Author Archives: Joe

November 8, 2019

The New Batman Adventures – “Chemistry”

By Joe

chemistry Episode Number: 22 (107)

Original Air Date: October 24, 1998

Directed by: Butch Lukic

Written by: Stan Berkowitz

First Appearance: None

This week’s episode brings back another classic villain with a fairly familiar scheme, as it relates to this series. It’s also going to retread some of the themes of Mask of the Phantasm, but in a much more simplified and truncated manner given the runtime of an episode of television. “Chemistry” essentially posits what Bruce Wayne would do about Batman were he to fall in love. I don’t know that the answer is particularly surprising or satisfying, but it leads to at least one dramatic moment. That money shot, as it were, happens basically before the midway point of the episode so it’s interesting to see if the rest of the story can matter following Wayne’s declaration. This episode is a bit of a mystery, with the reveal of the villain saved for the penultimate act, so in the interest of not spoiling things I am going to recommend ahead of time that you view this one yourself before reading my reaction. However, it’s not the sort of thing that would prevent you from enjoying the episode if you knew about it beforehand. Nevertheless, on with the show!

In this episode, Bruce meets a new woman and becomes instantly taken by her.

The episode opens at the estate of one Veronica Vreeland (Marilu Henner), or perhaps her father. It’s the site of a wedding as Veronica has decided to tie the knot to a mysterious man with piercing green eyes by the name of Michael (Tim Matheson). He seems familiar, but he’s not, he just reminds me of the villain from “See No Evil.” Veronica tosses her bouquet and a green-eyed blond by the name of Susan (Linda Hamilton) is the one who ends up with it. A photographer then asks if she’d mind posing with the gentleman who caught the garter and she’s more than happy to do so. That gentleman happens to be Bruce Wayne and as the two pose for a picture Bruce confesses he hates these sort of things. When Susan responds with a joke, it goes over Bruce’s head, but the two seem to have a mutual understanding. Veronica and Michael soon approach the two and Veronica mentions that Susan is a friend of Michael’s. She also reveals the two only dated about two weeks before deciding to tie the knot.

Elsewhere, Tim and Barbara are attendants as well. Tim I suppose was brought along by Bruce, as for Barbara I have no idea what her connection to Veronica or her husband would be for her to be in attendance. Tim is not having a particularly good time, but at least there’s cake. When a horn sounds it’s Alfred there to retrieve Tim and Bruce. Tim is eager to get out of there, but Bruce is lagging behind for he’s dancing with Susan. Alfred and Tim take notice and the camera lingers on Bruce’s contented face.

The look of love.

The scene transitions from Bruce’s face to Batman’s as he’s wearing a really dopey smile, a rare occurrence for him. Robin then gets in his ear as the two are apparently on a stake out of some kind. Four biker-looking dudes just hit a shop and Robin is ready to go. Batman snaps at him a bit to let him know he’s ready and the two head down to the street. Inside, they smack around the bikers. Batman then lets his guard down after taking out the third guy only for Robin to nail the fourth with a Batarang. He then reprimands Batman for forgetting that he told them there were four, and Batman apparently realizing his mistake has no response.

At the Batcave, Robin is sharing the events of the night with Alfred. As he does, Alfred begins removing Robin’s cape to hang up. Does he undress Robin every time he returns from a night out? If so, these rich boys are more helpless than I thought. Anyway, Robin remarks that Batman’s head isn’t in the game and Alfred seems to pay it no mind. We then see that Batman is still out on the town and being quite the creep too as he’s using binoculars to spy on Susan as she struts around her apartment.

I think that’s a “Yes.”

We’re then taken to a rather luxurious looking yacht. Bruce has invited Susan out and she’s happy he called, though she admits she thought he wouldn’t. He’s a bit taken aback by that, but she points out she assumed that based on what he had told her about being too busy for relationships. Bruce confesses he’s been thinking about her a lot and he gives her a box of white roses. She’s pleased, and seemingly prepared for the next gift: a diamond ring. She says nothing when Bruce springs it on her and the two kiss.

At the Batcave, Bruce has summoned Tim, Barbara, and Dick to tell them something. As he paces in front of them he explains that the pain he feels over the murder of his parents isn’t gone, but it’s not as bad as it used to be. He explains these past few weeks with Susan have made him feel something he has never felt before. When Tim chimes in with “happiness” he gets a frown in response. Bruce then tells them he’s asked Susan to marry him, and when Dick gestures to the Batman costume and asks what he’s going to tell her, Bruce lets them know he has no intention of being Batman anymore (enter dramatic music).

The wedding is held at Wayne Manor and the guests at the wedding present the opportunity for some fun cameos. I won’t list them out, but feel free to watch this scene a few times to try and spot them all. Lucius Fox (Mel Winkler) makes a toast to the bride and groom while Dick grumbles to Barbara that it will never last. Barbara mistakes him for suggesting the marriage won’t last, but Dick corrects her and says there’s no way Bruce is done playing super hero. Barbara is more optimistic and suggests it could happen to Dick some day, but he rebukes her and suggests she’s hoping that’s the case. Barbara is quick to deny that was her aim.

Veronica’s new husband shares some traits with T-1000, which is interesting because Linda Hamilton has a guest role in this episode.

Bruce is soon lured away from his wedding by a phone call. He’s reluctant to take it, but Alfred informs him it’s an emergency and Veronica is the one on the other end. He excuses himself and takes the call and finds a near hysterical Veronica on the line. She tries to tell him that something is up with her new husband, but before she can explain they’re disconnected. Michael is shown emerging from the bathroom and Veronica tells him to stay away. They appear to be in her bedroom. As Michael approaches her he tries diffusing the situation, but Veronica retreats to a panic room that’s protected by laser bars. She tells him he’d die if he tried to get in, and he simply sports a wicked smile and forces himself in. The lasers cut through his skin and he holds his head in position so that one beam is going right through it like one of those gag headbands with an arrow sticking out. Veronica is terrified, and as Michael pushes through his body is left a greenish brown where the lasers burned him. The wounds close, and he’s able to move in.

Bruce to the rescue.

Bruce informs Susan that something is up with Veronica and she’s supportive of him checking on her. He races over to her house and finds the doors locked. When he barges in an explosion goes off knocking him back. With the house fully engulfed in flames, Bruce throws his jacket over his head and runs in. He races upstairs to find Veronica unconscious in her panic room with no sign of Michael anywhere. Bruce is able to get her out using a tri-panel mirror to deflect the lasers and to a hospital. It’s then that Michael shows up. He claims he had been at a business meeting. Bruce doesn’t pry, but informs him they’ll know what’s going on when Veronica wakes up. Until then, Bruce has hired security to watch over her as the police suspect arson. Bruce then takes his leave and once outside the hospital he whips out an old flip phone and instructs Robin and Batgirl to keep an eye on their boy Michael, for he has a boat to catch.

Michael, likely knowing he’s screwed when Veronica wakes up, quickly flees the hospital and heads for some sort of botanical garden. Batgirl and Robin follow and soon they see who’s really behind all of this: Poison Ivy (Diane Pershing). Ivy is not happy to see Michael, but he explains that he’s in trouble since he tried to kill Veronica and failed. She admonishes him for doing it so soon as he was supposed to wait for the cruise. When she asks why he did it, he removes his shirt to say she saw “this.” “This” refers to some leaves apparently sprouting from his chest. Ivy realizes there’s a flaw in her plan as she thought she had more time. She then grabs Michael’s face and rips it off, along with the skin of his arms and torso. Robin practically retches when she does so. Underneath, Michael is a plant monster and he more resembles Killer Croc than the plant monsters we saw last season in “House & Garden.”

Ivy and her plant minion take off as they have a boat to catch allowing Batgirl and Robin to inspect the area. They realize this probably relates to Bruce and his new bride somehow, but before they can get out of there Ivy’s defense mechanisms kick in. Vines start grabbing them and they’re forced to use some chemicals Ivy left laying around to kill them. This appears to give them a solution for how to combat Ivy’s monsters.

Susan’s secret revealed.

Aboard a luxury cruise liner, Bruce is chatting about his new bride with a pair of wealthy newlyweds. They boast about how agreeable and perfect their green-eyed brides are. The green eyes serves as a tip-off for Bruce and he soon returns to his cabin. There he finds Susan and confronts her. She’s defensive, though who wouldn’t be if their spouse came barging in and started demanding answers about their past? They apparently never discussed such details, and Susan plays coy. Bruce then grabs her, making this situation a bit uncomfortable to watch. Susan begins to sweat, and as she does her true appearance reveals itself as green streaks appear on her forehead. Bruce has dealt with Poison Ivy enough in the past to know this is her work. Susan doesn’t hide it, and starts using her vines to whip Bruce around the cabin. He eventually breaks free and gets out, pinning the door shut behind him with a ladder.

Ivy arrives with her Killer Croc knock-off.

Aboard the deck, the other patrons are shocked when the boat comes to a screeching halt. It seems living seaweed is the culprit, and before long Poison Ivy is boarding the ship with Michael in tow. It’s there she reveals her scheme to her wealthy victims. Her pheromone-laced plant people were able to seduce the rich, marry them, and now Poison Ivy intends to drown them. Only the plant spouse will survive to inherit the riches, which Ivy can claim for her own. As she explains her plan, Bruce watches from a distance. Soon, the Batwing arrives and Robin pops out armed with a tank of weed killer and knapsack containing Bruce’s preferred attire. He sarcastically asks how the honeymoon is going and Bruce just winces in response.

Robin seems to be enjoying himself as he melts a sentient being.

Batgirl apparently remains behind in the cockpit of the Batwing as Batman and Robin attack. Some of the rich decide to fight back as well, but they’re no match for the plant people. When Michael appears ready to dump a pair over the railing, Robin blasts him with his gun full of weed killer causing him to melt into a hideous puddle. Poison Ivy grabs him, and Batman moves in to help as Ivy dumps Robin over the railing where he lands harmless on a pipe. She hits Batman with a cloud of something which knocks him to his knees. As she goes in for a potentially lethal kiss, Robin alerts her that he’s not done with her. As she turns to looks at him, he smacks her across the face with the barrel of his gun which has to be one of the most visceral pieces of violence we’ve seen on this show. It’s certainly the most direct violence we’ve seen perpetrated by a male character against a female.

You kind of deserve that for taking enjoyment in killing these plant people, Robin.

The vines below the water’s surface start to break the ship apart, and the battle soon turns into a rescue mission. Batman and Robin ferry everyone to the boat Ivy arrived on which Robin pilots. Batman though has to stay back when Poison Ivy attacks him once again, but he orders Robin to disengage from the sinking vessel. The ship breaking apart separates Ivy and Batman. Batman is able to grab a rope ladder dangling from the Batwing, and as he swings past Poison Ivy she calls out for help. He reaches for her, but they don’t connect and she disappears under a wave. As the Batwing flies away, Batman looks and sees Susan staring at him from the porthole to their cabin. With a look of horror on her face, the vessel submerges taking her with it. Batman then holds up his wedding band and flicks it into the ocean.

The last we’ll see of Susan. That’s probably a better fate than melting, at least.

“Chemistry” is a bit familiar, but also fun. It’s yet another Poison Ivy story that pits her against not just Batman, but Bruce Wayne. Almost all of her schemes put her in contact with rich folk, so it makes sense she would target Bruce Wayne multiple times. It’s a bit funny that she has yet to figure out who’s under Batman’s mask, as a result. It’s nice to see her get a solo story though, as she was previously used in the anthology premiere “Holiday Knights” and then as part of an ensemble in “Girl’s Night Out.” Her reveal is concealed rather well with the only clue really being the episode’s title, which is certainly less blatant than past Poison Ivy episodes. The green of Susan and Michael’s eyes stand out and is a bit of a clue as well, though since the clones in “House & Garden” did not possess such eyes it isn’t exactly a big give-away.

The episode is fairly entertaining, though it does fall apart when one begins to think scrutinize it in greater detail. Bruce apparently knows nothing of Susan even after their marriage. I can see how him being under a pheromone induced spell could dull his senses, but there’s no way Bruce is capable of planning a wedding by himself. Someone, most likely Alfred, probably handled that and you would think he’d raise an eyebrow at Susan not inviting any family to the event. This also probably happened at every wedding orchestrated by Poison Ivy, and if Michael had that leaf problem then surely others did too. These folks are all newlyweds, so they’re probably seeing a lot of each other naked meaning there’s little chance to hide such a detail. I also feel like I should point out that seemingly only the rich people on that cruise ship were saved. A cruise ship populated by only the wealthy would probably have a huge cast of servers and cooks who were apparently all left for dead.

Of course, the episode needs a dramatic shot of Batman discarding his wedding band.

This being one of the last episodes in the series, it features many final appearances for a lot of characters. Many cameos at Bruce and Susan’s wedding are obviously the last time we’ll see some of those faces. Many of those characters had not been seen in a long time, so it was good to see them return albeit briefly. This is the final appearance of Loren Lester as Dick Grayson. We had already passed Nightwing’s final mission, and this is the last we’ll see of Dick. Lester would not return to voice the character in future series. This is also Batgirl’s last appearance which is a shame as we never explored what happened between she and Dick. Unlike with Lester, Tara Strong would continue to voice Batgirl in other shows and has become more or less synonymous with the character. It’s also the last we’ll see of Veronica Vreeland. While she had a tendency to show up in bad episodes, she was an entertaining character and a fun foil for Bruce. And this is also the last of Poison Ivy. She’s not dead, despite how the episode ended, as she would return in both Gotham Girls, Static Shock and Justice League. She was perhaps the best female villain on the show not named Harley Quinn, and I can honestly says she never had a true dud of an episode and often made things better just by being there.

If you slow this sequence down, there’s a flash of light just as Robin’s gun strikes Ivy. It’s no less impactful though, especially at normal speed.

This episode has holes, but I ultimately found it to be a fun experience. The drama of Bruce giving up his Batman persona doesn’t really work as I doubt anyone would buy into it, but I appreciate them repurposing part of the score from Mask of the Phantasm since that film dealt with the same issue. Of course, in that film it was handled far better. Maybe if this one had been a multi-part episode it would have worked better, especially if it were the final episode of the show. I still have my doubts though, so I don’t consider this a missed opportunity. Even though the plot is executed in a corny and soapish manner, it’s supported with some really mature moments and somewhat shocking moments of violence. I mentioned how Robin striking Ivy really caught me off guard, but also Michael being exterminated via melting was pretty surprising. As he’s turned into a puddle of green goo his eyeballs pop out to land atop the smoldering heap before being absorbed. It’s a nice, albeit gross, piece of animation. There’s also the scene of Veronica calling Bruce where it appears like she and her spouse were in the midst of some marital relations given their state of dress. And even Dick is shown with a big mug of beer at the wedding reception.

All in all, a fine episode if a bit shallow. It at least accomplishes the goal of giving several characters a curtain call of sorts before the show’s conclusion, which is appreciated. It’s also never boring, and at the end of the day that’s probably what we desire most from our television programs.

1 Comment | tags: batgirl, batman, diane pershing, dick grayson, linda hamilton, loren lester, poison ivy, robin, tara strong, the new batman adventures, veronica vreeland | posted in batman the animated series, Comics, Television

November 1, 2019

The New Batman Adventures – “Mad Love”

By Joe

mad love title Episode Number: 21 (106)

Original Air Date: January 16, 1999

Directed by: Butch Lukic

Written by: Paul Dini, Bruce Timm

First Appearance: None

During the development of The New Batman Adventures, Paul Dini always assumed there would be another season. There could have been some thought that Batman had peaked by then given the bomb that was Batman & Robin, but it’s hard to imagine someone thinking Batman wasn’t still a bankable character. To the surprise of probably not just Dini, Warner Brothers decided to go in a different direction with Batman leading to the creation of Batman Beyond. It seems like an unceremonious end for what started as Batman: The Animated Series, but when it came time to select a series finale the network did at least do the show right.

Like “Holiday Knights,” this story originated in the pages of Batman Adventures, the comic tie-in to BTAS.

“Mad Love” was the episode chosen to usher Batman out of the spotlight and into semi-retirement. Of course, Kevin Conroy’s Bruce Wayne would return in Batman Beyond and then eventually move onto Justice League, but he still deserved a good send-off of his own. “Mad Love” is a story that originated in a comic by Paul Dini and Bruce Timm that was done back in 1993. It centered on series break-out star Harley Quinn as it revealed her origin and explored her complicated relationship with the villainous Joker essentially filling in the gaps left unexplained by BTAS and taking advantage of Harley’s popularity. Somewhat surprisingly, it was not adapted for the second season of BTAS and maybe that’s because Dini and Timm felt the censors at Fox wouldn’t allow them to do the story justice. When the series was resurrected on Kids’ WB it made the adaptation realistic and was a pretty easy way to fill an episode order.

“Mad Love” the comic was also hugely successful. It won an Eisner Award for best single issue and Timm was nominated for an additional award for his artwork on the book. Even though the book takes place in the Animated Universe of Batman, it’s essentially been adopted as part of Batman canon for the regular line of comics and was even sourced for the Arkham series of Batman video games. At this point, it’s surprising the story hasn’t been adapted for film. This episode may only be 22 minutes or so, but it actually would not be all that difficult to pad it out into a feature length. Normally for classic stories DC commissions animated features, but the company probably feels that’s not necessary since this episode exists and it’s done really well.

Finally, a legitimate reason to avoid going to the dentist.

The episode opens with Commissioner Gordon (Bob Hastings) grumbling about a dentist appointment. As he heads into the office the dentist’s back is facing him and he’s directed to sit down. As Gordon yammers away it becomes quite clear to the viewer that this is not Gordon’s regular dentist, but the Clown Prince of Crime himself, the Joker (Mark Hamill)! And he’s not alone, as dental assistant Harley Quinn (Arleen Sorkin) is here as well to administer the laughing gas. Joker is ready to get started with a power drill as Gordon is restrained, but Gordon’s knight in dark and grim armor arrives in the form of Batman. He crashes through the window and tosses some chattering teeth on the ground. He reprimands Joker for getting sloppy and predictable, but Harley chimes in that the teeth were her idea as she blasts Batman with some gas. She makes a pun about it being a gas, which enrages Joker as he’s the one who’s supposed to deliver the jokes. Off his game, Joker then decides to run, but he leaves behind a parting gift – a grenade. As he tosses it, the script has some fun with Hamill by having Joker deliver the line “May the floss be with you!” Batman knocks the grenade away and sets to freeing Gordon who gets to deliver his own pun about always hating this appointment.

Possibly the most “adult” reference from this show.

At the Funnibones Warehouse, an obviously unnerved Joker is working on some new blueprints for his next crime. He’s very intent on coming up with something much to the chagrin of Harely who comes strutting in wearing some lingerie as she tries desperately to get her man’s attention. In one of the more risqué gags, she even climbs onto the table Joker is working on to beckon him to “Rev up his Harley,” as she pantomimes riding a motorcycle. Joker swats her off the table and goes into a rant about how Batman is right and he is getting stale. He wants to correct this by doing the unthinkable – killing Batman! He expresses frustration at coming up with a way to do it and Harley suggests he just shoot him. This irritates Joker further who explains that the death of Batman needs to be something big as it will be his magnum opus. He then notices some old plans for a piranha tank trap he had planned for Batman. He wanted the fish to gobble him up while sporting Joker smiles, but he could never get his toxin to work properly on the miserable little fish.

Joker inflicts much violence on Harley in this one. Some of it has a slapstick quality to it, but a lot of it is also painfully honest.

Joker then slumps in his chair assuming a defeated posture. Harley sees this as an opening to resume her romantic advances. The camera cuts to the alley outside and Harley comes flying into the picture. Apparently, there’s no room for love tonight. She then starts to walk away defeated with her babies, the hyenas Bud an Lou, in tow. As she does so she monologues about where her life went wrong. She blames Batman for messing things up between she and Mr. J and as she slumps against a brick wall she begins to let us in on how this all got started.

Harley’s first encounter with The Joker.

Harleen Quinzel was a new hire at Arkham Asylum. On her first day she entered her office to find a single rose and a note from a “J” beckoning her to come see him some time. She confronts Joker in his cell and demands to know how this note made it into her office. He replies that he put it there, and when she suggests the guards would like to know this he responds that if she were going to tell them she would have done it already. He explains his interest in her is largely stemming from her name, Harley Quinzel, which sounds like harlequin when you drop the suffix. She remarks she’s heard it before, but as she walks away Joker calls out to her that he’s looking for someone to spill his secrets to which puts a smile on her face.

This episode provides a good look at just how manipulative Joker can be.

It took three months, but eventually Harley was given the clearance to host Joker for some therapy sessions. As he lay on a sofa, Harley listened to his tales. He describes to her an abusive father and tells a story about his dad taking him to the circus to see the clowns. When he describes how he tried to recreate a gag from the show using his father’s pants as a prop, he’s able to make Harley laugh hard enough to produce tears setting her up for the real punchline which is that his dad broke his nose following the stunt. Harley narrates how Joker gained her trust and her sympathy and as she does we see flashbacks of Joker’s creation at the chemical plant and some battles with Batman (all new animation) as she puts the blame for his psychotic nature on his upbringing and the continued involvement of Batman. She admits her love for Joker and we see the tables have turned and it’s now Joker listening to her confessions. When Joker eventually escapes, he is brought back to Arkham in a sorry state by Batman and Harley is there to weep at his side. This was the final straw as we see her leave Arkham and head to a joke shop. She grabs a costume and even her prop gun she’s now known for and returns to Arkham. After clocking the security guard with a brick-stuffed rubber chicken, she blows open Joker’s cell and the two escape laughing all the way.

The black and white television returns as Harley makes a plea for Batman’s help.

Harley is shown once again in the alley. With resolve in her voice, she once again pins blame for all of her life’s misfortunes since then on Batman. The scene cuts to the Bat Signal high in the sky over Gotham. Inside the police station, Gordon, Bullock, and Batman are viewing a tape from Harley in which she claims Joker has gone too far and is planning something horrific. She claims she needs their help, and to add gravitas to her words she removes her mask as she does so.

This is easily the most menacing Harley has ever looked in this show.

Harley is then shown, no mask and in a trench coat, at a dock. Batman spots her from a rooftop and as Harley paces with some blueprints for Joker’s crime Batman appears behind her. She hands over the plans and Batman looks at them eagerly. He says he wants Gordon to see them, but before they can discuss it further Joker shows up on a boat. He shouts about Harley being a stool pigeon and opens fire. Batman pulls Harley to the ground and hits Joker with a Batarang that takes his head off revealing it was a dummy. As Batman looks on with some confusion he winces in pain. As he falls Harley is standing behind him with a syringe.

Batman is in a bit of a pinch, but he’s always so resourceful.

We’re then taken to a place called Aquacade which sounds like an aquarium crossed with an arcade which would be a rather interesting concept. The inside of the place makes it look more like a traditional aquarium, though there are bar stools. Batman is bound by chains and suspended over a tank of water swarming with piranhas. Harley is there in full costume adding more water. She explains she’s going to win Joker over by killing Batman using one of his plans that she tweaked a bit. She explains that with Batman hanging upside down, the piranhas will appear to be smiling from his perspective as they devour him. Before she lowers Batman further into the tank, she expresses some remorse as she explains she did kind of enjoy their encounters. She needs to do this for her beloved puddin’ though and when she suggests this will set everything right Batman does something a bit unexpected: he laughs.

Harley is full-blown crazy during these events as she’ll stop at nothing to win Joker’s affection.

Harley spins around clearly unnerved by Batman’s laughter. Batman goes on to explain that Joker couldn’t possibly love her because he only loves himself. When she tells him he’s wrong she justifies her convictions by citing how Joker opened up to her at Arkham. Batman, appearing amused, then starts citing all of the stories Joker has told others looking to gain their trust over the years. They align with what he told her, only with slight variations like his dad taking him to an ice show instead of the circus. Harley, clearly upset, decides to just ignore Batman’s words and sets out to finish the job, but Batman points out to her that the piranhas won’t leave much of him behind and that without a body Joker will never believe her. This causes worry to flash across Harley’s face.

Harley’s night ends in tragedy, though amazingly she survives this fall.

Joker is then shown pacing around his hideout clearly still trying to dream up the perfect way to kill Batman when the phone rings. It’s Harley, and when Joker finds out she’s got Batman trapped he races out of there in his purple convertible. Harley then approaches Batman smugly to tell him Joker is on his way. He apparently drove exceptionally fast because he then bursts through the doors. He immediately heads for Harley who is expecting praise, but instead gets a backhand. It’s delivered offscreen so we just here the “smack!” and then see Harley come flying into frame. She sets to calming him down by explaining how she changed the trap so the piranhas appear to be smiling which only irritates Joker further. It’s not a joke if you have to explain it, and as she backs away from him she ends up in front of a window. Joker, in a scene reminiscent of Catwoman’s creation in Batman Returns, shoves her through the window. We see her fall from his perspective and it happens in slow-motion. Harley crashes to the ground amidst boxes and trash. As she lays there broken with blood trickling from her mouth she pathetically blames herself for making Joker mad.

“It’s my fault. I didn’t get the joke.”

Joker looks down on her and declares he never liked her pet name, puddin’, that she used for him. He then turns his attention towards Batman and essentially apologizes for the whole thing. He says he thinks they should just forget about all of this before heading for the door. He then stops and reconsiders his plan and returns to Batman. He pulls out a gun and is seemingly prepared to do what Harley suggested earlier and just shoot the guy, but Batman kicks him causing him to shoot the tank instead freeing the piranhas. As Joker fends off the fish, Batman hops around in the chains and grabs his utility belt with his teeth. While Joker makes a run for it, Batman picks the lock on his chains to free himself before giving chase.

At least he got what was coming to him.

Joker reaches the roof of the aquarium and decides to make a jump. He crosses the huge gap which takes him over some train tracks and grabs onto a railing on another building. The railing breaks, and Joker cries out as he falls. Batman reaches the edge and looks over and finds a laughing Joker (“Made ya look!”) riding on top of a passing train. Joker enjoys himself for a moment and then turns to see Batman has jumped on the train as well. Batman then informs Joker that Harley came closer to killing him than he ever did. If it weren’t for Joker’s massive ego, she probably would have got the job done. He ends his explanation by dropping a “puddin'” on Joker and this infuriates him into attacking Batman. Joker gets in some shots, but he’s really no match in a one-on-one fight with the Dark Knight. Batman nails him with an uppercut, and Joker flies off of the train and plummets into a smoke stack.

The consequences of Joker’s violence towards Harley is shown.

A news program on an Arkham television is utilized to inform us that Joker’s whereabouts are unknown following his confrontation with Batman. The camera pans and we see a brief flash of inmates (one of which I swear is intended to look like Conrad Veidt from The Man Who Laughs, often cited as a real world inspiration for The Joker) and Harley in the background getting wheeled down the hall. She’s covered in bandages and her arm is in a sling. She then narrates for us how she finally sees Joker for what he is vowing that from now on things are going to change. As she’s placed in bed in her cell she lists off a bunch of negative adjectives that describe Joker. She then looks to her left to see a single rose on her nightstand with a note that says “Feel better soon. – J” and a smile crosses her face as she finishes her list of labels out loud describing Joker, the last word being “Angel.”

The final shot of the episode. She may be smiling, but it’s painfully sad.

Lets just get it out of the way and declare this one of the best episodes in the series. “Mad Love” encapsulates everything I love about Batman, Joker and Harley all in one episode. Batman is resourceful, and perhaps even a bit naïve in trusting Harley, but she and him have had a close moment in the past so his decision isn’t completely without merit. Joker is psychotic and truly evil. He’s entertaining, and even funny, but also unlikable and terrifying which is how the character should be. He’s not someone deserving of sympathy, and he doesn’t get it from the viewer. He does get it from Harley, who is truly a tragic figure. She’s grown over the course of this series, and in some respects her character here doesn’t reflect that. I chalk that up to this story being an old one relative to when this episode was adapted. Some of the plot points were reused for “Harley & Ivy,” mostly Harley trying to figure out where things went wrong, but it’s done well here so I don’t mind. Her sequence in the alley is what is utilized as reference for basically any video on the character, and her hopeless devotion to her beloved Mr. J is truly sad. Seeing her lying there in the rubble blaming herself for the violence inflicted upon her by her partner is almost too real as many abuse victims can attest. This might be the rare episode that’s actually too troubling for some people to watch. The ending, with her smiling and apparently forgiving Joker, is the only place I find it easy to criticize. It almost feels like it’s supposed to be funny, when really it’s tragic. I think the episode was fine to end this way, but the score could have been better utilized to make it absolutely clear that this is a sad ending for Harley.

Production wise, this is also a high point for the series. Maybe not visually, as there are a few gaffes here and there, but the voice acting across the board is stellar. Kevin Conroy, Arleen Sorkin, and Mark Hamill all turn in possibly their best work on the series. Maybe not so much for Conroy, but that’s only because he didn’t have as much to work with here as he has in the past. Even so, his delivery of Batman’s lines are biting. He’s remorseless in exploiting Harley and Joker’s mental state giving him a touch of viciousness we’re not used to. Part of me wishes he was worked into the end so we could see a showing of sympathy on his part towards Harley. His laugh is also well done. It sounds genuine and it’s even a touch unsettling, which is good because it helps us react to it in the same way Harley did. Sorkin has always been wonderful as Harley, but here she is able to inject both comedy and tragedy into her performance. It’s painful to see her expecting praise from Joker like a dog expecting a pat from its owner only to have pain inflicted upon her instead. And Hamill, what more can be said about his Joker? I may not like what this show did to Joker visually, but the loosening of the censors has been a boon for the character. It’s allowed Hamill to approach Joker in a more menacing manner giving the villain the chill he needs. He’s no longer just a punchline, but a dangerous psychopath.

In case you were wondering, you can indeed get an action figure two-pack based on this episode. And better yet, it features the season one version of Joker.

I am slightly disappointed that this episode isn’t the last we’ll see of Joker and Harley. It really is a great way for the show to end, but we’re going by production order which means the pair have one more appearance to make. This episode is the final appearance of Commissioner Gordon though in this series. He’ll return for the film based on this series, but he won’t be seen in any of the final episodes. The same is true for Detective Bullock, who was seen, but not heard in this episode. It feels weird to say goodbye to these characters after so long, but there’s more of that coming with only three episodes remaining so I guess I should get used to it.

“Mad Love” is on the short list for best episode in the series, and by series I mean Batman as a whole as this is considered season three for Batman: The Animated Series. If you just want a great Joker and Harley story then this is it. No other tale about the two has really come close and given the critical failure of Suicide Squad it surprises me that DC and Warner have yet to turn to this as a remedy. That’s a movie I’d be excited to see, but by no means is such a thing needed to legitimize this story or anything. Whether it’s experienced as a comic or television show, “Mad Love” is excellent as is. I’m partial to this episode as being the definitive take because the voice acting performances are so well done, but both are stories that should not be ignored.

1 Comment | tags: arleen sorkin, batman, batman adventures, bruce timm, harley quinn, joker, kevin conroy, mark hamill, paul dini, the new batman adventures | posted in batman the animated series, Comics, Television

October 25, 2019

The New Batman Adventures – “Girl’s Night Out”

By Joe

girls night out Episode Number: 20 (105)

Original Air Date: October 17, 1998

Directed by: Curt Geda

Written by: Hilary J. Bader

First Appearance: Livewire, Supergirl

It was bound to happen eventually. Since Batman: The Animated Series was resurrected as The New Batman Adventures largely to pair it with Superman on the new WB Network you knew a cross-over had to occur. Batman had already appeared in Superman during the arc “The World’s Finest” which featured a team-up between the heroes to combat the villainous team-up of Lex Luthor and The Joker. This one is similar in principal, though much smaller in scope (one episode vs three), as it features a team-up of the female heroes Batgirl and Supergirl in Gotham to combat a trio of female villains. Team-ups and cross-overs in general rarely impress me, but the added wrinkle of this being an all female episode of Batman certainly intrigues me. It’s also encouraging because a woman wrote the episode, Hilary J. Bader, in what would be her last contribution to the show.

Today’s episode features a team-up many might not have been expecting.

The episode begins with a police officer (Hal Rayle) escorting a prisoner via truck to GothCorp. That villain happens to be Livewire (Lori Petty), a woman who possesses electrical powers and has tangled with Superman in the past. She is being taken to GothCorp for treatment, which I assume means they’re going to try and cure her of her affliction. Her body, as we’ll soon learn, is essentially like a living battery that can stockpile electricity. She can also discharge it in the form of lightning bolts and even turn her entire body into living lightning to move through electrical wires. Not being familiar with her appearances in Superman, I have no idea if she actually wants to be cured. Her powers I assume are partly responsible for her blue-white skin so perhaps she would like to appear more “normal.” Her costume is very much a Bruce Timm design as it it’s basically a black leotard with a neckline that goes down to her naval (and is in the shape of a lightning bolt for added flair) along with some thigh-high boots.

If Livewire desires a cure, she doesn’t act like it. The police truck is forced to slow down for an accident up ahead. Another cop informs the driver that he can proceed, but he should avoid the downed wires. This is most convenient as Livewire needs to be exposed to electricity to take advantage of her powers, and downed wires are precisely what she needs to escape her confines. When the truck passes them, Livewire basically makes them dance with a telepathic ability. She absorbs the electricity within them and turns herself into living light to pass through the back of the truck into the cabin. She taunts the driver a bit, then makes her dramatic and attention-grabbing escape.

Meet Livewire, seen here introducing herself to Batgirl.

The Batmobile is shown speeding through the streets of Gotham, but it isn’t Batman whose behind the wheel. It’s Batgirl, and she’s out on her own looking for Livewire. Batman appears briefly on a video chat in the cockpit so he can maintain his streak of appearing in every episode. He appears to be piloting the Batwing somewhere and he tells Batgirl he won’t be back in Gotham for at least 48 hours. He tells her he’ll try to get her some backup, but Batgirl thinks that won’t be necessary and assumes Livewire is heading back to Metropolis now that she’s escaped.

Oh, how wrong you are, Ms. Gordon. Batgirl sees Livewire atop some power lines right when the call is ended. Worse, Livewire sees her and jumps down onto the Batmobile. The show then demonstrates it doesn’t understand how electricity works as Livewire is able to attack Batgirl through the car with her powers.

Kara not enjoying a quiet night in Metropolis.

Elsewhere, Kara Kent (Nicholle Tom) is bored house-sitting for her cousin, Clark Kent until she gets a phone call. It’s Batman, only she doesn’t know it’s him. He gives her a message to leave for Clark about a breaking story in Gotham. He’ll need to get there right away. As Batman emphasizes that part Kara says he sounds “like a cape” causing Batman to hang up. Realizing her night just got less dull, Kara heads for the closet for an outfit change.

Batgirl uses the eject feature on the Batmobile to get out of Livewire’s shocking trap. Once ejected, Batgirl descends via a handheld glider and comes to rest harmlessly on the street. Livewire resumes her attack and starts blasting Batgirl with her powers. Batgirl is forced to use the glider like a shield until it’s knocked away. As she runs, she manages to dodge all of Livewire’s blasts despite them traveling at the speed of light – a most impressive feat by Batgirl or just really poor aim on the part of Livewire. Failing to strike her, Livewire emits a huge electrical pulse that’s essentially unavoidable for Batgirl which knocks her on her back. Before Livewire can finish her off though, Supergirl flies in for the save.

It’s nice having allies that can fly.

Supergirl deposits Batgirl a safe distance away from Livewire and then goes on the attack. She’s not very effective, and Livewire tosses insults at her that probably sting a little as they draw unfavorable comparisons between her and Superman, whom Livewire essentially phrases as superior in every way. She gets Supergirl in her clutches and is really making this look easy, until her juice runs out. Realizing she needs to recharge, Livewire bids a cheerful goodbye to her foes and disappears in some nearby cables leaving Batgirl and Supergirl alone to face their failure together. To add further insult to injury, the pair are forced to explain to Detective Bullock (Robert Costanzo) that they failed to subdue Livewire. He mocks them by referring to them as rookies and even seems to wish Batman were available. Supergirl is naturally ticked off, but Batgirl is more calming and assures her they’ll get their girl.

I too make this face when the toaster does something odd.

Our setting changes to some old zoo. An unmistakable hyena appears to be searching for a place to relieve himself when a topiary comes to life and kicks him away. Inside a dwelling, Poison Ivy (Diane Pershing) expresses her displeasure to Harley Quinn (Arleen Sorkin) about where her hyena’s choose to urinate, but she doesn’t see the harm in it. Harley is much more interested in getting out of this hideout and going on a shopping spree. Ivy reaches out to her in an almost motherly fashion to remind her they have to lay low in order to avoid The Bat. Ivy doesn’t want to leave and draw attention to themselves until they have an edge in their seemingly eternal conflict. On cue, the toaster starts rumbling and shooting sparks and out pops Livewire. Declaring herself their edge, she proposes a team-up and the villainess duo is apparently now a trio.

Harley has a case of the old jealous eyes.

The newly formed team heads for the mall to do some shopping. It’s apparently well past closing time as Harley marches up to the door with her trusty mallet and starts swinging. She doesn’t get anywhere with such a tactic, and Livewire makes a comment at Harley’s expense as she brushes the woman aside and blasts the door down. As they head inside, Ivy and Livewire are quite chatty with each other while Harley lags behind looking a touch jealous. They’re soon confronted by a security guard, but Ivy saunters over (while a saxophone plays in the background) and leaves him unconscious with her unique gifts. They then set their sights on a cluster of cash machines. Ivy tosses some seeds in one which causes some vines to explode out of the machine freeing the cash inside. Declaring this too messy, Livewire one-ups Ivy by simply shooting a bolt of electricity into another machine causing it to dispense cash. As she waits for praise, the two hear grunting and turn to see Harley wailing on a third machine with her mallet. Livewire seems both amused and annoyed with Harley and simply blasts the cash out of the machine knocking Harley on her rear. She then orders the woman to bag up the cash while she goes shopping, causing Harley to gripe aloud, “When did we become the gang?”

This is oddly intimidating.

Livewire heads for a clothing store and starts zapping herself into some dresses. As she does so her costume mysteriously disappears each time she appears in a new dress, so either that’s an animation goof or her powers allow her to create her costume, which if so, renders “clothes shopping” kind of pointless. Supergirl and Batgirl soon arrive, with Batgirl riding on Supergirl’s shoulders as she flew through the night sky, and corner Livewire by herself. Supergirl is able to knock her around this time, and Batgril nails her with a giant sphere that apparently contains powdered silicate which neutralizes Livewire’s powers.

Ivy always has to make an entrance.

It’s at this point that Batgirl and Supergirl learn about the team-up as Ivy enters riding on a bunch of sentient vines. Supergirl, appearing over-confident, saunters towards Ivy and gets hit with some seeds that immediately produce more vines which coil around her. Harley uses one of her gimmick guns to knock down Batgirl allowing her to turn her attention to Livewire. Apparently no longer salty with the woman, Harley happily produces a giant seltzer bottle to wash the silicate dust off of Livewire. Of course, water and electricity are a bad combination and dousing Livewire causes her powers to go a bit haywire and appears to inflict some degree of pain as well. She grabs Harley and appears ready to punch her out of frustration (“Are you out of your mind?!” “…Yeah!”), but instead drops to one knee forcing Harley to help her to safety

Ivy corners Batgirl just as Supergirl finally frees herself from the vine trap. She makes her way towards the two as Ivy tosses more seeds at Batgirl. Supergirl uses her heat vision to incinerate them as Ivy runs. With that taken care of, Supergirl moves to block Ivy’s escape, but Ivy is happy to congratulate her for being so predictable. It seems those seeds required heat to activate a poison that’s quite lethal. Batgirl is trapped behind some glass doors as the gas spreads and soon collapses. Supergirl is forced to abandon Ivy in order to save her ally. Ivy then hops in her getaway car, a pink convertible named Rose Bud, with Harley and Livewire and the three escape.

Supergirl apparently takes Batgirl back to Barbara’s apartment. There she’s able to get some oxygen and gives us a little insight into her life beyond Batgirl. It seems she works for the police in a tech role which grants her access to all of their files. In a bit of a nod to her Oracle persona from the comics, she explains to Supergirl how she knows what’s going on with the police at all times and is able to hack into their system for more info. Supergirl is impressed, and the two trade compliments as each seems to desire the other’s life. It’s a bit forced and Batgirl makes it even more on the nose with a “grass is always greener,” comment as the two prepare to head out and track down the bad girls.

It would appear Livewire has found Harley’s last nerve.

At the Iceberg Lounge, the villainesses are celebrating their getaway. Harley and Ivy appear to be in a good mood, but Livewire still seems irritated with Harley. Worse for her is the location of the table by the seal pool, which amuses Harley but puts Livewire on edge given the abundance of water. They start to argue amongst themselves when Ivy finally sticks up for Harley which gets the attention of the club’s owner: The Penguin (Paul Williams). He tries to quiet the trio down which just causes Livewire to address him as “Lard Butt.” Insulted, he demands they leave and in retaliation the three start trashing the place.

Batgirl and Supergirl, apparently learning of the commotion, show up in the aftermath of the trio’s attack on the Iceberg Lounge. Penguin, looking rather worse for ware, is unimpressed with the heroines and, like Bullock, seems to desire Batman’s presence. The women seem less insulted this time around and when they point out they’re all he’s got Penguin relents and gives up the dirt on where Ivy and Harley have been hiding out.

Ivy has some interesting new methods of attack.

Livewire is not happy to be back at Ivy’s hideout. She dislikes the hyenas and isn’t much into the décor. She zaps one of Harley’s hyenas which understandably irritates Harley, but before the tension can escalate one of Ivy’s plants starts pulsating indicating intruders. It’s Batgirl and Supergirl, and this time Batgirl has a tank on her back loaded with silicate to take down Livewire. As Supergirl scans the area with her X-Ray vision, she finds Harley who sticks her tongue out at Supergirl indicating they’ve been spotted. As Supergirl warns Batgirl, Livewire attacks. Ivy comes riding in on an animated topiary in the shape of an elephant. Apparently living, animal-shaped, plants are Ivy’s new go-to weapon as Supergirl will soon be set upon by topiary tigers.

Meanwhile, Livewire’s methods are a bit more straight-forward.

Batgirl is quickly separated from her weapon, while Harley takes herself out when her boxing glove gun bounces harmlessly off of Supergirl and knocks her out instead. Without her weapon, Batgirl is no match for Livewire. Once again, the show demonstrates its electrical shortcomings when Batgirl successfully blocks Livewire’s attacks with a metal trashcan lid. Fortunately for her though, her opponents are not very coordinated. As Ivy bares down on Supergirl from atop her elephant, Livewire’s blasts set its rump on fire causing Ivy to abandon the fight. Livewire gets Batgirl in her clutches and is preparing to off her, but Ivy activates a defunct waterslide to douse the flames on her “baby.” Livewire is directly in the path of the rushing water from the slide, and Batgirl is able to slither away as it strikes. Supergirl also frees herself from the tiger things and grabs Batgirl before the water reaches her. Livewire essentially shorts out, and the burst of electricity knocks Ivy out as well while Harley is still unconscious as a result of her own misfire.

Ain’t that cute?

Kara and Barbara are then shown seated on Barbara’s couch eating ice cream in bath robes. On television, Bullock is being interviewed about the capture of Livewire, Ivy, and Harley and he credits it to a pair of rookies. This seems to irritate the two, but Bullock then adds that the two show promise and their demeanor changes to jubilation as the two share a high-five to end this one.

Accepting that a cross-over was going to happen, choosing to make that cross-over focus on a friendship between Batgirl and Supergirl is a solid enough choice. It gives the show a chance to highlight its female characters, including the villains, and it’s something the show should be commended for as an all-female episode is a rather bold move for a cartoon primarily aimed at boys. The only downside is that it places a spotlight on how weak the show’s female designs are, which I’ve harped on in the past. I just wish I liked the result more. This episode tries to do some interesting things, but it just doesn’t go for it. I liked seeing the early stages of a Livewire/Harley rivalry with Ivy caught in the middle, but it’s squashed almost immediately. They never come to blows or anything, and it would have been interesting seeing how the more pragmatic Ivy approached such a conflict. It’s also tiresome seeing so much of the episode focus on males discrediting Batgirl and Supergirl. While the women are triumphant in the end, it doesn’t feel like those characters were punished in any way for their misogyny. Bullock gives the two a little shout out at the end, so I guess he learned a lesson?

This episode has been immortalized in action figure form, which is rather cool.

The other thing holding this episode back for me is the presence of Livewire. She’s not a villain I particularly enjoy. I do like that her powers are clearly defined with strengths and a glaring weakness and it makes sense that she would assume an alpha position amongst her co-conspirators. Her personality is boring to me, and no disrespect to Lori Petty, but I don’t like her voice on this character. It just bums me out because I find Harley and Ivy and their dynamic quite interesting, but it’s pushed aside to make room for Livewire. They never got their true follow-up to their initial pairing as the only other time we’ve seen them working together is in the anthology episode “Holiday Knights”. And with this showing winding down we have seemingly run out of opportunities for these two to create additional mischief.

Another long-running shortcoming highlighted by this episode is the lack of personality in the leads. Batgirl had some spunk to her in the original Batman: The Animated Series, but 20 episodes into this series and I feel like she still doesn’t have much of a personality. She gets to interject one-liners and such like Robin and Nightwing, but mostly she’s just a nice girl who fights crime. The scene between Supergirl and Batgirl in Barbara’s apartment was a chance to do something with the pair, but it just felt like shallow girl talk where they both envy the other’s station in life. Supergirl has even less personality, but in her defense, this isn’t her show. I gather she clearly has a bit of an inferiority complex where Superman is concerned which feels like a natural direction to take her in. She doesn’t really do much here though and basically exists to even up the muscle a bit.

I don’t want my criticisms to detract from the work of writer Hilary J. Bader. I imagine Bader was basically told to write an episode where Batgirl teams up with Supergirl to take on Livewire, Poison Ivy, and Harley Quinn. If this was the best she could do with that premise then so be it. That’s a lot to juggle in one episode with little time to establish a true conflict while also exploring a new bond between the protagonists. It’s not a terrible episode, just not a high point for the series. And Bader has had high points as she has been often tasked with the more female focused episodes like “You Scratch My Back” and “The Ultimate Thrill.” I think her best work was on “Mean Seasons,” an episode I thought was pretty damn good. The showrunners also must have felt confident in her abilities because she was tasked with the Mr. Freeze return in “Cold Comfort.” Given his reputation as it relates to the series that’s quite an honor. She would also get to write his Batman Beyond episode, “Meltdown,” along with several others. This is her last contribution to The New Batman Adventures and sadly she would pass away in 2002 after a battle with breast cancer. She was 50.

Hilary J. Bader (April 27, 1952 – November 7, 2002)

2 Comments | tags: arleen sorkin, batgirl, diane pershing, harley quinn, hilary j. bader, livewire, lori petty, nicholle tom, poison ivy, supergirl, tara strong, the new batman adventures | posted in batman the animated series, Comics, Television

October 21, 2019

Take My Money, Hasbro, Give Me X-Men Animated Series Legends!

By Joe

Let’s talk some X-Men!

It’s been probably 13 or 14 years since I’ve purchased a Marvel-branded action figure. This is somewhat shocking to me because from the age of 7 to around 25 I spent who knows how much money on Marvel action figures. I was there for the inaugural Toy Biz line of Marvel Superheroes and X-Men action figures and I continued buying Toy Biz figures well past the age of when it was considered “appropriate” by my peers. And even after I stopped actually playing with my toys I still kept them on display in my room. Two pieces of old countertop on milk crates served as my makeshift shelves. Good guys on one side, bad guys on the other. As characters changed allegiance in the comics, so did their placement on my shelf. Aside from that, I didn’t like to mess with them and the dust would grow thicker and thicker and probably contributed to my constant sneezing. I didn’t care though, because I really loved my toys.

When action figures grew up with me I grew extremely excited. There were a few dedicated collector lines, most memorably one based on the Onslaught mini series, but things really changed with Marvel Legends. I was a bit tepid at first with them, mostly due to the absence of X-Men, but eventually I got into it. I started with just a figure here and there, and soon enough I found myself buying entire waves. I also added the occasional Diamond Select figure which at the time prioritized sculpt over articulation making some of the toys little more than glorified statues. I even got into Mini Mates for a period, since they initially focused on the Ultimate X-Men which was a comic I grew attached to pretty quickly.

Eventually, I stopped collecting. Part of that coincided with the dissolving of Toy Biz by Marvel which chose to instead license its properties to Hasbro. Those first few Hasbro waves weren’t very strong, and with the build-a-figure shrinking down to more normal proportions it failed to really motivate me. I think the last wave I bought to completion was whichever one featured The Blob. And even with that, I think I had to buy some figures based on X-Men: The Last Stand which did not sit well with me. That also happened to coincide with me moving out on my own trading the confines of my old bedroom for a small apartment. I didn’t want to have to lug a bunch of toys around with me every time I moved, and once I got settled into my own home that I purchased the itch had passed. I had moved onto other hobbies and comics just didn’t appeal to me like they once did. Sure, there have been a few figures over the years that tempted me, but the rising cost in standard toys makes it pretty easy to just focus on the things that really bring me joy.

That could change though, and if Hasbro wanted me back (and who wouldn’t?) there is one thing the company could do that would guarantee it many of my dollars and it has to do with my favorite show as a child: X-Men.

This recent action figure three-pack is what put my brain into this mode. These almost work as animated versions, but they’re different just enough to not be perfect. And I’m not just referring to Wolverine’s bone claws.

Nostalgia currently has me hooked via NECA’s line of Teenage Mutant Ninja Turtles toys based on the old cartoon series. That show may not be particularly good, but I loved it as a kid and it’s something I can’t let go of. Similarly, I have a huge amount of affection still for X-Men. That show was my life for a few years and unlike TMNT, the show is still watchable today even if it doesn’t hold up as well as Batman or possibly even Gargoyles. And I know I am not alone. There is a lot of love out there for that show and that has been preyed upon via action figures based on the costume designs of the Jim Lee era X-Men from the comics. There was a recently announced three-pack featuring Wolverine, Jean Grey, and Cyclops which is what really got my juices flowing. Those characters bare a strong resemblance to their animated counterparts, but the figures are also clearly aiming to capture the look of the comics and not a cartoon.

What gives me hope that such a line could work is because animated versions of these characters are not far off what is already out there. Take your standard Wolverine action figure, for instance. To make him better resemble the cartoon, Hasbro basically just needs to reduce detail. No stubble on his face, not much hair on the arms, and less muscle definition. DC has done a great job bringing Batman: The Animated Series to plastic form in terms of aesthetics, so why not do the same, Hasbro?

Because I’m such a generous guy, I’m even going to provide a road map for Hasbro. I envision six figures per wave with a build-a-figure bringing the total to seven. Adhering to modern times, the extra buildable figure is not some titanic character, but something closer to a standard sized figure. It would be a good fit for those figures that would need to be 7 or 8 inches as opposed to 5-6, which is what I imagine most figures would fall into. They could be done, and really should be, in scale with Marvel Legends and I would prioritize characters from the first two seasons. If the line’s a success, then sure go for more. If the series happened and worked out as outlined below, then I would definitely buy every figure and really annoy my wife as I hunted for more space to display them.

Series 1

Wolverine
Cyclops
Rogue
Morph
Mystique
Magneto
Build-a-Figure: Sabretooth

This mix would get some fan-favorite good guys out early and also a few villains to pose them against. Wolverine is an obvious must for the first series as he was the most popular character. He should come in his standard uniform and additional hands, some with claws in and some with claws out. A second, unmasked, head would complete the look. Cyclops should also just have his normal look. If a removable flight jacket could be added without harming the sculpt, then all the better, but not necessary. Similar to modern Cyclops figures, he should have a second head with a blast effect and probably an extra set of hands including one with two fingers extended on his right hand to activate his “X” communicator. Morph, on the other hand, should have his flight jacket since he was most often depicted wearing it. He should also have black hair as he did in seasons one and two and an alternate “evil” head. Mystique would need few additional accessories, making her the likely landing spot for a larger piece of the build-a-figure. Magneto would need a helmeted and un-helmeted head to properly capture his long hair. A nice, heavy, fabric cape would also look great, but soft plastic wouldn’t be bad either. Sabretooth, being featured in episode one, makes for a good choice as the first build-a-figure given his size relative to the other characters.

X-Men (FOX) [1992-1997]Shown from left: Wolverine, Morph, Beast

That’s how I want my Wolverine to look, bub.

Series 2

Gambit
Bishop
Storm
Cable
Pyro
Avalanche
BAF: The Blob

Wave Two would be anchored by the next most popular character after Wolverine, Gambit. He’d just need various hands and his bo staff to be authentic. Storm would be the other character from the team, and in the interest of “keeping them wanting,” would be the only other from the main team. Bishop and Cable both played large roles as guest characters and lend themselves well to action figure form. Cable should probably have his season two look which featured a metallic left arm, a more common look than the season one version. Bishop should also feature a removable time bracelet to go along with his really big gun. Pyro and Avalanche would serve as the villains with the BAF being their comrade Blob. A desire to assemble Mystique’s troop would hopefully help drive sales.

Everyone can relax, Gambit is in series two.

Series 3

Beast
Jean Grey
Archangel
Civilian Wolverine
Graydon Creed
Mr. Sinister
BAF: Apocalypse

Series 3 would be the one that nearly completes the main team. Beast, unlike most figures based on the character, should have a cheerful disposition as opposed to an angry one. Jean Grey would need her cartoon-accurate costume, something Toy Biz never delivered on when the show was popular, which was blue and orange as opposed to blue and yellow. She should also probably come with a Cerebro helmet. This would also be a good time for a second Wolverine figure. Since he was so often featured in plain clothes (yellow flannel with a brown jacket), a figure based on that look makes sense. He should have two pairs of clawless hands, ones that look like normal fists and ones that have the steel ports on his hands as he was incorrectly portrayed in season one. Diehard fans of the show, such as myself, really appreciate little details like that. Creed was a big player in season two, and he warrants a figure as a result. Of course, Sinister was the main big, bad, guy of that season and series three feels like a good spot for him. Lastly, Archangel should be included (with a masked head and unmasked head) to pair with the BAF Apocalypse who would be depicted in his animated purple and blue color scheme.

I don’t know why they made him purple, but the toy better follow in the same footsteps!

Series 4

Jubilee
Colossus
Omega Red
Forge
Civilian Cyclops
Professor X
BAF: Juggernaut

Series 4 would finish the main squad by including Jubilee and Professor X. Xavier would be the tough one to include as he would need his hover chair. Recently, Hasbro did a Professor X that I think retails for more than a standard Legend. The company could save money by retooling it and if it has to retail for more then so be it. Colossus guested a couple of times and is deserving of a figure himself. He should be clad in his blue pants and white tank top to match his appearance in the show. If a second, non-transformed, upper torso could be done then that would be really neat. Omega Red is a villain with a great, 90s, design, and even though he’s a bit bigger than other characters, I don’t think he’s so large that he would need to be a BAF. Cyclops had enough non-costumed appearances to be the second main cast member worthy of a civilian look. And Forge had multiple appearances as well. He should come with an alternate head so he could be depicted as main timeline Forge and future Forge. The Juggernaut is the last character that serves as an obvious choice for a BAF and would be a sought after one helping to make sure fans buy the entire wave. That only challenge with him is I think he would need two heads as well, one masked and one unmasked, because it’s hard to make a good-looking Juggernaut figure that features a removable helmet.

Colossus proved you didn’t need a real costume to be a hero.

Series 5 and 6

Phoenix
Gladiator
Nightcrawler
Dazzler
White Queen
Sebastian Shaw
Henry Gyrich
Bolivar Trask
Dark Phoenix
Banshee
Fabian Cortez
Empress Lilandra
BAF: Sentinel

I’m grouping these two together because I have a radical idea for the BAF. It would be a sentinel and the pieces spread between both waves. The piece loadout would be like Giant Man from the Toy Biz days which did an oversized wave of Marvel Legends as a Wal-Mart exclusive. This would allow Hasbro to do a bigger figure to do the sentinel justice, because we need a sentinel for such a series since they were so important in that first season. The desire to have a cartoon sentinel would help move some of the less exciting, but still essential, characters contained in this wave. Trask and Gyrich, specifically, would be unsexy figures, but they had such a large presence over the first season that it feels wrong to exclude them. Much of these waves would also be devoted to the Phoenix and Dark Phoenix Sagas. Doing both regular Phoenix and Dark Phoenix would also save Hasbro money since they’d basically be the same figure, different head. For Lilandra, I’d also go with the Empress version of the character as that would just make for a more striking visual. Cortez is the only character from a later season, but I see more opportunity for villains and I just happen to like him more than someone like Erik the Red or D’Ken.

I don’t see how you could have a toy-line dedicated to the X-Men cartoon and not feature a sentinel somehow.

If the line was a success, it wouldn’t have to end there. I completely ignored Sinister’s Nasty Boys and all of the mutates from the Savage Land. They would really help to bolster the ranks of the villains, but it might be hard to convince people they’re more deserving of plastic than some of the others. An entire Savage Land wave could even be done, though I don’t know if that would be a big seller. Another big bad guy I left out is Mojo who would probably work best as a BAF. If he was done, then he would need to be paired with a Longshot.

As for heroes, there are alternate versions of other characters that could pad things out. Civilian versions of Storm, Rogue, Jean and Jubilee (or her in a flight suit) could be added. Beast and Gambit had other looks as well, but nothing really drastic (though Beast with his Howard the Duck shirt is pretty tempting). Archangel also briefly appeared as Angel in season one and returned in season four sporting his white and blue Angel costume. Wolverine had other looks as well, though my personal favorite would probably be the alternate timeline Wolverine from “One Man’s Worth” which also featured a mohawked Storm. Other guest heroes included Iceman, Psylocke, Alpha Flight and X-Factor so there are certainly more characters to mine from, I’m just not sure any really need a dedicated figure based on their look in the cartoon.

Hasbro missed its chance to honor the cartoon with a line of figures to celebrate the show’s 25th anniversary. There’s still time though to recognize the 30th in 2022 and a toy-line near then would be an appropriate way to do so. If 2022 seems too far away right now it could be timed to end that year. The show is also about to gain new exposure via Disney+ where it and other X-Men cartoons will be available day one. And with Disney acquiring 20th Century Fox it stands to reason that the X-Men will soon join Disney’s Marvel Cinematic Universe bringing even more of a spotlight to the brand. The time is right, Hasbro, make it happen!

5 Comments | tags: action figures, apocalypse, cyclops, disney, fox kids, gambit, hasbro, magneto, marvel, morph, phoenix, superhero cartoons, toy biz, toys, wolverine, x-men, x-men 92 | posted in Comics, Television, toys

October 18, 2019

The New Batman Adventures – “Legends of the Dark Knight”

By Joe

legends of the dark knight Episode Number: 19 (104)

Original Air Date: October 10, 1998

Directed by: Dan Riba

Written by: Robert Goodman, Bruce Timm

First Appearance: Carrie

Over the years there has been a lot of Batman and a lot of Batmen. It might seem odd on the surface as to why there would be numerous versions of Batman, but one only needs to think about it briefly to realize why. Batman is a cultural touchstone, a character owned by DC and Warner Bros. but one that essentially belongs to all. Anyone who is tasked with writing and drawing an official Batman story inherits quite a responsibility, and since this character is so popular and so special they’re also limited in some capacity. Batman, for instance, is far too profitable to ever die. Sure, it can be teased here and there and made to even seem happen, but it’s not something that will ever stick. The same is basically true of any popular comic book character and is why characters like Superman and Captain America never stay dead. You don’t kill the golden goose.

As a way to work around those limitations, many writers over the years have done stories outside the normal Batman continuity. This very show is basically one such version. Sure these characters bare many similarities to what came before, but they also exist in their own bubble. Had Bruce Timm and Paul Dini wished to end the series with the death of Batman and a passing of the torch, they might have been allowed to do so (spoiler alert, that’s not the direction they’ll go). The movies basically all exist on their own, which is why Christopher Nolan was able to end his Batman movie trilogy with what is essentially Batman’s retirement.

Of all the stories in the comic books though to essentially feature an alternate universe Batman, by far the most popular is The Dark Knight Returns by Frank Miller. That Batman was one of the main influences for Tim Burton’s take on the character and was hugely popular in the 1980s. He was a violent, no compromises, sort of take on the character who after decades of doing things mostly by the book has had enough. It wouldn’t make sense for that sort of character to appear in this show, but “Legends of the Dark Knight” is going to try.

Meet our story tellers for today’s episode: Nick, Carrie, and Matt.

This episode is essentially a love letter to Batman in all of his forms. It’s basically an anthology episode with the framing device being children sharing tales about their perception of Batman. And since Batman is a mysterious individual, their takes are going to exaggerate the character which is how we’ll get a taste of other versions of Batman from throughout history. It’s a fun concept for an episode, but what of the execution?

The episode begins on a newspaper kiosk. It seems there’s an arsonist on the loose in Gotham, which can only mean one suspect. Three kids approach the kiosk and take note that Batman is barely visible in the image on the front page shooting across the sky. This excites them as Batman isn’t as photogenic as Spider-Man. They appear to be a trio of Bat-enthusiasts, which I guess explains why they’re out and about at night which doesn’t seem like the safest of activities for kids their age. Nick (Jeremy Foley) is thrilled by the image and starts fantasizing about what Batman is really like, hypothesizing he’s more beast than man. The perhaps leader of this trio, Carrie (Anndi McAfee), sees Batman as just a really tough guy. Our third kid, Matt (Ryan O’Donohue), claims to have a secondhand account of what Batman is really like.

Michael McKean gets to provide his take on a golden age Joker and knocks it out of the park.

Matt’s story takes us to the 1950s when his uncle was a security guard at some music exhibit for really large instruments. The guard (Charles Rocket) is seated at his desk when a voice comes over a loudspeaker which belongs to the Joker (Michael McKean in a brilliant piece of casting). The art design, dialogue, and even delivery of the lines are all very 1950s. The blue of the guard’s suit is especially reminiscent of the shade found in old comics and pulp magazines. Nick and Carrie even call Matt out on the corny dialogue he attributes to the characters, but he just claims that’s how his uncle tells the story.

A Joker-in-the-box is soon deposited at the feet of the guard which explodes with knock-out gas. The Joker then saunters in with two henchman and he looks like a spot-on interpretation of Dick Sprang’s version of the character. He makes corny jokes as he walks around the exhibit, pausing to glare at his henchmen when they don’t react favorably to his jokes forcing them to laugh and clap. Before long, Batman (Gary Owens) and Robin (Brianne Siddall) arrive and they too look ripped from a 1950s comic, or even the opening title of Batman the TV show. Batman is barrel-chested and sporting his blue, gray, and yellow ensemble while Robin has his classic threads on as well. They have that halted, dramatic, delivery to their lines like they did on old episodes of Superfriends and they immediately go after the Joker’s henchmen.

A dastardly trap is laid, how will the Dynamic Duo escape this time?!

As the Dynamic Duo tangle with Joker’s lackeys, Robin is especially prone to puns which really is not all that different from the show’s regular depiction of Robin and Nightwing. As the bad guys get beat up, Joker cowers in relative safety reacting physically to the pain being inflicted upon his men. Eventually, Robin is undone by his own hubris as Joker is able to drop an oversized French horn on him. Batman goes to help him, but gets walloped from behind by Joker’s goon with a massive tuning fork. This sets up Joker to address the camera directly with another pun, a nice way to head to commercial.

When we return, Batman and Robin are bound to the chords of a giant grand piano. This is also quite in-line with comics of the era as these oversized contraptions were a popular gimmick of Batman co-creator Bill Finger, who along with Sprang and Frank Miller received an acknowledgement in the opening credits for the episode. With Batman and Robin tied down, this allows Joker to jump on the keys causing the giant hammers inside to strike a chord. Once he hits the right key, Batman and Robin will receive one hell of a headache. As Joker takes his sweet time playing a happy tune, Batman works on his restraints with what looks like a tiny chainsaw. Eventually, Joker finishes his melody and an off sounding note seems to herald the end of Batman and Robin. He takes a bow, but the unmistakable sound of skull on Batarang causes him to turn around in shock as his lackeys flee. Batman and Robin stand triumphantly from atop the piano, fists on hips. After another well-placed pun, they jump from above knocking the key-cover on top of Joker.

Old chums, now and forever.

The heroes are able to corral the fleeing lackeys when Robin hops onto a giant violin bow that Batman fires like an arrow. Why Robin decided to ride it, I don’t know, as it strikes and pins the goons to the wall. Joker uses this time to run, but Batman gives chase. Utilizing a giant saxophone, he captures Joker and then blows on the instrument to send the clown crashing into a giant harp in which he becomes entangled in the strings. Batman informs the security guard he can call the proper authorities for a pick-up and then turning to Robin he congratulates him on a job well done while mixing in an “old chum,” for good measure.

Nick and Carrie find this depiction of Batman by their friend Matt preposterous. They refuse to believe he’d speak in such a fashion or would come across like such a stiff. This prompts Carrie to tell her own story. While she doesn’t have a first or secondhand account to reference, this does allow her some dramatic license weave her own tale. And if you’re familiar with The Dark Knight Returns, then you’ve likely noticed that Carrie is the only one of our three kids modeled after an existing character from the comics which is a dead giveaway how her story will go.

Carrie takes some obvious creative liberties with her story.

For starters, Carrie informs her friends that Batman is actually much older than they perceive, in his 50s she assumes. Robin is also not a Boy Wonder, but a girl, and in her story Robin is clearly her in disguise (though I don’t think this is to be construed as her trying to claim she’s Robin to her friends). The art style once again changes as we go to a very dark place. The sky is an even brighter shade of red than we’re accustomed to seeing, and almost all of the setting and characters are done in black. Robin is after some mutants, and Batman drops in to help. He’s now voiced by Michael Ironside, another delightful bit of casting, and is depicted as much bigger than before. He’s a dead-ringer for Frank Miller’s take on the character, and he wants information from the guy he just pounced on.

The setting shifts to the wastelands where the leader of the mutants (Kevin Michael Richardson) is riling up his followers. The mutants cheering him on are all black save for the red goggles they wear. Two mutants providing some comic relief have their names in white on their shirt, Rob (Charles Rocket) and Don (Mark Rolston, doing a Tommy Chong impression by the sound of it) and those two will provide some occasional commentary. The mutant leader seems to think only Batman can prevent him from taking over Gotham, or what’s left of it, and he’s eager for a showdown.

The interior of Batman’s tank is quite red.

Not one to disappoint, Batman arrives in style. He’s more than prepared for an army of mutants as he rolls in with a tank. Robin is with him, and as he rolls along he opens fire on the mutants. They drop like flies, and if you think this level of violence is inappropriate for such a cartoon then apparently you’re in agreement with the censors at The WB. Batman remarks to Robin that they’re rubber bullets, but he then odds an, “Honestly,” which sounds a bit sarcastic leaving his words open to interpretation, a nice little way to skirt around the censors. Robin leaves the confines of the tank to adorably go after the mutants herself armed with a slingshot. It’s a rather ridiculous course of action, but she’s also the one telling the story.

Batman’s foe: Old Pointy Nips.

Batman eventually leaves the safety of the tank himself when challenged by the mutant leader. Batman is so damn huge that he’s the size of this mutated being he’s standing across from. The two grapple, and the mutant leader eventually gains the upper hand as they stumble into a pit of mud. The leader gets Batman under the mud and appears to suffocate him. Robin, seeing her mentor in trouble, fires off some ball-bearings from her slingshot which agitate the mutant leader. He turns to identify the source of the projectiles, which allows Batman to rise from the mud like he’s the Undertaker. He soon gains the upper hand on his foe, and delivers this little gem, “This isn’t a trash heap. It’s an operating table. And I’m the surgeon!” The camera pans to the sky briefly so we can hear the snapping of bones, before returning to a satisfied Robin.

Batman is not one to cower in a tank.

Carrie’s friends are pretty captivated by her story and she has a look of smug satisfaction on her face. They then see something streak across the sky. It looks like Batman, but the being was clearly flying. They chase after it and wind up in a dilapidated looking theater. There they see a figure on the stage setting up something and it’s pretty clear this isn’t Batman. He steps into the light and the kids recognize him as the villain Firefly (Rolston). He’s clearly setting up for another arson job and the kids try to summon Batman with Matt’s store-bought Bat Signal flashlight. There’s a sizable hole on the roof of this building for such a tactic, but unfortunately for the kids the batteries die almost immediately. Worse, their chatter alerts Firefly to their presence and he tosses a flash grenade in their general direction for confirmation.

The real villain of the episode.

Firefly clearly doesn’t feel threatened by kids and simply remarks “Tough break,” as he sets off the explosives he’s planted around the place. As the building goes up in flame, he flies out of the hole in the roof. This is when Batman makes his entrance as he knocks Firefly to the stage below. He then starts monologuing, explaining Firefly’s plan to him and seemingly for the benefit of his audience. Firefly is obviously agitated, and the two begin their dance. Wanting to hasten things along, Firefly pulls out his flame-saber, but Batman extinguishes it with a little can that’s basically just a fire extinguisher. He quickly takes the clown out, and then notices the kids. As they try to flee, fire blocks their way so Batman tosses an explosive Batarang at the wall to create a new exit. He orders the kids out, and they do as they’re told, with only Nick pausing to watch as Batman scoops up Firefly and leaves via the ceiling.

Not one of Batman’s most exciting gadgets, but effective nonetheless.

Outside the burning building, the Gotham Police arrive and Detective Bullock takes note of the “present” Batman left behind – a dangling Firefly. He ponders who phoned in the 911, but apparently doesn’t care enough to turn around and see three kids standing beside a pay phone. As the trio walk off, they discuss with excitement what they just witnessed. Basically, all three are convinced what they just saw confirms their own belief of what Batman is with Matt seeing the gadgets as confirmation for his uncle’s account, Carrie focusing on the way he took out Firefly as proof of hers, and Nick thinks he simply flew away thus confirming he’s not human. The camera pans to the sky as their chattering continues to usher in the credits.

So what if the place is burning, it’s not every day you get to see Batman in action. Sometimes the risks are worth taking.

This is a clever way to celebrate different aspects of Batman from the ages. It’s so good that I wish it had been a one-off television special so it could have been a little longer as it feels like it’s one act short. Supposedly, the showrunners wanted to include an homage to the 70s Batman popularized by Neal Adams and Denny O’Neil, but it just couldn’t happen. Settling on the 50s Batman popularized by Dick Sprang and Bill Finger was a wise move. And while I liked Gary Owens in the role as Batman for that segment, I do wish they could have brought Adam West back. The closing with the two shaking hands is an obvious tribute to the opening title sequence of the 66 television show. Mark Hamill will likely always be my favorite Joker, but bringing in Michael McKean to do a different take was a most excellent choice. His laugh is a perfect depiction of Joker from this era. The segment could be described as parody, but it’s so earnest in its portrayal of these golden age characters that it works on a celebratory level as opposed to a mocking one.

The kids get to walk away from this one satisfied, a sentiment I can s

The Dark Knight Returns portion is also equally amusing. There’s some dry humor on display via Batman as this version is capable of puns as well and it’s interesting to see that the kids all seem to universally expect Batman to possess at least some form of a sense of humor. Right from the start, Carrie was clearly a dead-ringer for the Robin from that tale so it was no surprise to see where her story went. And even though this is essentially a kid’s show, the writers and artists did a really admirable job of adapting Miller’s work for this format, right down to the mutant leader’s pointy nipples.

Throughout the episode, there are also numerous Easter eggs further adding to the celebratory nature of the episode. In between stories, a kid named Joel (Phillip Van Dyke) pops in briefly to claim Batman wears a rubber suit and drives up walls. He’s standing outside a shoe store called Shoemaker, an obvious nod to Joel Schumacher and his version of Batman from Batman Forever and Batman & Robin. Is this reference mocking? Perhaps, though it feels like it’s in good fun. The music exhibit Joker hits in the 50s segment is named The Walker Music Center which is clearly named after series composer Shirley Walker. And the framing for this story is also quite similar to Batman #250 where Bruce Wayne takes some kids camping who all share stories about their perception of Batman (Bruce Timm claims this was coincidence though). Even Kevin Michael Richardson, brought on to voice the mutant leader, was a huge fan of The Dark Knight Returns and it’s no surprise the show would seek out fans of Batman for such an episode.

The animators really nail the visual styles they were seeking to emulate.

Visually, this is one of the most interesting and fun episodes of the series to watch. It’s a Dong Yang production, and the studio should be commended for adapting the different art styles for each segment. It couldn’t have been easy, and further credit should go to James Tucker who handled the story boards for the episode. The 50s segment in particular is done so well that one could likely show a still from it to someone and convince them it’s from a different show.

“Legends of the Dark Knight” ends up being one of the more fun episodes of The New Batman Adventures and even Batman: The Animated Series. As a more kid-focused episode, it’s much better than the more juvenile “I’ve Got Batman in my Basement” from season one. It’s a clever way to explore the character of Batman, enough so that it was basically done before and has been done since. It’s a strong enough concept that it could easily be adapted for film as DC’s version of Into the Spider-Verse for Batman. I don’t think such a thing is likely, but it’s worth exploring. Especially because so many other versions of Batman are worth exploring. Even if such a production never does take place, at least we’ll always have this one.

1 Comment | tags: batman, bill finger, bruce timm, carrie robin, dick sprang, firefly, frank miller, james tucker, kevin michael richardson, michael ironside, michael mckean, robin, the dark knight returns | posted in batman the animated series, Comics, Television

October 14, 2019

Sunshine Blogger Post

By Joe

You may have heard of or seen this Sunshine Blogger thing going around. It’s essentially a chain post, not unlike a chain letter or those chain posts that used to (still do?) circulate through social media. I was tagged by Jay Friz over at RJ Writing Ink for such a post in which most of the participants appear to be anime-centered blogs. While The Nostalgia Spot is not an anime blog, it has certainly touched upon the subject from time to time mostly via several posts on the Dragon Ball franchise. I am a lover of animation though, so naturally I do enjoy anime and this presents an opportunity to touch upon it, so thank you for such, Jay.

All chains have rules, and these are the rules for this particular chain:

1. Thank the blogger who nominated you in your post and link it back to them.

2. Answer the 11 questions the blogger asked you.

3. Nominate 11 new blogs to receive the award and write 11 new questions for them.

4. List the rules and display the Sunshine Blogger Award logo on your first post.

Once again, thanks go out to Jay for the acknowledgement. If you have not visited his blog, he does a lot of animation-related posts of old and new properties and is currently doing a daily Halloween post (and if you read this regularly you know about my affinity for that format) and it is certainly worth checking out.

What got you into blogging?

My journey into blogging began nearly 9 years ago. I had always wanted to write and pursued a writing degree while in college. It eventually struck me as something impractical, and rather than reach for a dream I went with a different major. It has financially worked out, but I missed writing. After being out of school for many years and finding myself with a lot of spare time, I decided to start a blog for my own benefit. The theme of nostalgia came naturally, and it’s something I’ve had fun writing about. I do it for the enjoyment of writing, not for publicity. If people read and enjoy it then that’s great, but if no one read it I’d still consider it a worthwhile endeavor.

I love me some Christmas, and here’s a little teaser for a future Christmas Spot post. Recognize it?

What’s been your favorite thing to blog about?

Nostalgia seems like too broad a topic for the purpose of answering this question. I have greatly enjoyed revisiting Batman: The Animated Series. Not only does it provide me with something to write about, but I also re-watched every episode along the way. It spanned more than two years of my blogging life, and I’m actually a little sad it’s over (final post scheduled for the end of November). I have also enjoyed doing the same for the much smaller Bucky O’Hare and the Toad Wars. Bucky O’Hare being a smaller, often forgotten, subject makes it rewarding for different reasons, even though the quality of that series is not on par with the likes of Batman. Without question though, my favorite posts are the Christmas ones. After dabbling with Christmas for years, I finaly went all-in on doing an advent calendar of posts a few years ago. When you blog for sheer enjoyment it can be hard to find time to make posts. Plus my own tend to total 3000 words no matter what I do, so doing 25 days of posts is hard. That’s why I spread them out and make use of the scheduler function to make sure they post when I need them to. It gives me a reason to stay tapped into Christmas all year round.

If you could date one fictional character, who’d it be?

Let’s go with Sara Valestein from the Trails of Cold Steel video games. She can kick ass and loves a good brew – what’s not to like?

The-Legend-of-Heroes-Trails-of-Cold-Steel-II_2016_03-11-16_006-555x328

Sara (left) was likely created with the whole “Hot for Teacher” vibe in mind.

What’s your all time favorite show? Or video game?

My favorite show is probably either Futurama or The Venture Bros. Those are the two I’ve revisited the most. From a more nostalgic perspective, my favorite as a kid was X-Men. As for video game, it’s a lot harder since I play a lot of RPGs, but rarely revisit them. I’ll just stick with the same answer I usually give and go with Xenogears. It has its problems, but I love the aesthetic of it and the battle system is unique enough to separate it form other JRPGs.

What’s your favorite show from the 2010s?

It’s hardly much fun to say this is my favorite show from the past decade, but it’s Game of Thrones. The showrunners may not have stuck the landing, but it was a fun ride while it lasted.

What are you looking forward to the most in 2020?

Whatever NECA releases in its line of Teenage Mutant Ninja Turtles action figures, and the same for Boss Fight Studio and its Bucky O’Hare line. Looking forward to new toys is supremely exciting for me, likely because it allows me to feel like a kid again. That and I rarely have time for video games so looking forward to them feels like a waste of energy.

Bruiser will hopefully arrive in 2019, but could slip to 2020. Either way, I look forward to whatever is next in this toyline.

If you could have any fictional power, what would you want?

Let’s keep it simple and just go with flight. I live in Boston and traffic is brutal, flying would solve so many problems.

What’s been your favorite anime recently? For non-anime fans, you can say cartoon

Recently it’s been Dragon Ball Super, which just wrapped up a week ago for the English dub. I never really wanted a proper sequel to Dragon Ball Z, so I’ve been surprised at how much I enjoyed the new series. I’ve also really enjoyed My Hero Academia and Devil Man Crybaby, as the Devil Man OVA was one of the first DVDs I ever purchased.

If you could travel to a fictional universe, which one would you want to go to?

Duckberg. I’d stand out, but it would be fun trying to break into Scrooge’s Money Bin.

What was your favorite cartoon/anime growing up?

My favorite cartoon was X-Men, my favorite anime was Dragon Ball Z.

I lived for Saturday morning as a kid.

Beef or chicken?

Chicken, always chicken.

Thanks again to Jay for the chance to do something different. He made his questions fairly broad and not applicable to anime, which probably worked better for me since most of my anime related responses would just refer to Dragon Ball or Cowboy Bebop, fine shows certainly, but also shows that have been talked about a lot. My insulated nature means I have no blogs to tag for future responses as the few I follow have already done this post. I don’t normally spread chains too, but I wanted to play along with this one especially since I’ve been buried in Batman and Christmas-related writings lately. If this is something you want to do, feel free to consider yourself “tagged” and answer the same set of questions I already have, and as always, thanks for reading.

Leave a comment | tags: animation, anime, blogging, boss fight studio, bucky o'hare, dragon ball, neca, sara valestein, sunshine blogger award, x-men, xenogears | posted in General

October 11, 2019

The New Batman Adventures – “The Demon Within”

By Joe

the demon within Episode Number: 18 (103)

Original Air Date: May 9, 1998

Directed by: Atsuko Tanaka

Written by: Stan Berkowitz

First Appearance: Etrigan the Demon, Jason Blood, Klarion

Don’t get too excited by that title, this isn’t the reintroduction of Ras al Ghul you may be anticipating (and if you are, you’re just setting yourself up for disappointment). The demon in this title actually refers to the character Etrigan the Demon who was created by famed comic artist Jack Kirby in the 1970s. He’s been a semi-popular character in the books for his frequent team-ups with Batman as he canonically lived in Gotham City for much of his fictional existence. I assume he’s included because there’s enough support for the character from the comic fanbase, because if he’s included as a tribute to Kirby then it’s an odd choice. Kirby created the character for DC basically because the publisher insisted. He wasn’t really into it and reportedly he was annoyed when the character was well received because it meant he had to do a series of books based around Etrigan.

As someone who largely consumes Batman media outside of comics, Etrigan was not known to me when I first saw this episode. What I know of him is what is presented here and on various wiki sites out there. This episode is somewhat notable because it was moved up to air as part of broadcast season one, despite being 18th in production order. That was probably easy to do because it was one of the handful done by TMS Entertainment, which may have delivered the episode early. It’s the last TMS episode we’re going to have the pleasure of covering for this series, so even if you’re not particularly thrilled by Etrigan’s presence, at least enjoy this one for the visuals.

Klarion, who would appreciate it if you ignored his ridiculous horned hair.

The episode opens with Bruce Wayne and Tim Drake visiting an auction house. On the docket – a branding iron once owned by the apparently not fictional Morgan Le Fay. It doesn’t seem too interesting, but appearances can be deceiving. Tim runs into a young boy carrying a cat in a rather sinister manner. The boy is named Klarion (Stephen Wolfe Smith) and the cat (let’s be honest, you’re more interested in the cat) is Teekl. The kid’s hair is pointed like devil horns and the cat takes a swipe, so obviously this odd child is a villain. When the auction begins, Klarion makes a big for one-hundred grand, but he’s soon topped by another man. His name is Jason Blood (Billy Zane) and he has interesting hair of his own – black and red with a white lightning bolt down the middle.

Bruce Wayne can’t sit by and let a bidding war pass without him having his say. Despite only being there to keep Tim away from video games for one night, Bruce ends up winning the iron with a bid of one million dollars, far surpassing the bids of Klarion and Blood. After the item is won and paid for, Tim asks Bruce what interest he has in that thing and Bruce remarks it’s for a friend. Klarion then approaches to issue a warning to Bruce, but is soon interrupted by “uncle” Jason. He’s not surprised to see Klarion’s interest in the item, and Klarion departs by suggesting they’ll meet again soon and next time it will be on purpose. It’s then revealed that Bruce and Jason are friends, and he won the item to help out Jason. Jason also tells them that Klarion isn’t really related to him and refers to him as a witch boy. He also tosses in the fact that he turned his own parents into mice in case we weren’t weirded out by the kid enough.

Jason Blood, who has some weird hair of his own.

Jason invites Time and Bruce to his apartment which is full of occult-like objects. He there tells Bruce he can pay him back for the iron, though it will take some time. Bruce basically tells him that won’t be necessary, rubbing his richness in our faces once again. Tim then takes note of a freaky looking bust that Jason informs him is of a demon once owned by Merlin himself. Tim turns the bust around to regard the other side which depicts a man who looks exactly like Jason. Jason acts flattered when Tim points out the likeness, but before the ruse can continue they’re interrupted by the cat, Teekl.

The kitty has a surprise in store for Bruce.

Teekl was able to enter the apartment via an open window and quickly grabbed the branding iron between its jaws. As it tried to leave, the iron knocked over an object on Blood’s desk and the three spring into action to try and prevent the cat from making off with the million dollar item. The cat then displays why TMS was likely handed this episode as it transforms into a human-cat hybrid. Teekl’s new form is reminiscent of Catwoman’s from the episode “Tiger Tiger.” She’s quite formidable and Bruce basically gets his clock cleaned by the beast. This forces Jason into action as he quickly transforms into Etrigan the Demon. He engages with Teekl and forces the cat to lose her grip on the iron. Bruce reaches out and grabs it, but Teekl turns her attention to him. She quickly retrieves it and is able to set the apartment on fire around Bruce and Tim. Etrigan issues her a warning that a reckoning will be coming, as he turns his attention towards his friends allowing Teekl to escape with the iron.

Klarion is shown seated in a darkened room as Teekl approaches. She gifts him the branding iron and returns to her cat form. A delighted Klarion begins an incantation that will likely have dire consequences. At Jason’s apartment, Tim is seated in a chair and Jason is tending to some minor cuts or burns he sustained in the scuffle. He uses magic to heal Tim, but soon is felled by Klarion’s spell. He displays an anguished face as Etrigan is forcefully removed from his body. The demon at first appears ghost-like, but then takes on a solid state. He leaves the apartment informing the onlookers it has a new master now. When Bruce tries to stop him he’s tossed aside and the demon leaves.

Apparently, having a demon ripped out of your body after 1,500 years hurts quite a bit.

Etrigan returns to Klarion, and Klarion seems to delight in the fact that the demon hates him but is powerless to resist him. As was probably assumed by this point, the branding iron gives Klarion control of the demon and while in control the demon has an “M” brand on its forehead. He orders the demon to open his door for him as they’re heading out for some fun. In perhaps a small act of defiance, Etrigan doesn’t open the door conventionally, but instead smashes it down.

At Jason’s apartment, Blood informs Bruce and Tim what happened. He also drops the detail that with Etrigan and he split apart he will soon begin rapidly aging to make up for the 1,500 years or so he’s gone without aging. He’s also lost the red stripe in his hair – a pity. Bruce volunteers to go after Klarion and Tim wants to go too, but Bruce wants him to stay with Jason. Tim argues he should go with since he’s a kid and it might take a kid to find Klarion. Jason informs him that probably won’t be necessary as he has a suspicion Klarion will be quite easy to find.

Klarion is looking to have some fun with his new demon buddy.

Klarion is then shown exiting a movie with Etrigan as the other patrons run away screaming. The film appears to be a Terminator parody called Devastator 3 starring Donald Shaltenpepper. Klarion declares he hates sequels and has Etrigan set fire to the theater’s marque with some impressive laser eyes. Klarion is then alerted to the sounds of the rare ice cream patrolling the streets in the dead of night. Etrigan stops the truck forcefully and dumps the ice cream at its master’s feet, but is dismayed to inform Klarion that no strawberry remain. Declaring that nothing is better than strawberry, Klarion then turns his attention to a cake shop. Kirby Cake Company, an obvious nod to Etrigan’s creator, is smashed in by Etrigan and Klarion gleefully scoops up handfuls of cake to devour. He’s then irritated by the noise of a passing train, so he has Etrigan knock it off its rails. He then declares an abandoned building to be ugly, so Etrigan knocks it down. It would seem Jason was right about Klarion being easy to find.

Batman finally shows up to put a stop to this destructive and childish rampage. He begins by talking down to Klarion, apparently forgetting this kid is some kind of witch with a powerful demon and cat monster under his control. Klarion doesn’t even need Etrigan or Teekl’s help when Batman is just standing in front of him demanding he cease his devilish ways, he simply uses his own magic to make thorns burst out of Batman’s body. Jason and Tim watch from the apartment via a crystal ball and when Tim declares they have to do something Jason calmly begins a spell. The thorns soon vanish, somewhat alarming both Klarion and Batman, and Klarion turns to yet another spell that turns Batman into a tree-like being. He has a good laugh at Batman’s expense, until he gets swatted by Batman’s branch-arm. Jason, now looking considerably older, undoes this spell and Klarion then calls in Etrigan.

When one Batman isn’t enough…

Batman is really no match for the demon in a one on one fight, so Jason conjures up many Batmen to aid him. The dummy Batmen make it hard for Etrigan to target the proper one, and the Batmen start circling Etrigan. This is apparently all a feint as the real Batman is off to the side. Klarion notices him as he takes off and orders Etrigan after him, but the illusion Batmen get in his way. Batman winds up ducking into an alley that appears to be a dead end. By now Jason’s body is failing him, but he has enough magic left to make Batman turn invisible and he blends in with the brick wall.

Thinking Batman has escaped, Klarion decides it would be best to remove his uncle’s influence over the fight. He orders Etrigan to kill Jason and sends the beast away. Jason, looking withered and near death, orders Tim to spread a blue powder around them in a circle. The stupid kid wastes time expressing a disbelief in such a tactic, but ends up doing as he’s told. The circle, along with some help from Jason, creates a forcefield around the two as Etrigan comes barging in. The demon can’t get through it, but Klarion apparently seeing through Etrigan’s eyes, orders his demon to not be discouraged. Etrigan starts blasting the field with its laser eyes while Jason tries to remain focused inside. He soon slumps over, succumbing to the rapid onset of age, as Etrigan breaks through.

Klarion doesn’t necessarily need a demon to win a fight.

With Jason apparently nearing his end, Klarion allows himself to savor the moment despite the protests of Teekl. Batman closes in and knocks the kid down retrieving the branding iron in the process. Teekl takes on her human form and goes after the Dark Knight, but Batman is able to stamp her head with the branding iron gaining control over her. He uses his dominance over the beast to return her to her less fearsome feline form. Klarion then apparently forgets he’s a witch boy as he just runs at Batman and tries to retrieve the iron, but he’s much too short. Batman utters some spell that makes Etrigan and Jason whole once again, and not a moment too soon as the demon was about to finish the job.

With his plan foiled, Klarion apparently remembers he’s pretty damn powerful on his own. He starts blasting Batman with green, glowing, orbs that Batman really has no answer for. If he was counting on Etrigan to save him then he placed his faith in the right person…demon, as Etrigan shows up, alongside Robin, to make the save. He blasts Klarion into some nearby crates, then utters an incantation of his own. When Batman asks what the spell will do, Etrigan replies that he’s sending Klarion to his room.

With the crisis averted, Etrigan takes his leave. Robin is then left to ask Batman just what went down tonight, but Batman rebukes him with a “Don’t ask.” Klarion is then shown from behind seated in a chair with his shoulders slumped. The camera pans back to reveal he’s been imprisoned in Jason Blood’s crystal ball and placed on a shelf in Blood’s apartment. He apparently poses little threat there, as Jason is shown nearby casually reading a newspaper.

Jason appears to lead a rather mundane life when Klarion isn’t on the loose.

“The Demon Within” is obviously an atypical episode of Batman as it deals with a lot of mysticism and magic mumbo jumbo. I like fantasy as much as the next person, maybe even more so, but I’ve never liked it when it crosses paths with Batman. It’s why I’m not that into the Ras al Ghul stuff and I like it even less here. This episode feels like a backdoor pilot for an Etrigan series, and if that was the aim well then it failed as no series came to pass. The demon would make a future appearance in an episode of Justice League, but that’s all.

We can probably thank Teekl and Etrigan’s transformation powers for the presence of TMS on this one.

The animation and vibrant colors of this episode can certainly be appreciated by anyone, even in spite of the silly plot material. The transformation animations are likely why TMS was chosen to handle this one, and while they’re neat, they don’t come close to matching what the studio did with Clayface. Etrigan himself has never appealed to me though from a visual standpoint. He’s big, and kind of menacing to behold, but he wears a rather conventional super hero costume of red spandex and blue cape. He looks like a bulgy Under Dog, and his fingers are shaped like rectangles with rectangular claws in several shots. He also has this weird thing going on with his feet where he apparently has a large middle toe or his shoes just have extra material that makes them look like elf stockings. Basically everything below his neck is rather dumb looking.

What it comes down to is this is an episode you’ll probably enjoy if you’re a fan of the Etrigan character from the comics. I would imagine seeing him would have been exciting for such a fan, just like the Jonah Hex episode from the last season. If you don’t care about Etrigan though, or if you don’t like him, then unlike the Hex episode this one probably won’t do anything for you. Klarion is a bit amusing in a bratty kid who gets his comeuppance always is kind of way, but beyond that there isn’t much happening here. Even the great TMS can’t really make this one a must see episode strictly from a visual standpoint. And with so few episodes remaining, this one just feels like a waste of precious space.

1 Comment | tags: batman, billy zane, dc comics, etrigan the demon, jack kirby, jason blood, klarion, robin, stephen wolfe smith, the new batman adventures, tms | posted in batman the animated series, Comics, Television

October 4, 2019

The New Batman Adventures – “Old Wounds”

By Joe

old wounds Episode Number: 17 (102)

Original Air Date: October 3, 1998

Directed by: Curt Geda

Written by: Rich Fogel

First Appearance: None

Have you wondered what caused the rift between Dick Grayson and Bruce Wayne? Of course you have, but The New Batman Adventures has decided to make you wait a while to find out. Well past the half way point of the series is “Old Wounds,” a mostly flashback episode detailing the fallout between Batman and the original Boy Wonder. It’s even going to touch on how Batgirl was truly brought into the fold as well, which really makes this one feel like it’s been a long time coming. Maybe it would have made sense to run this one earlier, but I suppose it’s not that big of a deal. Either way, these are questions that needed answers and at least we’ll finally have them.

The episode begins with some hoodlums making trouble in Gotham, which is what hoodlums do. Robin drops in to put a stop to them and have a little fun at their expense as well. Surprisingly, he appears to be all alone and without the aid of Batman which seems like an unwise thing to do, but Batman isn’t exactly known for his parenting skills. Robin looks like he’s going to make my fretting all for naught as he seems capable of taking care of these guys, but one drops a barrel over his head and suddenly things start to look a bit grim for the little guy. Luckily for him, someone is indeed looking out for him, only it’s not Batman, but Nightwing.

At least someone is looking out for the kid tonight.

With Nightwing’s help, the two take out the goons. When the dust settles it’s time for Nightwing to give Robin a bit of the old tough love routine, which causes Robin to draw a comparison between Batman and Nightwing. Nightwing resents the comparison causing Robin to just finally ask what went down between the two so long ago. Nightwing tells him simply that “things change” and then tells Robin he should be asking Batman. Robin tells him he did, and he told him the exact same thing Nightwing just did.

That was apparently all Nightwing needed to hear to open up. He and Robin head to the docks, and while Nightwing skips stones he starts to tell Robin about what happened between he and Batman.

It all started when Dick graduated from college. He received the highest honors in his class, but who do you think missed his graduation ceremony? Oddly, it was held at night rather than during the afternoon and Batman had somewhere to be. Barbara was there with Alfred, and she remarks to the trusty butler that Dick will be crushed if Bruce misses this. Alfred suggests that maybe Bruce had car trouble and the scene is spliced with images of Batman foiling a robbery. In a humorous exchange, Batman is riding on the crook’s hood and he orders him to stop warning someone is going to get hurt. The crook agrees, and pulls out a gun and attempts to shoot Batman in the face. Of course he misses and he is indeed the one who gets hurt, but I enjoyed the man’s misplaced confidence.

Did they slip wine past the censors? Maybe we’re supposed to assume it’s just juice.

After the ceremony, an apparently not-crushed Dick is having dinner with Barbara at a nice looking restaurant. They’re sipping wine or champagne as Barbara asks what’s next for Dick. He tells her he’s done living off of Bruce’s dime and informs her he has a trust compliments of the circus. It seems he received an insurance settlement following the death of his parents, which actually doesn’t make much sense since they were murdered though maybe it was never ruled a homicide. A beeping noise reminds us that this was made in the 90s as Dick pulls out a pager. He excuses himself to return the call and naturally it’s from Batman. It seems he’s going to need some help tonight. When Dick tells him that now is not a good time, Batman replies curtly that he doesn’t make schedules. Dick surrenders and returns to Barbara and comes up with a rather terrible excuse that he has to leave to help clean out the fridge back at his dorm. He bails leaving Barbara standing there in disbelief.

Robin, in his old green and red threads, drops in on Batman who has a warehouse staked out. Batman immediately informs him he’s late, a fairly typical Batman observation. Thankfully, Dick was pulled away from his night of celebration for a good reason as it’s revealed the villain of the hour is the clown prince of crime himself – the Joker (Mark Hamill)! Joker has himself a trio of henchmen this time, the returning twin lugs named Rocco (Townsend Coleman) and Henshaw (Neil Ross) and a new guy named Connor (Ian Buchanan).

Joker introducing himself to the new guy.

Joker and his gang make their way inside, and soon Batman and Robin drop in on them through a skylight. Joker is able to match my mood as he ponders why the two would want to smash through a skylight in place of something less messy (“Either you’ve never heard of a door or you just like pulling glass out of your shorts.”). Joker has some sort of rocket ready to go that he blasts at the two and actually connects. Joker even remarks it was easier than expected dealing with the two as he and the others make their exit. Robin is the first to emerge from the rubble and he goes to help Batman who barks at him to go after them instead.

Robin does as he’s told and sees Joker make his escape in a getaway van with some sort of equipment. He’s also left Connor behind though and Robin follows him through the various alleys of Gotham right to what he probably hoped was a hideout. Instead, Connor actually leads him to his apartment, and he runs inside and orders his family to run via the fire escape. His wife, Geena (Pamela Hayden), is clearly alarmed, but his young son is too consumed with playing space ranger or something to take his dad seriously.

Robin is a bit too good at the “Good Cop” role.

Robin enters and confronts Connor, but is alarmed to see his surroundings. The little boy takes aim at Robin with a toy gun and Robin seems like he’s unsure of what to do. Batman then comes smashing through a window and slams Connor up against a wall. He demands to know what the Joker is up to and where he’s hiding, while Connor seems almost paralyzed with fear. Robin looks at the woman and child cowering in terror and somewhat quietly urges Batman not to do this in front of them. Batman tells him he’ll stop as soon as Connor gives up the Joker. This angers Robin, who informs Batman he’ll have no part in this and takes off leaving Batman stunned.

Barbara is very understanding for someone who was just rudely awakened.

Later that night, at 3:14 AM to be exact, Barbara is woken up by knocking on her door. She gets out of bed and tosses a robe on and opens the door of her modest studio apartment to find Dick. He rambles about being sick of “him” as he paces around the room. Barbara tries to get him to calm down and talk to her, but he sounds more like a mad man. He decides this was a bad idea and apologizes for coming over. He tells her he’ll call her tomorrow and then leaves as quickly as he arrived.

The next day, Barbara pays Bruce a visit at home to tell him about Dick’s visit. She wants to know what’s happened between the two of them, but Bruce is his usual stoic self. He declares that she really cares about him, and then beckons her to follow. He takes her over to the grandfather clock, the entrance to the Batcave, and opens it. As he descends the stairs down, Barbara seems understandably wary. A billionaire playboy just opened up his weird, creepy, sex dungeon to an attractive young woman and told her to enter – I’d think about running if I were her!

This is probably scarier than it looks.

Barbara follows though and steps into the Batcave. She’s wide-eyed as she looks around and then Alfred walks in. He’s alarmed to see Barbara, and then does what any loyal servant would do – confesses that he is indeed the Batman. Before Barbara can laugh, Bruce informs him that it’s all right. He then informs Batgirl that he’s aware of her secret as well, and Alfred informs them they should turn on the news. When they do they find Joker up to his old tricks. He’s broadcast his ransom to Gotham and by doing so has unveiled what he was up to the night before. It would seem he’s stolen some radar jamming equipment that will make it impossible for aircraft to operate over Gotham. This could cause unsuspecting aircraft to suddenly crash and that’s obviously not a good thing. To make sure this doesn’t happen, Joker is demanding 40 million dollars. Bruce tells Alfred to contact Dick, and he’s told he’s already tried, but can’t get ahold of him. Barbara volunteers to help, and the two leave in the Batmobile.

After those two leave, Dick predictably shows up. He comes into the Batcave wondering where Barbara is as he noticed her car parked outside. Alfred tells him that she left with Master Bruce and they had some “errands” to take care of. Dick’s eyes take note of the missing Batmobile, which tells him all he needs to know.

Joker, always dressed for the occasion.

Batman and Batgirl, in her normal attire and not throwback grays, arrive on the scene where Joker is sending out his radar jamming signal. They’ll need to head to the top of a rather large building, and to help him out Batman has brought along that nifty jetpack we’ve seen him use from time to time. He swoops in and takes Joker and his men by surprise, but they surprisingly have little trouble shooting him out of the sky. Batgirl then arrives and it’s apparent this is her first confrontation with Joker, who seems a bit taken by the new sidekick. Not that it means he’ll not try to kill her, as he and his men go to work.

Robin arrives via motorcycle and looks up to see the silhouette of Batgirl battling Joker’s henchmen. It’s obvious he’s surprised so apparently he’s not as perceptive as Batman and was in the dark about his girlfriend’s alter ego. Joker whacks a piece of equipment into Batgirl, causing her to fall off the roof. As she plummets towards her demise, Robin stares up in horror. He then shows off a new trick as the housing for the handles on his bike blast off like some mini jetpack or ejector seat. He closes the gap between he and Batgirl and is able to catch her and stop their descent with a trusty grapple gun blast. As the two land safely, Robin apparently wants to talk, but Batgirl informs him now is not the time and that “he” needs their help.

On the roof, Batman is getting reacquainted with Bud and Lou, the hyenas. He regains his footing as Batgirl and Robin arrive and the three take out Joker’s henchmen forcing Joker to declare he’ll have to do this himself. He grabs a machinegun and opens fire on the three. As an airplane approaches, things get a bit dire. Batgirl decides to go for it and flips her way towards the device sending the radar signal. Joker, in his attempt to shoot her, hits the radar dish and immediately regrets it. As sparks shoot out, Batman dives over and grabs Batgirl and the device explodes allowing the aircraft to pass by safely. Batman and Batgirl were able to avoid the explosion by hanging on the side of the building, while Joker wasn’t quite so fortunate. He makes a crack about Houston having a problem before passing out, leaving the three heroes to settle up.

Robin packs quite the right hook.

Robin immediately accuses Batgirl of keeping secrets from him, which is amazingly dense even for him. He’s hurt that she would tell Bruce, but she corrects him by saying he figured out her identity. Batman then adds it wasn’t his place to tell him. Robin is still angry with Batman though as he questions why he’d put her in danger. Batgirl tells him that he didn’t and she volunteered, but Robin tells her she’s wrong. He’s a manipulator, she only thinks she volunteered. Fed up with the whole situation, Robin informs Batman he’s had enough – he quits. Batman reaches out to try and stop him from storming off, but Robin turns around and decks him. Batman falls to the ground as Batgirl looks on with shock. Robin then removes his cape and mask and leaves it at Batman’s feet and storms off.

The dramatic discarding of the mask.

That’s where the flashback ends. Nightwing informs the new Robin that he never wore the costume again after that night. Robin still seems to think it’s silly the two never reconciled, but he’s obviously used to dealing with the both of them at this point. Nightwing then notices a wallet on the ground. The goons from earlier must have stolen it and he opens it up and is surprised to see who it belongs to.

Maybe his trust fund isn’t doing so well if he’s got to pick pockets.

The scene then shifts to a building owned by Wayne. A security guard is returning to his office when Nightwing and Robin drop in on him with his wallet. He’s alarmed for a moment, then is relieved to see it isn’t Batman. He then tells the two he had a run-in with Batman once before, which caused him to change his ways. It’s now obvious that this man is Connor from the flashback. After his encounter with Batman in front of his wife and kid, he decided to go straight. Bruce Wayne gave him a job and now knows him by name. He’s quite pleased to relay that Bruce asks about his son from time to time and Nightwing responds by adding that Bruce Wayne is a good man.

Connor is here to conveniently tell Nightwing what he needs to hear about his old friend.

Nightwing and Robin take their leave. Robin is a bit surprised, but also a bit proud to point out to Nightwing that Bruce has a heart after all. Nightwing is quietly pleased. The Bat-Signal then flashes across the sky, and Robin remarks it’s time to go to work. He fires off a grappling hook, then turns to Nightwing and asks if he’s coming. Nightwing smiles in return and suggests it’s about time. The two then swing off into the blood-red sky towards the Bat-Signal as the Nightwing theme thunders in the background.

There you have it. Questions answered, for the most part, about what happened in between the first two seasons and this revamped third one. We still don’t know what ultimately drove Barbara and Dick apart. It could be that there is nothing more to tell of their story, as maybe when Robin left the two that night he left the both of them assuming Batgirl had made her choice to work with Batman. I believe we’ll learn a bit more in a future episode though, as things got a little heated between Batgirl and Batman eventually, which makes sense since they both share a gimmick. We also don’t know how long Dick went in between roles as Robin and Nightwing. It can be assumed he used his circus money to finance his loft and crime-fighting gig, though if he has a day job that’s still unclear.

Nightwing – forever in Batman’s shadow.

As for the story itself, it’s mostly satisfying. It’s easy to assume that years of working with Batman would cause tension. He seems like a tough boss, and the two have had their differences before. Batman is more obsessive than Robin, and his actions in front of Connor’s family are somewhat understandable, though I can’t help but feel this isn’t how the Batman of the first two seasons would act. He would be far more sensitive to the presence of a child, which makes me feel like there’s still something missing. This version of Batman is harder than that one, and it feels like something should have happened to explain that which we have not seen, and never will. This Batman only exists as part of a revision of the character against his peers. He needs to act this way to better distinguish him from Robin, Batgirl, and Nightwing. It’s why this show has a different feel from the Batman: The Animated Series and it’s why I still tend to think of it as a different beast all together, despite how it’s marketed. The use of Connor is suitable for showing how Batman can leave a lasting, positive, mark on someone. Though it’s a bit muddled as his presence in the end feels like a justification for Batman’s erratic behavior from the flashback. This show has a tendency to “both sides” Batman and in the process it sometimes fails to really make a statement of any kind.

Joker in a rare supporting role in this one, though he still finds time to hijack Gotham’s airwaves once more.

The presence of Joker in this one initially surprised me. He’s not needed to add weight to the action, and it’s unusual to see him featured in an episode where he’s not the focal point. In viewing this one though I think that’s the point. Joker needs no introduction nor does he need any moments to himself to explain his character to the audience. Rather, he can just be in the background making jokes and acting wicked and do just fine. He’s genuinely amusing for much of this one, and I suppose it’s a nice little treat to see Batgirl’s first encounter with him.

The episode leaves us in a more hopeful place where it concerns Batman and Nightwing, though I’m not sure we needed to be. It’s why I think it may have made more sense to air this one much earlier. We’ve already seen Batman and Nightwing working together. They’re not exactly old chums when they do, but they’re more than capable. They were even able to put together an elaborate trap for Catwoman and worked rather closely in busting the Mad Hatter. Dick even dropped in on them at Bruce’s home at the conclusion of the second episode, so it’s not like he was above a casual visit. This episode seems to want us to think there’s more conflict than has been presented. It works fine as a stand-alone episode in that respect, but when looked at in broader context it’s a bit less rewarding. I’m still glad they decided to tackle the subject, and despite my criticism I’d still say this is one of the better episodes of the season so far.

This marks the last costumed appearance of Dick Grayson. We learned a little more about him, but sadly we’ll never learn the origin of his fabulous mullet.

The ending is hopeful, indicating that Batman and Nightwing are on the verge of a reconciliation that will perhaps lead to a better working relationship. At least, that’s the implication, but in actuality this is the final appearance of Nightwing in the series. It’s surprising, considering we still have several episodes left, but I guess the staff just felt like there were no further stories to tell with the character. Maybe they envisioned a spin-off for him now that he’s made his peace with Batman, but that obviously wouldn’t happen. We don’t yet have to say goodbye to Loren Lester and Dick Grayson, who has one future appearance left, but it does feel like the end of an era considering how long Robin has been a part of the show. He’s never been a favorite of mine, in any medium, but at least this show did some good with the character.

1 Comment | tags: batgirl, batman, joker, loren lester, mark hamill, nightwing, robin, the new batman adventures | posted in batman the animated series, Comics, Television

October 2, 2019

Funko Pop! Halloween Huey, Dewey, and Louie

By Joe

There’s a scourge taking over our local record stores, clothing outlets, and gaming boutiques. It comes in mass quantities dominating its chosen territory at the expense of other merch. It swears no allegiance to anyone and will even place mortal enemies side by side as it amasses an army of licensed property of yesterday and today. I am, of course, speaking of Funko Pop! vinyl figurines. Where I once had a local record store, I now see what is practically a dedicated Pop! outlet. Gamestop devotes considerable shelf space to them and they even show up in drug stores. It’s hard to find a licensed property that isn’t in Pop! form these days and since they keep on coming it leads me to believe they’ll be around for some time to come.

And considering the brand’s scope, it’s obvious people are into these things. Funko sells special cases to keep your Pop! mint-in-box and I do see people get legitimately excited for new releases, even though every time I’m at a store that features these things prominently I rarely see someone actually pick one up and head for the register. I don’t think they’ve reached the level of Beanie Baby popularity from the 90s, but they must be doing well for them to persist.

The source material for today’s subject.

If you’re not familiar with Pop! figurines then you’re probably not human, but I’ll indulge you anyway. They’re essentially little plastic statues that adhere to a standard form. They all feature an oversized, oval, head with a tiny body. They’re either non-articulated or just the head swivels. The eyes are always circles and one color, typically black. Most characters don’t have a mouth, but as the line has persisted I’ve noticed more unique head-sculpts that do indeed feature a mouth. It’s a simple, identifiable, style that can be applied to virtually anything depending on how much effort Funko puts into the sculpt. It seems to work well for cartoon characters, especially anthropomorphic characters, but it’s not universal. For one, I think the ones based on The Simpsons look awful, but I’ve encountered many that look fine. Live-action personalities can also be adapted and they typically turn out all right. It’s a brand, and it’s obviously successful. I would rather purchase a Kid Robot mini-figure, but at least these ones don’t come in blind boxes.

When it comes to my own interaction with Funko Pop! I am merely a casual participant. I wouldn’t even call myself a casual fan or collector, I’ve just somehow managed to end up with some here and there. I used to buy the Frozen ones for my wife as she expressed a fondness for them and I’ve picked up other Disney ones here and there. I currently have a Remy from Ratatouille in my kitchen because he looks cute and fits in with the setting. Mostly, they end up being the occasional thing I’ll buy for my desk at work, but I’ve mostly reached my limit there. I don’t seek out any particular license, it’s more just a case-by-case thing where if I really like how something turned out then I may buy it. That’s how I ended up with Rocko, Scrooge McDuck, and Stimpy. Rocko in particular works well in this style, and I liked the personality on display of the other two. I considered getting Ren to pair with Stimpy, but I just didn’t like how he turned out. Normally I can’t leave a character all by itself, especially from a famous duo, but with Pop! I just don’t have much of a collector’s impulse.

What I do have a weakness for though is Donald Duck, especially limited merchandise based on him or one of his cartoons. I am especially fond of the classic shorts, and there isn’t many better than 1952’s Trick or Treat. That’s the cartoon where Huey, Dewey, and Louie team up with a new character, Witch Hazel, to get back at Donald for refusing to treat on Halloween. In that cartoon, the nephews are depicted in Halloween costumes and they’re quite adorable. The designs are so popular and beloved that they were reprised for the 2017 Mickey Mouse special The Scariest Story Ever.

In celebration of that short, Funko did a special release of Huey, Dewey, and Louie in costume as Pop! figurines. This isn’t their first Pop! exposure as they were part of the DuckTales wave as well. They were sold exclusively on Funko’s website as a three pack and I just couldn’t resist.

A little defect on Dewey’s broom.

The trio are each packaged separately in a box under the Mickey Mouse and Friends banner. I wish they had come in a special box together, but that adds cost and companies are usually loathe to do that. It also would have been nice to see some artwork from the sour material, but oh well. Since their costumes are quite different, Funko wasn’t able to do the usual of creating one figure and painting them different colors. The likenesses are quite good, though obviously they’re in that Pop! style. It helps for Louie in particular that his character was pupil-less in the cartoon so the Pop! dead eyes aren’t as noticeable here. The paint applications are mostly clean and I like that they included Louie’s pumpkin on his head. Only Dewey appears to have any defects as he has some slop on his hat and feet plus an odd mark on his broom handle (pictured).

Even though Pop! figurines are sold at toy stores, I wouldn’t call these toys. My kids certainly like the aesthetic of the figures and were pretty excited when they came in the mail, but there isn’t anything they can really do with them. These guys are destined for a shelf, and I was even tempted to leave them in their boxes, but found they didn’t display as nice. These will be a part of my annual Halloween décor like the Grinch Pop! figures I own and display at Christmas. One thing I appreciate about these figurines is the packaging is easy to utilize for storage. There’s a plastic, molded, tray inside the box that is easy to remove and reinsert. There’s no tape on the top flap so you don’t even need to bust out a razor blade to get into these things.

I had to include a picture with their Uncle Donald.

If you’re interested in acquiring these yourself, they’re currently for sale on Funko’s website. They’re sold together for $45 plus shipping and taxes which is pretty close to the retail price most Funko figures sell for. If you don’t like Pop! figures then these aren’t going to change your mind. For Pop! figures, I think these are well done and there is enough of the classic design of these characters contained in the figures while conforming them to Funko’s brand. And they’re fun, decorative, seasonal figures that aren’t horribly priced. I do wish they were closer to the 10 dollar range as opposed to 15 as the current price point is basically the maximum Funko can charge without really turning folks off. It’s especially attractive for people who like to acquire merchandise related to the Trick or Treat short, as the Walt Disney Classic Collection of ceramics are way beyond my price range.

Leave a comment | tags: disney, donald duck, funko, funko pop!, huey dewey and louie, toys, trick or treat | posted in Film, toys

September 27, 2019

The New Batman Adventures – “Animal Act”

By Joe

animal act Episode Number: 16 (101)

Original Air Date: September 26, 1998

Directed by: Curt Geda

Written by: Hilary J. Bader

First Appearance: None

“Animal Act” reintroduces the audience to a part of Dick Grayson’s life it may have forgotten: the circus life. A string of robberies will put Batman and the gang in touch with the old act and give Dick a chance to take a stroll down memory lane. It will also reintroduce, officially, a villain from the previous iteration of the show that had yet to have an episode all to their own. The reveal of the villain is intended to be a surprise, and for this show, it’s actually kept under wraps pretty well. There’s no obvious giveaway in the title and the reveal is saved for the final act. The only real tell is the reintroduction of that villain’s theme, but if you had forgotten it then you’d be kept in the dark even longer. For that reason, I should put out a general warning that if you like experiencing these reveals on your own then maybe store this one away until you’ve seen the episode yourself.

Just three dudes hanging out in their costumes on a roof at night.

The episode begins with Batman and Robin watching a suspicious character from a rooftop. The rather large looking man is on a nearby rooftop and heading for an antenna tower. Nightwing drops in on the two and he and Batman have their usual frosty disposition towards each other with Batman lecturing Nightwing to work on his stealth. They then turn their attention to the perp who has begun scaling the tower and looks to have its eyes on some control near the top.

Batman springs into action with quite possibly his most absurd act of stealth we’ve seen up to this point. As the suspect’s hand reaches for a device on the tower, Batman’s hand clamps down on its wrist. Batman basically went from one rooftop to a steel tower roughly one-hundred yards away and managed to land on the same tower as the perp and grab its hand all without being seen. That’s some damn fine stealth-work.

Now angrily glare at the fleeing ape.

The perp immediately swats Batman away and he falls off the tower but is able to grab onto another one. The perp then tries to make a run for it, but gets ambushed by Robin and Nightwing. At this point it’s obvious that this isn’t a man for its arms are massive and it runs like a gorilla. When Robin tries to stop it with a bollo the creature breaks out and takes off again punching Robin as it goes by. Nightwing stops to check on the Boy Wonder before giving chase with his dorky little wingsuit. He catches up to the creature and is able to confirm that it is indeed a gorilla in human clothing. Furthermore, Nightwing knows this gorilla as Peaches. The surprise helps the gorilla to get away from Nightwing and escape the others.

Dick recalling better days when he had parents and no pony tail.

The next day, Dick and Tim make a stop at the circus. It’s well before opening and the circus members are all milling about and getting ready for that night’s performance. As the two stroll through, the cast members all recognize Dick and make small talk as Tim takes it all in. He gets setup by Dick for embarrassment at the hands of a mime clown and marvels at the strong man and axe-tossers. Dick is really here though to check on Peaches and the two find her right where she’s supposed to be in her cage. She seems like a rather ordinary gorilla and Tim is skeptical that this could be the same as the one from the night before.

Dick’s reunion with Peaches is interrupted by her trainer, Miranda Kane (Jane Wiedlin). Miranda looks the part of a stereotypical animal trainer and even has a boa draped over her shoulders and coiled around her leg. She at first mistakes Dick for someone just snooping around and messing with her animals, but he tells her who he is and she soon remembers. It would seem she was a kid with the circus at the same time as “Dicky,” with her family being animal trainers. Her parents have retired to Sarasota (amusing to me for I knew a lot of old people who did the same around 98) and left the animals in her care. She seems some-what happy to see Dick again, though also a tad resentful of the life he ended up living as ward of the wealthy Bruce Wayne, though his name is never mentioned. She tells him he can’t touch the animals, for liability reasons, and eventually asks the two to leave as she has a lot of work to do.

Miranda Kane is yet another character obviously named after Batman co-creator Bob Kane. Given what we now know about Kane, it’s unlikely many characters are being named after him these days.

Dick is then shown back at his loft flipping through an old photo album. He’s looking at pictures of his family-life from his days in the circus, until a familiar shadow crosses the page. Batman is there to inquire about his trip to the circus, and Dick tells him he doesn’t think Miranda had anything to do with the robbery from the night before. Batman counters by saying he checked all of the cities the circus had hit recently and all featured a nearby unexplained robbery. This leads to a stare-down between Dick and Batman that is kind of tense, until a pager on Batman’s belt forces him to look away. He growls an angry “What?!” into a communicator and it’s Robin on the other end informing him of a silent alarm that was just tripped at an auto manufacturing plant. Batman heads for the window, but calls back to Dick to ask if he’s coming. Dick grabs his suit and the pair take off.

Batman and Nightwing arrive at the factory and find an unconscious security guard in the parking lot. Batman checks his vitals, and confirming he’s all right, they turn their attention to a commotion coming from inside. As they slip in, the camera lingers on a keypad by the door which suggests that whoever gained entry did so legitimately, as in they entered the correct passcode. The duo creeps in and find a rather large, hairy, creature rummaging through a big container of components. It pops it’s head out of the container to regale the two and reveals itself to be a very large brown bear. Before the two can really react a second bear swats them from behind.

Batman seems to fight enough animals that he should probably just carry tranquilizers at this point.

Nightwing and Batman recover and square-off against the two bears. Nightwing makes a lot of bad jokes and puns all throughout. He kicks some barrels at his bear, and the bear demonstrates it’s been trained by hopping on the barrel and riding it while standing on its hind legs. Batman is able to avoid the bear he pairs off with and ends up leading it towards a hydraulic lift for an automobile. With Batman on top of the lift and at the controls, he lowers it on top of the bear pinning it to the floor. Nightwing has considerably less luck with his opponent. He seems to think this bear behaves like a character from Punch Out!! as he searches for a soft spot to punch at. This goes about as well as expected and Batman is forced to make the save with a fire hose. Still, that only irritates the bear, but it allows Batman to get its attention long enough for Nightwing to return with a forklift. He’s able to pin the bear against the wall between itself and the forklift, but not before first comically driving around with the creature stuck on the front.

Later that night, Miranda is unloading the bears from a police van back into their cage and Detective Bullock (Robert Costanzo) is on hand to supervise. He’s his usual grumpy self and warns the woman that he’ll be back to file a police report (why isn’t he doing it now?) and she better come up with a better reason for how those bears got out than “I don’t know.” As he makes his way towards his car, the clown-mime that got Tim earlier is lounging on the hood of the cruiser. Bullock is not amused by the clown’s mime routine and threateningly pulls out his handcuffs. The clown persists with his act and Bullock lunges for him, but misses and ends up eating dirt. The clown then waves goodbye and mimes opening a door while Bullock growls about hating clowns. He seems like the type that would.

Bullock seems like the type of mark a clown relishes to go after.

Miranda angrily heads into her trailer and is confronted by Dick when she does. He claims she left the door open, but that doesn’t diffuse the situation much. Miranda insists someone has been messing with her animals, and Dick seems to believe her. Later, Dick returns to his loft and finds Batman waiting for him. He muses about getting an alarm, apparently failing to see the irony in Batman doing to him what he just did to Miranda. Batman is there to show him the security tapes from the factory the night before. As the two watch, they observe the bears enter the building, turn off the lights, and enter in the passcode on the door. Dick remarks that they’re smart bears, while Batman adds “Too smart.”

Back at the circus, the previously silent clown is approaching the bears in their cages and congratulating them on a job well done. He removes some circuit boards from their fur, but is soon confronted by Miranda. She demands to know what he’s doing to her animals, and he’s more than happy to explain that he’s no humble clown, but the man formally known as Jervis Tetch, better known as The Mad Hatter (Roddy McDowall). He appears to be completely unafraid of what Miranda may do to him now that she’s discovered his secret, and that’s with good reason. Her boa soon constricts around her trapping her as the Mad Hatter looks on approvingly.

Old Mr. Big Hat is at it again.

Batman and Nightwing arrive in the Batmobile. As Nightwing begins leading Batman to Miranda’s trailer, a scream alerts them that maybe they should head elsewhere. They race over towards the scream and find Miranda locked in a cage with a pair of lions. The heroes break in and Nightwing brandishes a whip to corral the beasts. He yells out to them by name, and I expected to see Miranda give him a look or something, but none comes. They’re able to get the male lion bound up, and Batman instructs Nightwing to get Miranda out of there. As the lion breaks through the ropes, Batman does the old school lion tamer routine of wielding a whip and a chair as he backs out of the cage and slams it shut behind him.

Miranda immediately starts into a tale about The Mad Hatter, but Nightwing cuts her off with a “We’re way ahead of you.” They head for the big tent and find their old foe back in his usual attire. Usual in that it’s clearly inspired by Alice in Wonderland, but like most of the villains old Jervis has received a rather drastic redesign. He’s apparently aged horribly since we last saw him as he’s small and shriveled, but still mostly lacking a chin. His once blond hair is now white and he’s considerably shorter than before. His green suit makes him look more like a leprechaun than the character we’re used to, and his ears are pointed which just makes that comparison even more apt.

A crushing end for Jervis.

The Mad Hatter goes into a boastful routine about how he’s mastered the art of controlling animals, but explains that controlling humans still requires he be nearby. That’s the cue for Miranda and the other performers to become zombie-like creatures at the control of The Mad Hatter. They turn on the heroes and since they lack fear and don’t experience pain, they’re pretty formidable. Batman and Nightwing really have their hands full and it takes an errant blast of fire from the fire eater which strikes The Mad Hatter’s mind control hat to break the spell. The Mad Hatter, seeing his pawns suddenly free, takes off and slides under the tent. He ends up at the gorilla cage and it looks like he’s going to try and take control of Peaches again. Batman and Nightwing show up and Nightwing destroys the Mad Hatter’s hat with a whip-strike. The Mad Hatter still isn’t without a trick, as he pulls out a pistol to hold the good guys at bay. He starts monologuing once again, sort of apologizing for resorting to such a weapon, which lasts long enough for Batman to nail it with a batarang and Peaches to emerge from her cage and take him out.

Not the resolution Tim wanted.

The next day, Dick and Bruce are shown strolling through the circus grounds. Dick tells Bruce that Tim expressed interest in the circus and he got him a job working with Miranda. Bruce seems to think this entails working with the animals, but Dick corrects him. Miranda is then shown telling Tim there’s a lot of work to get done as Tim is shown cleaning the gorilla cage. The episode ends with Dick making a crack about missing show business as the camera lingers on Tim literally shoveling shit into a bucket.

“Animal Act” is a touch unconventional given it pits Batman and Co. against circus animals, but it also fits the classic mold of an episode of Batman given its act structure. I like the save for the reveal on Mad Hatter and the clown character he portrays is not a dead give-away since he’s not voiced and the character’s redesign makes him look quite different from before. It’s an episode I want to dislike when I read the premise, but in action it’s actually fairly entertaining.

It’s not all sunshine though. The Nightwing character is a bit too much for my taste as his numerous quips and puns just aren’t funny – they’re tiresome. Even Batman has some bad lines, in particular when he explains the situation of the brainwashing of Miranda to Nightwing. It’s possibly Kevin Conroy’s worst line-read in the series, but I don’t place the blame at his feet as much as I do on the script. Batman is a character that works best when his speech is simple and direct, he talks too much throughout that fight and basically all of his lines are completely unnecessary.

Mad Hatter, on the other hand, can’t say enough. His lines are delightful and also wickedly playful too. His motivations for these crimes are perhaps not well explained. It seems he just needs microchips and circuit boards for his mind control tech, but he’s also insane which is perhaps all the explanation one needs. I don’t care for his new look, which was previously shown briefly in “Over the Edge,” but his actual character is about as good as it’s ever been.

RIP and thanks to Roddy McDowall for his contribution to the series as The Mad Hatter.

This episode is the final appearance of The Mad Hatter. That’s partly due to there only being a handful of episodes after it, but also due to the passing of voice actor Roddy McDowall just a few days after the original airing of this episode. McDowall was terrific in the role and terrific in this particular episode so it’s not at all surprising that the character was not recast and brought back in one of the other DC Animated Universe shows. He did appear in the Superman episode “Knight Time,” which aired exactly one week after his death.

In researching this episode for this post I was surprised to find out that Bruce Timm considers it one of the worst episodes of the series. I certainly think the script left something to be desired, but the episode as a whole seems fine to me. I much prefer it to “Critters” and I can think of several episodes I’d rank behind this one (a feature for another day). As a Mad Hatter episode it’s appropriate and introduces a new wrinkle to that villain’s schemes. It brings back a piece of Dick Grayson’s past and doesn’t have any weird production inconsistencies or anything like that. Sure, there are better episodes out there, but I don’t think this is one the production staff should be embarrassed by.

1 Comment | tags: batman, bruce timm, dc animated universe, dick grayson, jane wiedlin, nightwing, robin, roddy mcdowall, the mad hatter | posted in batman the animated series, Comics, Television

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