This is the only episode in The Goliath Chronicles (apart from " The Journey") to include a Shakespearean reference (assuming that Titania's role in ".For It May Come True" doesn't count): Xanatos's line "Now you have two choices: to be or not to be."
Fortunately, Greg Weisman persuaded his successors not to use this idea. Originally, the production team for The Goliath Chronicles intended to end the episode with the gargoyle and Elisa fleeing New York for good Goliath and Elisa would move to Chicago (Elisa changing her name) and Brooklyn and Lexington would embark on their own world tour. Margot Yale's trusting of Castaway is questionable considering that he was arrested for endangering the city in ". The recording that John Castaway had of Goliath's threat was dialogue altered from his time in court. A new age has begun, and we live again." First Appearances Character Somehow, we never lost hope, and today we come full circle. Ten centuries later, we awoke to a world bent on our destruction. " One thousand years ago, we lived in a world that understood our purpose. Sometimes, hope is all we have." Ending Monologue The struggles of the old year die away, as unspoiled hopes of the new year are born.
The human new year takes many forms, but each message is the same. Angelic benevolence has rarely appeared so interesting, and the book may make even devout young nonbelievers clamor for a church visit."The yearning for renewal is universal. The nocturnal scenes are rich in teals and purples with subtle geometric patterns, which contrast with the jewel-like glow of the church’s stained-glass windows, a repeated motif. The mixed-media paintings strongly echo Chagall, especially in the fluid yet slightly folksy figures of the angels. The story of rejection hits at kid understanding, and the angels’ nocturnal benison, though somewhat sustained, is genuinely poignant (“god bless each soul that is tortured and taunted,/god bless all creatures alone and unwanted”). The sadness of the derided gargoyles attracts sympathetic angels, who console the gargoyles and take them on a night flight, a practice that still continues to this day: “so if you see shapes in the night sky, don’t fear/-for it simply means angels and gargoyles are near.” Aside from the occasional stumble, the galloping anapests are lilting and suitably old-fashioned, making for sonorous reading aloud. This rhyming story spins a yarn about the history of carved church gargoyles, who start out as protectors to keep evil away but then begin to elicit the suspicion of the very people they were intended to guard.
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