Events from the past impacted events in the present, certainly not the norm for an animated series at the time. Viewers were introduced to a new collection of gargoyles hatched from a collection of eggs seen at the very start of the series, the initially villainous Xanatos forged a shaky alliance with Goliath, got married and had a child, and Demona tried to develop her maternal side upon discovering she had a daughter. evil” setup, and from that point on, the series kept extending and developing its intricate world. The series was moving beyond the traditional “good vs. We meet the Weird Sisters, a key part of Wiseman’s mystical mythology, we learn how Demona and Macbeth were fated to forever be entwined in each other’s lives, and we get new perspectives on scenes from the very first episodes. “City of Stone” was a flag in the ground, a declaration that here was a show looking to deliver something a touch different from what audiences might be used to. That ambition is first noticeable in the five-part episode “City of Stone,” which weaved together a clutch of ideas and storylines that delved into actual Scottish history, took cues from the collected works of Shakespeare, and used most of their running time to humanize two of the series’ “villains,” Demona and former Scottish king Macbeth. Yet it’s only when the series ventured into its epic fifty-two episode second season that Gargoylesreally let loose and started to build something much more intricate, largely pieced together under the creative guidance of producer Greg Wiseman. Ostensible villains were put in place – wealthy industrialist David Xanatos and Goliath’s former mate Demona – and a few brief flashbacks filled in more of the clan’s past.
Opening with an engrossing origin story stretched across five episodes, the first series laid the groundwork for the swirling narratives to come, introducing us to Goliath and his clan of gargoyles, sent to sleep in 10th century Scotland and woken up in 20th century Manhattan.
Time has been kind to Gargoyles, even if it never was to its stony protagonists. But as with many seeming “failures,” Gargoyles was merely a success in a rather different way than the moneymen might have imagined – namely a creative sense, producing a show filled to the brim with mythology and layered characterization, one which seemed a world away from Goof Troop and Duck Tales.
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