Gargoyles: Dark Ages is a new miniseries that delves into the rich history of Goliath’s Manhattan clan. Set twenty years before the gargoyles were betrayed and cursed to remain in stone for a thousand years, this series reveals the origin of the alliance that existed between man and beast, when Goliath was but a young follower of the elder Hudson, their clan was numerous with not a single name among them. The clan must learn to trust one another and their new allies as they all inevitably come under attack from new enemies, both abroad and from within.

When “Gargoyles” first premiered nearly thirty years ago (god, I feel old), it was an incredible series, packed with a diverse cast of humans and monsters alike. Each episode was like a morality play, exploring human nature through the lens of centuries-old creatures and teaching subtle lessons about tolerance and the dangers of bigotry. When it ended, there was a tremendous void that has never been filled but thankfully Dynamite has picked up the license and reintroduced the world to the age of Gargoyles by way of original creator Greg Weismann, who handles writing duties on both series. As showrunner for its first two seasons, Weisman is the foremost expert on the Gargoyles and their complicated lore. He’s also no stranger to adding new wrinkles to their rich history, as evident by the many retcons the series experienced, most of which were handled brilliantly. Here though, the story isn’t quite compelling enough to justify its existence, at least not yet. The focus on Hudson during his younger days as clan leader is cool enough on its own to warrant a second look, not to mention seeing several new faces, including Hudson’s mate!

Artist Drew Moss does some excellent character work here and his approach perfectly captures the aesthetic of the source material while staying true to his own distinct style. Although only appearing in one panel, his depiction of Goliath’s future clan in toddler form is particularly adorable. As with the script, there are a few instances where the art comes up short, specifically a full-page spread depicting the Scottish clans in battle that just comes off as bland, and upon further inspection, very repetitive. The smaller moments, such as Hudson finding comfort with his mate, are where Moss truly shines.

Another highlight of the book is the backup story, “The Tale of the Three Brothers.” Not to be confused with Beedle the Bard’s fable of the same name, this three-page prose narrated by an as-yet-unseen character is oddly compelling and manages to enrich the previous story while standing on its own. It also serves as a much more satisfying cliffhanger than the main story’s abrupt ending. Fortunately, whether you’re a long-time fan of the series or new the franchise, this first issue serves as a fine jumping-on point but also manages to tie into the current series quite seamlessly.