their conflicts are resolved they usually ease hostilities. Hudson doesn't feel the need to destroy the cauldron, figuring if Xanatos is willing to risk so much to gain immortality, it's his business and whatever risks are his own. 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.

The action scenes with the false Macbeth (a robotic duplicate; remember, Coyote in "LEADER OF THE PACK" was a test of such robotic duplicate technology) are terrific, as are the other scenes where the gargoyles display how far they're willing to defend Hudson. The drama gets elevated to 11 when Broadway seems to turn to stone via sunlight in mid-flight, and Elisa has to do some sharpshooting with nearby vehicles to save him. Even though we as the audience know that Hudson isn't really a statue, it's easy to sympathize with Goliath's fury when it seems as if his friend has been blasted by Macbeth, and you know that robot is about to meet a grisly end. Of course, Goliath didn't know Macbeth was a robot and it has been established that while Goliath is overall a noble soul, he does have a righteous fury for those to attack or kill those in his clan for understandable reasons. 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. Fortunately, such righteous fury doesn't have to be permanent as Hudson returns, amused by having a piece of his replica's shattered head to keep. While everyone in the series always puts in a top notch performance, Ed Asner always impresses when given more to do in an episode such as this. When he was finally honored in the mainstream for his voice acting after "UP" got big, I often felt it was long overdue.

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.

 

[Sarcastic Fan]

another one of those mobster related episodes I sometimes feel the need to defend.

Since there are really only four of them, there shouldn't be a need to. They don't intrude on other arcs. Yeah, Demona and Xanatos are the best villains, but they're also (thankfully) not ubiquitous. Like you said, Dracon is a nice change of pace.

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.

Given Thailog's existence, an evil clone wouldn't have been out of the question. Thankfully they didn't go with such an idea.

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").

Yeah... the best shows are the genre savvy shows.

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".

"And if you play it smart, there will be plenty of lettuce for everyone."

Although Dracon conversed with Goliath directly here way more than Broadway.

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.

Never pick a fight with Elisa. It won't end well for you.

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.

Agreed. I loved "Avengers: Earth's Mightiest Heroes" but it quickly reached a point where in just about every episode, the fate of the entire world was always at stake. Those episodes were great, but it was nice to get a change of pace there in early season two before the world was at stake again in "Secret Invasion".

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.

At the 2003 Gathering, I bet Greg Weisman that he couldn't get Demona to say it. If the show or comic book ever comes back, and she says it... it's my fault.

It all leads to quite a climax in the underground labyrinth once used by Cyberbionics between all involved parties.

I love that this location came back and was given new purpose.

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.

This sort of thing wasn't considered as, well, "terrorist" as it is today in Medieval society. Kidnapping and ransom was just shy of legitimate business transactions in those days. But in modern times... yeah... you'll never see Superman or Spider-Man kidnapping someone, even a villain. And if Batman does it, it's presented as the right thing to do and if someone calls him on it, fate rewards Batman for it, or at least the narrative says he was right. And Goliath did admit his mistake... it's one of the key differences between him and someone like Demona.

The final episode before the next major arc, (the three part "AVALON" saga) is "THE PRICE"

Probably by favorite "one part" episode of the series.

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)

And the fact that I think Hudson is right, growing old does terrify him. Look at the way Xanatos snapped back at that accusation. Hudson clearly touched a nerve. Where this fear came from, I am not sure, but I think the fact that Xanatos's mother is conspicuously absent in episodes that Petros appears in might be part of the reason.

As "LONG WAY TO MORNING" showed, Hudson is not to be underestimated as he capitalizes on patience and opportunity.

I love the way this show treats "older people." Especially since one of its contemporaries was "Spider-Man: The Animated Series" whose treatment of seniors bordered on insulting on good days and crossed the line on a fairly regular basis... the episodes with Silvermane and Vulture on that show were particularly painful to watch.

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.

Agreed. Watching Xanatos match wits with anyone is fun... I think that's often why I see people discuss what would happen if he met Lex Luthor, Bruce Wayne, Tony Stark, Norman Osborn, etc.

We also learn that Hudson was already 100 years old by the time Magus' spell zapped him in 994.

I think he was closer to 120. Found this on ASK GREG, this is how old the characters are after season two:

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.

Good lord, I hate how Spider-Man Animated Series dealt with seniors. Sorry for repeating myself.

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").

He never throws a tantrum. Unlike most villains, Xanatos is a mature adult.

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.

I remember that being such a shocking moment when I first saw the episode back in 1995.

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.

He is Goliath's father by gargoyle standards, Demona's and the trio's too. Trivia, Hudson is also Broadway's biological father, but it never comes up and isn't mentioned because biological relationships aren't important to gargoyles.

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.

Can't wait for your ramble.

 

[cabel]

Ordered mine!

 

[Dread]

Glad to see these rambles inspiring some others to nab the series now that they can.

One of the many things that "GARGOYLES" does well is its ability to mingle serialized and progressive storytelling within individual episodes as well as multi-part arcs over the course of its run. After all, despite having 65 episodes in its original (and canonical) two season run, there are technically only five stories which run across multiple episodes with a "part one", "part two" and so on. While the entire show has developed a tapestry that grows more rich and layered as it goes along, the major arcs of multiple chapters help shape and bookend segments of the show. In more practical turns, Greg Weisman, Frank Paur, Michael Reaves and company had an order more than triple for the second season to fill, which meant a mass expansion of their rich universe they had already created. Thus, "AVALON" is a three act production which answers many questions left over from the previous multi-parter "CITY OF STONE" as well as "HIGH NOON" and takes place nearly midway through the season. It is the beginning of a segment of the show's run dubbed the "world tour" which would comprise roughly a third of the series' run (give or take of course). It offers a lot of action, more fascinating flashbacks to the middle ages and one of the series' most dangerous villains. 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.

Spoiler

Get a good look at the rest of the Manhattan clan at the start of "AVALON - PART ONE" as this is the last we see of them for many episodes. The show would wisely check in on them at various points during the "world tour" era (such as in "KINGDOM" and "PENDRAGON"), but for the most part this begins what I sometimes considered the "honeymoon" of Goliath and Elisa (and Bronx) apart from their traditional lives and into a far ranging new adventure together. It begins as most evenings do for the Manhattan clan, only a mysterious armored man docks his strange boat in the middle of Central Park and then has an altercation with the three reoccurring street punks from "THE AWAKENING" before being arrested by Officer Morgan. Not only does his armor smack of the 10th century, but he bares a sword and a helmet which seems strangely modeled after Goliath. Elisa soon learns that this stranger is very much aware of gargoyles and was asking for Goliath by name, so she arranges a meeting for them at the park. As it turns out (and as I guessed as the episode progressed), this is none other than Tom, the small boy from 994 A.D. at the start of "THE AWAKENING" from castle Wyvern. Answers as to how he is still alive after 1000 years as well as how he got there and the fate of the rest of the Scottish clan would be answered as Tom ferries the three of them through the mists of time and into the magical isle of Avalon. They will eventually come into conflict with not only Demona and Macbeth, but the Weird Sisters and the true magical mastermind behind a lot in the series, the Archmage.

Much as "CITY OF STONE" filled in the gaps of the histories of Demona and Macbeth using some real life history mixed with a dash of Shakespeare (and a heaping of imagination and terrific writing), "AVALON" fills in the gaps of some of the supporting characters from the first two episodes of "THE AWAKENING" - Tom, Princess Katharine and the Magus. When we last saw them, both Katharine and the Magus had expressed sorrow for their colossal misjudgment of Goliath and the gargoyles and promised to tend to the eggs of their last generation who survived the massacre at castle Wyvern (after granting Goliath what was probably considered a final wish to join his remaining stone clan). 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. Guarding Avalon are the Weird Sisters, children of Oberon who naturally were responsible for manipulating Demona and Macbeth across time. The Magus is able to defeat them in a magical duel, although he is unable to bring his precious Grimorum Arcaorum onto the island itself; Mary is forced to bid her son farewell to protect the tome from Constantine and allow them to travel for safety.

The isle of Avalon is a magical place apart from time, where days to the outside world are mere hours there. Once the home to Oberon and his children, they'd been banished from there to the mortal world and thus the party find the entire area deserted for many years. Tom grows up and dons his armored gargoyles cosplay as to continue protecting the rest of the gargoyles - who Tom and the others still affectionately call "the eggs". Thus on this mystical island, Goliath's dream of gargoyles and humans co-existing came to pass; Katharine, Magus, and Tom raised the gargoyles as their own children, giving them names and living for a time in bliss. Unfortunately, all good things come to an end as they're imperiled by the Archmage. As noted in "LONG TIME TO MORNING" and "VOWS", the Archmage was the former wizard of castle Wyvern until he ultimately decided to betray the monarchy and had to be put down by Goliath, Hudson, and Demona (who had served as his apprentice). It turns out that he not only survived his battle against the gargoyles, but he's thrived thanks to the time bending efforts of his own future self. It was his desire for power and revenge which attracted the Weird Sisters to Demona and Macbeth and ultimately to the crisis which reunited Goliath with his clan. 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. Much like Xanatos in "VOWS", the Archmage has used the time traveling Phoenix Gate to become a "self made man". It is the Archmage who gains the assistance of the Weird Sisters in connecting Macbeth and Demona as his pawns against Avalon across time, and who has utilized the Sisters in their quest to claim the magical items featured in previous episodes - the Eye of Odin (from "THE EDGE" and "EYE OF THE BEHOLDER"), the Phoenix Gate ("VOWS") and the Grimorum itself (utilized in "THE AWAKENING" and "TEMPTATION", and like the others stolen during "HIGH NOON"). 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) and convincing both them and himself to choose Macbeth and Demona as his cross time lackeys makes Archmage responsible for a damn lot of things. The Archmage could be dismissed as yet another ancient wizard mad with power and with delusions for world conquest after petty revenge, but he could also be looked at as "GARGOYLES" version of Saruman, considering his involvement with ancient artifacts as well as godly beings. 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.

It is through Tom (Gerrit Graham), Katharine (Kath Soucie, who also voices the Weird Sisters as well as many other parts in the series) and Magus (Jeff Bennett, another man of a dozen voices) in which we see that Goliath's usual philosophy of redemption isn't just noble optimism. Tom was always a fan, but Katharine and Magus both treated the gargoyles poorly, and the latter in particular all but killed them in misguided rage (since, as Weisman notes in commentaries, nobody in the 10th century could have imagined a castle rising above the clouds). Yet both not only realized their error and admitted they were wrong but put their lives on the line time and again to correct this error and protect "the eggs" as their own family, naming and raising them like children. 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. Soucie and Bennett put in some terrific performances here, and I admit I would have felt a little cheated if I didn't get to see baby gargoyles at least once; I did and was satisfied by their adorableness.

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"). She goes on to appear in most of the next 35 episodes alongside the rest of the clan, and shares the "world tour" arc with Goliath, Elisa, and Bronx. 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. Much like the gargoyles of Season 1, Angela is a fish out of water; however, she comes from completely different waters and brings into her travels a different perspective than the Trio or Hudson or even Goliath. Angela didn't grow up in the harsh times of the 10th century, where war was constant and humans (barring some exceptions) were wary, fearful, or even cruel to her kind. Instead Angela grew up on a mystical island with her brothers and sisters with what were effectively human parents and mentors who loved them as their own flesh, not knowing war until the Archmage and his cohorts (human, gargoyle, and Oberonian) brought it to her as an adolescent/young adult. 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. Noteworthy female characters both good, bad, and in between were part of the series from the start, so there was no real "gap" in that regard that I noticed; in contrast, "YOUNG JUSTICE" certainly felt more whole once Artemis got there and Miss Martian wasn't the only major regular female character in the cast. In this way, Angela never feels like plaster to a flaw in a wall, but as a natural development of its stature over time.

Goliath and Elisa are certainly thrown through a ringer here, transported to an island that time forgot and faced with what has to be one of the most dire opponents they'd ever faced, an enemy from beyond time who was literally able to command other vicious enemies they'd never outright defeated like Macbeth or Demona. While there are attempts to liberate the two from the Sisters control, Macbeth and Demona remain mesmerized pawns for much of the affair, which certainly gets intense as the episodes is not shy about showing that many of these nurtured Avalonian gargoyles (such as Gabriel and another "beast", Boudicca) are getting hurt in this war. Despite being a cop from the 20th century, Elisa once again proves herself adapt and flexible with the rules of magic as she was in "TEMPTATION", as it is her idea to go with Magus to awaken the "sleeping king" - Arthur Pendragon himself. I have to admit, I have never been a major fan of King Arthur as a character, as I often found him too stoic and boring for my tastes; however, I did enjoy the thrill of Macbeth getting to match swords against the king of legend. Magus and Elisa's trials awakening him reminded me a little of Indiana Jones fare, and careful viewers will notice the show never cheats the audience and remembers that Elisa empties the clip of her gun during this arc and never gets to reload it. 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.

"AVALON" doesn't have the tragedy or some of the raw emotion and history of "CITY OF STONE", but it comes damn close and offers a different kind of spectacle. It gives David Warner a chance to really establish Archmage as one of the series notable villains, even if he is a far more different villain than Demona, Xanatos, or Macbeth. It offers a time spanning action spectacular which takes Goliath and Elisa out of their comfort zones along with the audience and allows them to embark on an a journey into the unknown. 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.

 

[Sarcastic Fan]

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.

And there is nothing that disappoints me more than when a show with potential for greatness doesn't take risks. But I think we'll have plenty of time to discuss the Tour in and of itself.

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.

Character development is a wonderful thing.

Katharine literally knights Tom to be their guardian as a boy, and it a role he took seriously into adulthood.

I love this moment. You can tell that none of them had any idea just what they were getting into here.

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.

Very few kings in that era died of natural causes. The king before Kenneth II, Culen was a usurper. Defeated in battle by Kenneth, who then took in his son, Constantine, and then was overthrown by Constantine. Of course Constantine would be overthrown by Kenneth III who in turn is overthrown by Maol Chalvim II (who you met in this three-parter, Kenneth II's son) and is then succeeded by Duncan who is overthrown by Macbeth, succeeded by Luach and then overthrown by Canmore.

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).

Finella is a great character. Very grey, too. If Constantine hadn't disregarded her, I think that, like a Mafia wife, she would have grown comfortable with the murder.

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.

And they weren't even trying. When they wrote "Awakening" and created the fictitious Princess Katharine and later the fictitious Prince Malcolm, they weren't trying to present true history. But later, when they realized they didn't contradict any real history, they began to work it in. I wonder what else we would have gotten with more episodes.

Weisman has said that Macbeth fought on the side of the Allies during World War II, but he refuses to tell anyone what Demona was doing. Curious.

Tom grows up and dons his armored gargoyles cosplay

From Tom to Xanatos, everyone wants to cosplay as Goliath.

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.

On any other show, he would be the main villain.

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.

I loved hearing Warner go to town like this. Is this the first time he's ever had dialogue with himself? I don't know. But I hope he gets back into voice acting some time, I always enjoyed his work.

What the Archmage may lack in charm or pizzazz he makes up for in long scale time travel planning and background manipulations.

Which he learned from his future self who got it from his future self who got it from his future self who got it from... you get the idea.

Having become the employer of the Weird Sisters (or at least aiding them enough that they decided to unite with him for a time)

Considering Oberon's Law, they needed him to give orders so they could bend the law. So, whom was using whom?

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.

See X-Men for examples that don't work.

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.

And, unlike Gandalf, I don't think the Magus is coming back.

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.

Beautifully put.

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").

Lately she's been writing and producing her own show, called "The G-Spot"

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.

And how!

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.

Yeah, one wrong move and you end up with Poochy.

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.

Agreed. I always kinda liked her, but I didn't come to appreciate her until later. Usually, the "nice girl" or the "nice person" is boring. But she was a fascinating character all on her own.

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.

That's a great way of putting it. How would things have been different if they just went straight back to Manhattan? Safer, yes. But better? I doubt it.

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.

Yup, and even with Angela on stage, this show wasn't done with adding strong female characters. It also puts to lie the strong held belief that boys don't want to see "Ass kicking females." To be fair, X-Men also did that with characters like Rogue. But to this day, some executives still have trouble with female characters in shows like this. The creators of "Avatar the Last Airbender" (which itself had characters like Katara, Toph, and Azula) had to fight tooth and nail for a show with a female lead when selling "The Legend of Korra." Despite all these shows, this attitude is still alive and well.

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.

We've seen Goliath the warrior. Goliath the leader. Even Goliath the poet. But thanks to Avalon, now we've got Goliath the father.

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.

The mark of strong protagonists. Why wasn't this show a smash hit, again?

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.

AND NOTHING WILL EVER BE THE SAME AGAIN! Except, unlike Marvel editors who say this, it's true here.