The unique “Gargoyles” was a novel cartoon for its time. It had a tone and extra mature storylines than most exhibits of the time, prioritizing character drama and temper over wacky conditions that might catch youngsters’s consideration.
The present is maybe finest remembered at present for its serialized storytelling, which deepened the characters and the lore with every episode. This was a decade earlier than “Avatar: The Last Airbender” — but, “Gargoyles” had equally as epic a narrative as both of these exhibits.
For those who ask Greg Weisman, nevertheless, he would not think about the present’s use of serialization all that particular. He considers all trendy TV, from “The Sopranos” and “Rick and Morty” to “Gargoyles” and “Game of Thrones,” derivatives of the one present that created the fashionable format: “Hill Street Blues.” The 1981 cop present was distinctive for its use of handheld cameras and intertwined storylines that have been advised throughout a number of episodes. What Weisman and his crew on “Gargoyles” did was someplace within the center, having episodes that have been nonetheless standalone and had clear beginnings and endings, whereas nonetheless constructing as much as a bigger story.
“What we called our show then was not serialized. We thought of it as episodic, but sequential. And the second word is what made it different. In other words, you can tune into any episode, but you’re going to get more out of it if you watch them in sequence.”
This makes an enormous distinction. Having every episode work by itself makes “Gargoyles” re-watchable, as a result of you can begin at any level and perceive a minimum of that particular chapter of the story — in contrast to one thing like “Game of Thrones” — whereas nonetheless having every episode construct into the subsequent one so they’re all significant components of the bigger story.
The sequential format additionally helps the present have penalties, one thing that was solely lacking from animated exhibits of the time, and has been arguably one of many largest revolutions in TV animation over the previous decade or so. We see characters develop and alter over time, actions, be they fights or arguments, had penalties that affected the characters’ relationships. Take one of the well-known storylines of the present — Broadway unintentionally capturing Elisa together with her personal gun.
The capturing causes Elisa to be badly damage and nearly bleed to demise. The next episode picks up weeks after and he or she continues to be in restoration, which lasts for a number of episodes and deeply impacts each characters. “Everyone was behind us in doing that story,” Weisman defined. “It seemed like an important story, and it was imitative behavior because kids can, in theory, find their parents’ guns or whatever and do something horrible with them. But the point was, we were showing the repercussions of this.”
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