Author Archives: Joe

April 22, 2019

Bucky O’Hare and the Toad Wars – “War of the Warts”

By Joe

war of the warts Episode Number: 1

Original Air Date: September 8, 1991

Directed by: Karen Peterson

Written by: Christy Marx

First Appearance: Bucky O’Hare, Jenny, Dead-Eye Duck, Bruce, A.F.C. Blinky, Willy DuWitt, Toad Air Marshall, Frix, Frax, Komplex, Any Phibian

The premiere episode for Bucky O’Hare and the Toad Wars begins with what is probably the most memorable aspect of the show: that theme song. Doug Katsaros is credited with the music of the show as well as the theme song. Supposedly, Larry Hama hates it. In looking over credits for the show, some familiar names show up in the storyboard section, and if you’ve been reading along with the Batman posts, those names should be familiar to you as well: Boyd Kirkland, Frank Paur, Will Meuginot, Larry Houston, to name a few. Paur and Kirkland also have producer credits on the show and they’re most associated with Batman where both directed episodes. Will Meuginot did one episode of Batman as well as one of X-Men and has generally been all over children’s programming (The Real Ghostbusters, Teenage Mutant Ninja Turtles, Captain Planet, and many more). Larry Houston is most familiar to me because of his work on X-Men as he was featured a lot in the Previously on X-Men book about the series as he was one of the only staff members who was actually a fan of the property. He also worked on storyboards for Batman and many other programs, as I’m sure a lot of the other storyboard artists did as well. Those were the guys who just stood out the most.

He goes where no ordinary rabbit would dare, which is probably a lot of places.

Back to that theme song though. It’s very upbeat and the horns section gives it this triumphant quality. Everything builds to the “Bucky!” parts and the lyrics are effectively cheesy. Effective in that they capture the spirit of the show while also interjecting some goofy nonsense, like the ending of “Did you say Bucky? I said Bucky!” And like most shows of this era, the animation on the intro is noticeably better than what is in the actual episodes. Sunbow was quite good at sinking money into brief pieces of animation, like for toy commercials, and was well-versed in this. It’s not as bad as Thundercats, but I do wish the whole show could look like this. That intro makes the show look like an action heavy broadcast with Bucky running and gunning his way through the Toad Empire, but the show is a bit more slow-paced than that, as we’ll see. The song also does employ the age old technique of introducing most of the characters by name as well as the general conflict. Just watching it lets you know this show is about mammals fighting toads in space.

Get used to this, the writers and animators seem to have a lot of fun with Toad TV.

The episode begins onboard the Toad Mothership. Frix (Terry Klassen) and Frax (Scott McNeil) are two Toad officers that apparently don’t take their job very seriously. They’re spending their time watching Toad TV and the only thing on is a commercial in which a female toad expresses her admiration for male toads who feature a lot of warts. The Toad Air Marshall (Jay Brazeau) interrupts them and demands they shut off that brain-rotting Toad TV. He wants them to congratulate him for taking over the home world of Bucky O’Hare as he happily anticipates getting a new medal as recognition for his conquest. He speaks in between grunts or croaks that sound more like burps. Think Rick from Rick and Morty or Krang from Teenage Mutant Ninja Turtles. He also drools a bit, and these are characteristics that are going to be dropped in later episodes, which is welcomed as the grunts are a bit annoying. He’s short, chubby, and excitable so he’s a fairly typical villain for the era.

Our first shot of Captain O’Hare and First Mate Jenny.

We’re then shown the Righteous Indignation, the frigate captained by Bucky O’Hare (Jason Michas). The ship is shown from the front and we can see Bucky and First Mate Jenny (Margot Pinvidic) in the command tower/cockpit and Dead-Eye Duck (McNeil) down below behind the guns. Bucky then signals to the rest of the crew to get ready for action, and we get our first animation error as it cuts to Dead-Eye near the lockers as he races over to his guns excitedly, even though the establishing shot a second ago placed him behind the guns to begin with. Also introduced is Chief Engineer Bruce (Dale Wilson), a large baboon creature referred to as a Betelgeusian Berserker Baboon, and Android First Class Blinky (Sam Vincent), a diminutive little robot with a large, orange, eye for a head. Bruce is bemoaning how junky their photon accelerator is, which is the device that allows them to utilize warp drive, which is their light speed and is also referred to as a hyper space jump by the characters. He voices his concerns to the captain who tells him to back-burner it for now because they have work to do.

This is Bruce. Don’t get too attached.

Bucky then tells Jenny she’ll be part of a boarding party, as they’ve located a Toad Slave Ship and six fighters. They intend to spring whoever is being held captive while dispatching the fighters. Dead-Eye is quite eager to fire up his guns and the Toad fighters are equally eager to engage the frigate. Dead-Eye takes out a few rather quick, and as the Toad Double Bubbles are destroyed the pilots inside are show floating in bubble-like escape pods which I assume is there to quiet the censors. Dead-Eye also shows his tally of defeated toads as he marks each “kill” with a piece of chalk.

This is what happens to toads when they see a baboon.

Jenny and Bruce then leave via the Toad Croaker, a small, open-air, vessel which does not seem suitable for space travel. They head for the slave ship while Bucky leads the remaining fighters away. Inside, Toad Storm Troopers ready themselves to deal with the intruders in their slave ship. They’re quite cocky, until Bruce smashes in their door. This is where we learn that all toads have a paralyzing fear of baboons, and all drop their guns and run. Bruce, for his part, is overcome with a berserker rage and takes off after them leaving Jenny to shake her head. She makes her way into another area of the ship and is met by a security robot. She then demonstrates her powers for us, which seem to feed off of the many gems in her armor, as she magics up an energy blast to destroy the robot. She does the same to a door, and when she encounters some toads on the other side, they just act relieved she isn’t a baboon. She takes them out in a far less glamorous manner by punching one in the face (something Batman was never allowed to do) and kicking the other in the gut.

Dead-Eye is happiest when blasting toads.

Bucky is still giving the remaining Toad fighters the slip, much to the disappointment of Dead-Eye who would rather be taking them out. He then does a loop move, something Star Fox 64 fans are familiar with, to maneuver behind their would-be assailants allowing Dead-Eye to finish the job. Bucky then shouts out a warning (I guess the ship has external speakers?) to the floating Toad pilots that the entire United Animal Space Fleet will be on their asses (not in those words). They receive a radio message from Jenny to come check out the slave ship and they head over. Jenny warns Bucky that he’s not going to like what happens when she opens the door to the holding area, but the dire warning was partially in jest as Bucky gets mobbed by several happy hares. Bucky then finds out the fate of his home planet from the prisoners, and he vows to head to Genus where the Animal Liberation Security Council convenes. Meanwhile, Toad Air Marshall is incensed when he finds out Bucky took out six fighters and captured the slave ship. The pilot also passes on Bucky’s threats and the Air Marshall is irritated to find out there’s now a fleet ready to oppose him. No matter, he declares that he will have Bucky O’Hare in dramatic fashion.

This is Willy DuWitt, who has problems of his own, small as they may be.

We’re taken briefly to Earth during these events to meet a young boy by the name of Willy DuWitt (Shane Meier). Willy finds his locker has been vandalized with the word “Nerd” spray-painted across it. Three kids convene on him by skateboarding right up to his face. One boy appears to be the leader of this trio, Doug (Sam Vincent), and he has a message for Willy. This is where many boys my age learned what grading on a curve meant, as Doug is ticked off that Willy keeps getting A’s on everything making it harder on the rest of the class. It’s interesting because these three boys are a lot bigger than Willy and basically look like normal people. Willy is shorter, and like most cartoon characters, he has a big head and feet. Either he’s skipped a few grades or this was just an odd stylistic choice. Willy professes that he loves math and science and it’s all easy to him, but Doug doesn’t care and demands he get an F on the next test and the three leave.

The head of the United Animal Security Council, a true politician.

Bucky and his crew lead the Toad Slave Ship to Genus, which has a very advanced defense system surrounding it. It at first sees the Toad ship as an enemy vessel and begins firing upon it. Jenny is forced to transmit a security clearance to get them to back off. Once on the planet, Bucky and his crew storm a council meeting to inform them of what has happened to his home planet of Warren. He’s rightly ticked off, and this is where we find out that the entire mammal fleet is Bucky O’Hare and his crew and his threats to the Toads were just bluffs. He demands more help, and Dead-Eye is forced to silence the chattering bureaucrats with some gunfire at one point. An old pig then confronts Bucky to tell him they need documented evidence of Toad atrocities (apparently a slave ship full of rabbits isn’t enough evidence) in order to allocate more funds to building up the fleet. Bucky angrily leaves vowing to return with this evidence they seek.

He may just a computer program, but Komplex is one tough boss.

Aboard the Toad Mothership, we see Toad Air Marshall at his desk looking over a massive sheet of paper containing a map. It turns out, he’s only holding up the paper to hide the fact that he’s watching Toad TV behind it, proving he’s just as bad as his subordinates. The TV screen then changes, and we get our first introduction to Komplex (Long John Baldry). Komplex looks like a polygonal toad face with red X-shaped eyes. It speaks with a menacing voice through the TV and it’s apparent that the Air Marshall both fears Komplex and is subservient to it. Komplex demands the destruction of Bucky and the hares.

The Toads are coming for you, Bucky.

Bucky decides to go to Warren for this evidence, which may not be the wisest choice. Toad Air Marshall anticipates the move, and he has a fleet of roughly 50 fighters waiting for him. On Earth, we see Willy’s homelife (in a house that could pass as the Tanner residence from Full House) and meet his parents David (McNeil) and Sunshine (Pinvidic), two hippies who have grown up. He’s not excited to eat his tofu burgers and tries asking his dad for advice on what to do about his bully problem and his dad tells him that sometimes you have to do what’s right no matter what the consequences. He’s only half paying attention to his son though as he’s reading the paper. Sunshine parrots her husband while referencing the need to save the whales and such. She then reminds her husband they need to head to a rally and take off leaving Willy all by himself.

Air Marshall unleashes his entire fleet on Bucky’s ship.

The Righteous Indignation finds itself in a real predicament as the Toad fleet surrounds them. The Toads take out two of the six engines on the rear of the ship, and surprisingly the animators will account for that as the ship flees with only four engines illuminated. Their shields are taking a pounding and there’s no feasible way for one frigate to take on 50 fighters. Bucky calls down to engineering for a hyper space jump and Bruce advises it’s dangerous, but what choice do they have? He tries hastily making some adjustments to the photon accelerator, but it’s making a funny sound. He activates it anyway, and it immediately starts trying to suck him in. Blinky grabs onto some equipment as he too is being pulled towards the device. He grabs ahold of Bruce’s belt, but the accelerator pulls him right out of his space suit. Blinky goes flying too, but he braces himself against the accelerator and is able to unplug it before he meets the same fate as Bruce.

Naked Bruce gets sucked into another dimension. So long, baboon.

Blinky radios up to Bucky and informs him of what happened. “Calamity and woe,” he begins which is some-what of a catch phrase for the character. He tells his captain that Bruce was either pulled into another dimension or has attained oneness with the universe, as he puts it. It’s the closest thing to “death” as we’re going to get on this show. Bucky tells Jenny she’s in charge, as he’s positioned the frigate in a crater in a bid to hide from the fighters momentarily. He heads down to survey the damage while remarking they’ll miss Bruce, but he has no time for mourning. Blinky informs him he’s made some repairs, but he has no idea what will happen once the warp drive is engaged. Bucky decides they have no choice, as the Toad fighters have found them and their shields can’t last much longer. He approaches the photon accelerator and activates the warp drive.

Calamity and woe, indeed.

On Earth, Willy is recording himself as he prepares for his greatest experiment. It seems he has constructed his own photon accelerator, and like Bucky, he’s not sure what will happen when he turns it on. His recording is intended to let his parents in on what happened, should something bad happen. He activates his, and everything goes dark. He tries looking out his window and sees just blackness. Meanwhile, on the Righteous Indignation all power has gone out. Jenny declares they’re in some kind of stasis field. Nothing can get in, or out. Bucky is more alarmed by the presence of a door that suddenly appeared near he and Blinky. It’s Willy’s door, and the backside of it just contains a swirling vortex. The door opens, and out steps Willy.

Willy readies his own photon accelerator.

Dead-Eye nearly blasts Willy as he mistakes his flashlight for a lightsaber. Interestingly, in the comics Willy’s room is decorated with Star Wars stuff, so it’s nice they still found a way to slip in a reference via lightsaber here. Willy insists it’s just a flashlight and shuts it off. This seems to calm Dead-Eye some and the characters all stop to stare at each other. Willy is surprised to find a talking green rabbit, while the others think Willy is some sort of shaved baboon. Bucky introduced himself, seeming to take exception with Willy’s description of him, before introducing the others. He tells Willy what danger he faces by being aboard his ship, while Willy is amazed to see that they have a photon accelerator. Willy offers to help, but Bucky doesn’t see how this human could be of use, until Willy tells him that he built his very own photon accelerator. They need to head back to his room for some tools, but Willy thinks he can fix theirs.

Willy meets some interesting characters.

Back in Willy’s room, the young boy is grabbing stuff while Bucky and Dead-Eye accompany him. Dead-Eye spies what appears to be a toy gun on Willy’s bed and confiscates it, pointing it out to Bucky in a hushed voice just in case Willy can’t be trusted. He also spies some play money and seems to mistake it for real cash and stuffs it in a duffel bag with Willy’s tools. They then head back to the ship and Willy makes the repairs. He vows to stay aboard the ship to see it through, even though he knows once the warp drive is activated his door will disappear. Jenny, in reward for Willy’s bravery, gives Willy a kiss and embraces him which causes Willy to blush and plants the seeds for his future life as a furry. As the crew gets ready to fire up the warp drive, the stasis field drops as a Toad gives the order to fire at full strength and our first episode ends on a rather major cliffhanger.

Dead-Eye’s discovery.

There’s a lot to pack into this debut episode. We get the general conflict of Toads vs Mammals, and also a season-long storyline is introduced and that’s the enslavement of Bucky’s home world. We also get a peek at the leaders of the mammal world, who because of their relative safety behind their advanced defense systems, are reluctant to take the Toads seriously frustrating Bucky. It’s basically just Bucky and his crew left to fend off a planet’s worth of toads who are hellbent on taking over. We don’t know much about their goals or their methods just yet, but that’s still to come. We know enough though. The Toads are a serious threat, and Bucky is going to need help to drive them back.

This whole time, the Righteous Indignation in a stasis field and unable to sustain direct damage.

We also get something that doesn’t arise in shows like this often: death. Well, a sort of death with Bruce getting sucked into the photon accelerator. It’s a bit clunky and weird, but at least the groundwork is partly laid in Bruce’s first scene when he remarks that it seems like part of the device doesn’t exist in their dimension. In the comic, Bruce just gets blasted by the Toads and reduced to a pile of dust. This is far more ambiguous. Blinky theorizes he got pulled into another dimension while also saying it’s possible he’s just dead, though he phrases it in a clever way. We’ll eventually find out that Blinky’s first guess was correct, but for now it looks like a member of Bucky’s meager crew got taken out, and Bruce was one of the most formidable. The whole sequence happens rather quickly, and since they’re in a dire situation there’s no time for the moment to breathe. It’s rushed, but also it’s the reality of war that you can’t stop and mourn in the midst of a fire-fight lest you want to end up like your comrade.

Like it or not, Willy is going to be a part of this crew going forward.

The inclusion of Willy is and has always been odd to me. If I had never read the comics I would have thought he was shoe-horned into the cartoon in an attempt to create a character kids could relate to. He was likely included in the books for the same reason, but it just always felt silly to me which is odd since we’ve got a bunch of animals fighting each other in space. He’s got time to prove his worth and win me over, but I’m not an instant fan. And his hippy parents are just confusing. What’s the message they’re trying to convey here? Did Larry Hama just hate hippies? They’re bad, yuppy, parents more consumed with their activist lifestyle than their child. I guess if the message is a bad parent can come from any background then okay, I guess. I think it has a lot to do with the cynicism of the 80s just viewing hippies as pretty goofy and silly and they’re just supposedly inherently funny as a result. “Ha, look at Willy’s dumb, hippy, parents!” I didn’t find it funny as a kid, and I don’t find it funny as an adult. They also made the choice to not show their faces, not an uncommon technique in kid’s shows of the era. Making them faceless hippies feels like a political statement of some kind, I’m just not sure what that is.

There’s also going to be some weird, sexual, tension between Jenny and Willy.

The animation on this show is pretty inconsistent. It reminds me a lot of another AKOM show, X-Men, as character models get shifty at times. Especially Jenny, whose face seems to change shape at times. The more cartoonish toads, especially the Air Marshall, look pretty good and there are some fun sequences during the firefights. Like one shot from in front of Dead-Eye’s guns. Unfortunately, the premiere episode is basically the high point in terms of visuals. There will be sequences here and there in future episodes that look as good or better than what’s here, but in general the animation quality only goes down from here. The voice acting is fairly capable though and I like the voices for each character. I mentioned Air Marshall’s weird croak/burps, but in addition to that it seemed like there was some confusion over what Dead-Eye should sound like. Scott McNeil does a stereotypical pirate voice at times, which is basically what will be carried forward. At other times though he goes for a southern accent, and even a Cajun one. They’re brief, but weird. I think things get more consistent going forward, as is often the case following a debut episode.

The final shot of the first episode from the cockpit of the Righteous Indignation is pretty ominous.

This episode throws a lot at the viewer and it’s a pretty demanding way to start the series. The scenes move quickly from one to the next for time considerations and the episode feels long, even though it’s only about 21 minutes including the intro. I personally like a lot of world-building in the first few episodes, so I’m mostly okay with it, but by the end I do want to see things start moving. Lets get some action. A lot of the characters are introduced though so the episode does accomplish a lot which will hopefully pay dividends rather quickly. It was probably harder for kids to follow, especially the scene with the animal council, and I know I hated how abruptly the episode ended. A week is a long time for a kid to find out how Bucky and his crew get out of that mess. You’re going to have to endure the same, or you could just run to YouTube or something and watch the next episode.

2 Comments | tags: bucky o'hare, continuity comics, dead-eye duck, doug katsaros, jason michas, larry hama, scott mcneil, sunbow, willy duwitt | posted in bucky o'hare and the toad wars, Comics, Television

April 21, 2019

Bucky O’Hare and the Toad Wars – Introduction

By Joe

bucky intro This may often look like a Batman blog, but if I could make it look more like a Bucky O’Hare blog then I totally would. The problem is, there just isn’t enough quantity to talk about when it comes to Bucky O’Hare. While Batman: The Animated Series produced 85 episodes in its original run, Bucky O’Hare and the Toad Wars produced a mere 13. Batman was broadcast on Fox Kids, then Kids WB (with a new season too), with reruns airing for years when it was all said and done. The show had a comic tie-in, toys, three films, and then it went on to basically spawn Batman Beyond, not to mention all of the Justice League themed shows. As for Bucky, he got the toy treatment and a Nintendo game, but his 13 episode total meant there was really no home for him in syndication. After the episodes were broadcast a few times, they all but disappeared. A comic line was launched in the UK, but it never left that territory so if you wanted to continue enjoying the show in the US you had to seek out the VHS tapes.

And that is largely where things remain even today in 2019. Bucky O’Hare and the Toad Wars has been practically forgotten, and if not for the contribution of toy maker Boss Fight Studio the property would be dormant. On this blog I’ve drawn attention to the various Bucky releases over the years and to the new toy line from BFS. In my last post, a wish list for the line, I theorized that in order for my new favorite toy line to continue as long as I want it to there would likely need to be more Bucky promotion. Well, I’m hardly a major vehicle for said promotion, but I am going to do my part by not only continuing to post about that very line, but starting tomorrow we’re going into a Bucky O’Hare and the Toad Wars deep dive. All 13 episodes over 13 weeks.

The one true Easter Bunny.

Today seemed like a good day to start this as it’s the day many people invite a large bunny into their homes to hide eggs and candy all over the place. Bucky isn’t as famous as the Easter Bunny, but he should be! Bucky O’Hare is the creation of Larry Hama with an assist given to artist Michael Golden. He was allegedly created sometime around 1977 or 78, probably after Hama saw Star Wars, and made his comic debut in Echo of Futurepast #1 in May of 1984. Likely due to the popularity of a certain group of ninja turtles, Bucky would get his shot at TV stardom not too long after despite only having a total of six comic book stories.

Bucky O’Hare and the Toad Wars was conceived during the time when it had already been established that in order to launch a cartoon aimed at boys you needed to attack the market from multiple angles. It wasn’t enough to just create a successful show, it needed to be very merchandiser friendly. Hama had already anticipated this when creating the characters and included pegs on their various outfits that a weapon could be affixed to should they become action figures. Due to the success of other toy line/cartoon properties, there was a strong appetite for anything that looked marketable and a lot of people wanted in on it.

The show’s first few episodes largely mirrored the comics while adding in new characters like Bruiser.

The show ended up being a combination of several companies. First was Sunbow Entertainment and its new Sunbow Productions arm. Sunbow had made a name for itself primarily animating commercials for toys. Eventually, the company moved towards creating shows of its own and by 1990 it had several under its belt. It would initially partner with Toei Animation, the company responsible for Dragon Ball, and by the time Bucky arrived the company was partnered with South Korean animation studio AKOM (The Simpsons, X-Men). Abrams/Gentile Entertainment was involved as a producer and Continuity Comics obviously had a stake in the show as well as French company IDDH. Marvel Productions co-produced the show and Hasbro distributed it via Claster Television and it’s Hasbro Studios that holds the distribution rights today. That’s a lot of cooks in the kitchen and a lot of arms with a share in the profits. It’s no wonder the show failed to satisfy and also less surprising to see it has struggled to get a Region 1 DVD release as there are a lot of people that would be owed money.

The show premiered on September 8, 1991 and would conclude its first run on December 1 of the same year. It aired on Saturday mornings in most markets on various local television affiliates. It didn’t air on any of the major networks in my market and I don’t know if it did in others. The show was quite similar to the comics, but since it had more stories to tell it expanded the roster of characters. The only character left out of the show was the Omnipotent Mouse. The first few episodes of the show are presented in a serialized nature and there is a running story through-out the first season concerning Bucky’s home planet of Warren. It’s a sophisticated form of story-telling for children, and it would be popularized by X-Men the following year, and it’s possible that this played a role in making it hard for new viewers to just jump in. I think such arguments are overblown, but it’s worth mentioning.

The Air Marshall may have actually ended Bucky’s existence after all.

To coincide with the launch of the series, Hasbro released the first wave of action figures. Hasbro had ridden to prominence on the back of the Transformers line and had expanded to become the largest toy seller in the world. 1991 was an especially big year for the company because it purchased Tonka, Parker Brothers, and Kenner giving the company huge reach into almost every facet of the toy market. Still, Hasbro (and other toy makers) had passed on Teenage Mutant Ninja Turtles a few years earlier after making the same mistake back in the 70s with Star Wars. Maybe that was part of the drive to go after Bucky O’Hare in hopes it would become a major action figure property for the company.

The initial wave of Bucky O’Hare figures based on the show included six heroes: Bucky, Dead-Eye Duck, Willy DuWitt, Commander Dogstar, A.F.C. Blinky, and Bruiser. Four villains joined them: Toad Air Marshall, Toadborg, Toad Storm Trooper, and Al Negator. The company also released a vehicle play set for the good guys and one for the bad guys, the Toad Croaker (which featured a whoopee cushion like device in it to squish the bad guys) and the Toad Double Bubble, essentially the toad version of a Tie Fighter. The toys were prominently placed in my local Toys R Us and Christmas of 91 was the year I got a lot of Bucky stuff. It ended up being the only Christmas for me and Bucky as the line was discontinued. Series 2 was famously shown in a Hasbro catalog, and a figure of Jenny was completed for the first series but held back. Carded figures of Jenny have become the most sought-after piece of Bucky merch there is even after she finally received an official figure release from Boss Fight Studio.

Blame for the demise of Bucky is largely placed on the toys and Hasbro for its case ratios. When a store would order more, Hasbro would send out a standard case which included two of each figure. Gradually, less popular figures like the Toad Air Marshall would start to take over the pegs while figures of Bucky and Dead-Eye would disappear quickly. Hasbro allegedly never adjusted the case ratios and stores stopped ordering when they had pegs full of Air Marshalls and Storm Troopers. It’s hard to say if that played the largest role, but I can personally recall going to the store and indeed seeing an entire section of Toad Air Marshall figures.

Bucky was apparently picked up by at least one Fox affiliate.

With Hasbro bowing out of the property because of the profitability of the toy line everyone else bailed as well. Obviously, since only 13 episodes were ordered initially there was some skepticism from the beginning for Bucky O’Hare. We don’t know how the show fared ratings-wise or how successful sales of other merchandise was. Like most cartoons, Bucky was on everything: party supplies, puzzles, costumes, lunch boxes, shoes, coloring books, etc. Family Home Entertainment had the distribution rights for the show on home video and released 3 VHS tapes of the show which totaled 7 episodes. The Konami video game for the Nintendo Entertainment System would be a late arrival in January of 1992, but likely still in before the consumer had a notion the show wouldn’t continue. A separate arcade game arrived in the fall of 1992 when it was likely obvious the property was dead. Not surprisingly, I don’t think many units were produced and I’ve actually never come across one in the wild. I mentioned the Hasbro Jenny as the most sought after of Bucky collectibles, but I bet if one of these arcade cabinets were to go up for sale it would fetch a pretty high price.

In Canada, the show was titled Bucky O’Hare and the Toad Menace, like the TPB release.

Whatever the reason, Bucky O’Hare and the Toad Wars failed to catch on. Blame it on the toys if you wish, or maybe it just wasn’t promoted enough on television. I think a large part of the issue is simply that selling boys on a green space bunny was a bit of a hard sell. I think most who gave the show a chance probably liked it, but they might have needed convincing. Had Bucky been a weekday afternoon show, he might have stood a better shot as that’s easier for kids to get into. A week is a long time between episodes for a six-year-old.

Where I grew up in New Hampshire, Bucky O’Hare was pretty popular. My friends were all into the show and the toy line and eventually the NES game. It seemed popular to me, which is partly why I was so confused as a kid when Bucky simply went away. Now, I’m ready to engage this property once again as an adult. Like Batman, I’ve seen the episodes multiple times as both a kid and an adult, though overall I’ve seen these episodes less simply because the re-runs weren’t on TV for years. As I work my way through the series here, I’ll be re-watching the episodes again and approaching it from a critical standpoint as I walk the reader through the episode. My opinion going into it is that this show is not high art, but it has more depth than many of its peers. Bucky O’Hare aired in a more cynical time pre-Batman and pre-X-Men, and I’ll keep that in mind. This show was supposed to be a 23 minute commercial for toys and games, but it seemed to aim higher.

The now out of print R2 release is the only official way to enjoy Bucky on DVD.

If you want to follow along with me it’s going to be a bit more difficult than it is with Batman. Bucky O’Hare and the Toad Wars received an incomplete VHS release, but that’s likely not that important to readers in 2019 who likely don’t even own a VCR any longer. The show was released on Region 2 DVD in 2004 by Metrodome Distribution. It was a bare-bones release that contained just the episodes in a quality pretty typical of the era. The DVD is out of print. No official Region 1 DVD was ever released, though there was a popular bootleg put out by Exposure Entertainment in 2010. It just contained the episodes and was probably a rip of the Region 2 release as the quality is pretty much the same. The packaging though was pretty ugly. I covered both in the early days of this blog, though both are a lot harder to come by now than they were back then.

It is highly unlikely at this stage that Bucky O’Hare and the Toad Wars will get an official Region 1 release and that’s further heightened by its presence on the internet. The entire series can be streamed on YouTube and probably on other platforms as well for free. No one is protective of the property in 2019 and it’s hard to imagine that changing at this point. No matter, this should be a fun exploration of the old show and hopefully you enjoy going on this trip with me. We start tomorrow with the very first episode “War of the Warts.”

1 Comment | tags: akom, boss fight studio, bucky o'hare, bucky o'hare and the toad wars, cartoons, continuity comics, hasbro, konami, larry hama, sunbow | posted in bucky o'hare and the toad wars, Comics, Television

April 19, 2019

Batman: The Animated Series – “Riddler’s Reform”

By Joe

riddlers reform card Episode Number: 79

Original Air Date: September 24, 1994

Directed by: Dan Riba

Written by: Alan Burnett, Paul Dini, Randy Rogel

First Appearance(s): None

We’re coming to the end of Batman: The Animated Series so just about every episode from here on out will feature a final appearance of a specific rogue. In today’s case, there’s even more finality than there will be for others. The Riddler (John Glover) is considered a notoriously difficult character to write. His “super power” is he’s really, really, smart and also quite clever. It’s not easy to just come up with riddles or puzzles to fill an episode worthy of The Riddler. As a result, his appearances have been few despite his popularity as a villain largely owing to the 1960s series and the performance of the late Frank Gorshin. Nonetheless, three starring episodes isn’t too bad, but the real sense of finality comes from this essentially being it for The Riddler. Most of the villains featured in this show will return in The New Batman Adventures with new schemes, new motivations, and new costumes. The Riddler will return, and with a new costume too, but he won’t receive an episode to call his own as he’s basically reduced to a cameo and brief, supporting, role.

Give that this episode is, more or less, his encore hopefully it’s a good one. It has an interesting premise right in the title as The Riddler looks to establish a life for himself outside of crime. We’ve seen both Catwoman and The Penguin attempt the same and eventually slip-up and fall back into their old villainous ways. Is there any reason to think The Riddler will be any different? Probably not. Last we saw him he was antagonizing Commissioner Gordon and Batman with a virtual reality device. At the episode’s conclusion he became trapped inside the VR world with Batman offering an ominous commentary on the situation that would lead the audience to believe he may be trapped there forever. If you were hoping to find out what happened, well you’ll be disappointed. Similar to how The Joker appeared to die in “The Laughing Fish” only to resurface later as fine as can be, we don’t know how Riddler got here. Maybe Batman was just wrong and they unplugged the console and he was fine. Or maybe he found his own way out. Your guess is as good as mine.

Riddler and his new buddy Baxter who owns a toy company.

This one opens at a nondescript warehouse. Before we get to the action, we get a shot of some newspapers being unloaded featuring a cover story about the release of The Riddler from Arkham. We’re then taken to the warehouse where some typical looking goon-types are carrying a large red box emblazoned with a purple question mark. They’re taking directions from The Riddler on where to place it. After setting it down, they get paid a visit by Batman and Robin who come swooping in to kick ass and ask questions later – literally. Riddler takes a seat on the box and seems amused by their presence. He’s evasive when Batman asks him what’s inside the box and when it looks like he’s about to get punchy they’re interrupted by a nicely dressed old man.

His name is Charles Baxter (Peter Mark Richman) and his name is either a direct call-back to the Baxter Box puzzle from an earlier Riddler appearance or a coincidence. He’s not a puzzle-creator, as we’ll learn, so if it’s a reference it would seem it’s merely for fun. Baxter demands to know what’s going on, and after Robin fills him in on who The Riddler is, he tells him he’s well aware. The Riddler is his new business partner. He purchased the rights to the character’s likeness and intends to use him to market Nygma’s toys. The box then springs open unveiling a toy display kiosk and Riddler even tosses one to Robin referring to him as a kid, which you know he takes well. Baxter orders them to leave, and the two head into the building leaving Batman and Robin to tuck their tails between their legs.

At Wayne Manor, Dick is having a tough time with the puzzle Riddler gave him while Bruce is reading the paper. The television is on in the background and a story about The Penguin is running before leading to another story about a robbery. Some ancient relics were stolen, and this gets Bruce’s attention. When Riddler explained to them the night before his desire to be on the straight and narrow he made references to ancient history and Batman thinks he was referring to the items stolen. A commercial featuring The Riddler then comes on hawking the new toys. He ends the commercial by displaying a number on a chalkboard and then flips it around to reveal a map. It’s a part of some contest, but Bruce isn’t buying it. He pulls out a map and uses the number as a coordinate which leads him to the First National Bank.

Riddler enjoying the perks of being a celebrity.

Batman and Robin stake-out the bank that night, but nothing is doing. Robin begins to wonder if maybe he is reformed, but Batman remembers Riddler flipping the chalkboard over in the commercial, thus flipping the number. He looks at the number which he wrote down on a scrap of paper and turns it around. Before it read “31753701” but when reversed it looks like “10 LESLIE” which Batman determines is an address. They head there to find a large building with a jewelry store in it and sure enough there are crooks inside. They infiltrate the store and take on the bad dudes, but when a large cabinet falls over on Robin the crooks escape. Robin urges Batman to go on without him as his ankle or knee appears injured thus ending his contribution to the episode.

The woman who really seems to get Nygma’s attention.

In a nearby high-rise, Riddler is getting ready for a party. He shows off a nifty little two-way radio that will be going to market soon and begins schmoozing with Baxter and the party-goers. Baxter is having a dreadful time with Nygma’s toy puzzle, but Nygma demonstrates it’s easy if you’re a genius. This earns him lots of laughter and even the attention of a fetching brunette in a blue dress (Patricia Alice Albrecht). When Riddler first lays eyes on her a cartoonish “boing” sound like a spring is heard. Yeah, the universal sound for a boner in a comedy setting. Riddler just popped a boner. Another female joins her and he’s very much enjoying their attention until a butler comes by to inform him he has a phone call. Riddler takes it in another room, but not before admiring himself in mirror. No one is on the line, but Batman is in the room. He mocks him a bit for his vanity, but Riddler quickly gains the upper hand in their conversation. He also activates his two-way radio, which one of them women had asked him to demonstrate. Since she’s holding the other one, all of the party-goers then overhear Batman threatening The Riddler. He doesn’t mind though, and opens the wall with a switch to introduce his guests to the one and only Batman. Batman, to his credit, doesn’t seem flustered by the display and tells Riddler he’ll get him eventually before taking his leave.

Look who crashed the party.

While Batman’s confidence remains intact, Riddler’s is not. He’s now convinced that Batman will indeed catch him. He has no desire to return to Arkham, so there’s really only one solution: he must kill Batman.

Sad Riddler is losing confidence in himself.

In order to set a trap, Riddler relies on yet another commercial to get Batman’s attention. This time the clues lead Batman to the Gotham Toy Fair. Batman heads for the local convention center and finds a rather large Riddler Box. The sides fall away, nearly crushing Batman, to reveal an equally large television inside. Riddler comes onto it, and he tells Batman farewell. It would seem the games are over, and rather than present Batman with a riddle, metal shades are dropped over all of the exits while Riddler reveals a bomb is about to go off that will kill Batman. Batman frantically searches for a way out, but the bomb detonates as Riddler said it would.

At some point Riddler had inflatable versions of himself made that could fire guns. Neat.

Back at his penthouse, Edward Nygma is burning his Riddler outfit. With Batman out-of-the-way, he has no need for it. No one to play with, and he vows now is the time to really reform his act. He doesn’t get to enjoy the satisfaction of victory for very long as Batman appears inside the room with him. Nygma is shocked to see Batman and absolutely perplexed at the thought of him escaping. He wants to know so bad that he’s willing to cut a deal. In exchange for the knowledge of how Batman escaped he’ll tell him where all of the stolen goods are hidden. Batman agrees, and Nygma explains his crime. Batman then produces Nygma’s own two-way radio and speaks into it “You get everything?” Commissioner Gordon is then heard on the other end confirming that he did. As Nygma is taken away he’s screaming at Batman to tell him how he escaped his trap, but Batman just smiles.

A couple of quick cameos of two famous rogues.

At Wayne Manor the next morning, Bruce and Dick are seated at the table and Dick asks just how he did escape. Bruce explains he couldn’t, but there was a safe on display and he climbed into it. It was strong enough to protect him from the explosion, though Bruce doesn’t say how he got out of it. Maybe it had a safety release on the inside. Dick says he never would have thought of that, and Bruce suggests The Riddler would not have either. We then cut to Arkham where several familiar faces are shown in their cells covering their ears as Nygma can be heard screaming from his own cell demanding to know how Batman escaped. It’s not going to be fun being locked-up with him for the foreseeable future.

Poor Eddie. It’s unlikely Batman will ever take pity on him enough to tell him how he escaped his death trap.

“Riddler’s Reform” is a fun little episode for The Riddler. It’s not particularly clever, but it’s interesting to see how Riddler’s mind operates. He literally can’t help himself when it comes to Batman and is compelled to commit crimes and leave behind clues just to see if Batman is smart enough to figure them out. There’s some situational humor, and seeing Batman with egg on his face to start things is an interesting look for our hero. It’s rare that he’s wrong. Of course, he wasn’t wrong in his hunch that Nygma was up to no good, it just took him a little while to prove it. The erection joke was a surprise, and it’s a greater surprise that it made it into the episode. It’s a low brow joke so it’s not really funny on its own, but amusing given the setting. The ending is perhaps a bit embellished I would think a man of Nygma’s intellect would figure out how Batman did it as he seems like the type who would have a near photographic memory. Maybe I’m giving him too much credit thought.

This is yet another episode animated by Dong Yang Animation Co., LTD. and it looks rather good. There’s some rainy sequences that look great and also some fun, shadowy shots of Batman. Riddler is animated in an amusing fashion as well as he’s quite expressive in costume when receiving female attention and I am just plain fond of his costume in this series. It’s too bad this is the last we’ll see of it as he’ll have a more classic look next we see him with a green unitard.

This is a good episode for Riddler to go out on. It was, after all, the rubber match or tie-breaker for these two. In Riddler’s first appearance he escaped capture while Batman emerged victorious in the second. With Batman foiling him here, and basically driving him even more insane, he earns a convincing win over the cerebral villain. I wish we got another starring episode out of the character, but I’m happy the writers never did a bad Riddler episode for the sake of doing another.

1 Comment | tags: batman, dc comics, john glover, paul dini, robin, the riddler | posted in batman the animated series, Comics, Television

April 12, 2019

Disney+ Revealed

By Joe

It was only a matter of time until big companies got into streaming. Netflix was allowed to practically monopolize the market for years before facing any sort of real challenge. Now we have Hulu, Prime Video, as well as numerous niche offerings like WWE Network and Crunchyroll which cater to a specific type of fan. Premium channels like HBO can now be subscribed to without a cable subscription as more consumers look to change how they watch television. With Warner Media announcing in November of 2018 that it intended to offer a streaming service, it only made sense that Disney would follow suit. Not only did Disney possess its own vast library of works, it had recently entered into an agreement to acquire 20th Century Fox adding even more volume. And given how much money Disney had paid to acquire Fox’s portfolio, it only makes sense that the media giant would want to find a way to monetize that investment sooner rather than later.

We’ve known for months that Disney+ was coming. We’ve also known it was going to feature the entirety of Disney’s film library. This was notable when announced because it likely means the long-vaulted film Song of the South will be readily available for the first time in decades. Song of the South is a live-action animated hybrid first released in 1946. At best, it’s content was deemed racially insensitive and at worst flat-out racist as it sought to portray a setting of happy plantation workers in a post Civil War setting. Most historians seem to agree that Walt Disney’s heart was in the right place when the movie was made, but also acknowledge it’s very problematic. Today, most fans will just recognize the animated characters from the popular Disney World and Disneyland attraction Splash Mountain. Disney has long sought to distance itself from this film and never released it on VHS or DVD in the west. It has been released in some parts of the world where the issue of American slavery is less thorny. It’s likely appearance on Disney+ will be the first time many Americans are exposed to the film outside of a bootleg.

Disney+ will likely be how a lot of folks will first experience the controversial Song of the South.

A 70-year-old film that’s not very good wasn’t going to drive the success of Disney+ though. Song of the South will probably have high stream counts when the service launches and gradually fade away. The rest of the Disney film library will do a lot of the heavy-lifting, but how much was that going to be worth to consumers? Disney, more so than any other studio, has a pretty loyal following of fans that still buy its movies on physical media. While it’s certainly convenient to have films readily available on a streaming platform, what’s the value to Disney fans that already have most of these movies?

UPDATE: Apparently “entire film library” does not apply to the controversial ones as it is now being reported that Song of the South will indeed be excluded from Disney+ when it launches this fall. In addition to that, Dumbo will see the infamous Jim Crow scene annexed from its film. Song of the South is not a good film so it’s not much of a loss to not have it on the streaming service. In the spirit of not hiding from one’s past, I would have liked to have seen it included with a disclaimer or even an introduction added on, but I’m also not surprised. Removing an entire scene, a rather pivotal one at that, from Dumbo is more concerning. If they’re going to start chopping up their films to remove questionable content (and there’s more than just Dumbo) then I’d prefer they just not include them on the platform.

Disney was going to have to make Disney+ special, and on April 11th the company at long last laid out what it envisioned for the service. The most important detail, as always, is cost. The service will launch in November 2019 at a cost of $6.99 per month in the US, or $70 per year. Other regions will follow as the company likely looks to stagger the release to get a read on how much their servers will have to work. Presumably, the cost will be the same or roughly the same in other parts of the world. It’s an aggressive price point, not in that it’s too high, but in that Disney clearly looks like it’s trying to undercut Netflix, which just raised its prices. Disney owns a 60% stake in Hulu so it likely doesn’t want to undercut that too much. And with the confirmation that it will be ad-free, Disney+ already looks like one of the better bargains in the streaming world.

A concept of what fans can expect to see when they login to the service.

Disney+ will also include not just Disney films, but Star Wars and Marvel as well. This isn’t much of a surprise, but there probably were some wondering if one, or both, of those big brands would be sent to Hulu instead. It was also touted that the launch of the service will feature the newly released Captain Marvel, currently airing in theaters at the time of this writing. It’s interesting that Captain Marvel was highlighted, but not Toy Story 4 which is set for release this June. At the time Disney+ launches, Toy Story 4 will likely be heading to home media and digital for the holidays. That film might be the first litmus test for what fans can expect between home video and streaming release. It would be understandable if Disney wants a gap between the two so as not to harm home media sales, but it also needs to make its streaming service attractive in regards to new releases.

Disney knows it will need some original content to compete with the likes of Netflix, and it announced a few new shows destined for its streaming service. The Mandalorian is a Star Wars themed show about a bounty hunter that looks like Boba Fett because that character is inexplicably popular. There will also be an animated show based on Marvel’s What If? line of comics and a live-action show called WandaVision focusing on Scarlet Witch and Vision. Some what of a surprise was the announcement that the “live-action” Lady and the Tramp is going to be a direct-to-streaming film on the service as opposed to a theatrically released film. I suppose Lady and the Tramp isn’t as popular as the likes of Aladdin and Beauty and the Beast, but given how much money these live-action remakes have been making it’s still a bit of a surprise to see it bypass the theater.

The Simpsons “welcome” their new corporate overlords.

Perhaps the biggest surprise though was reserved for a non-Disney property: The Simpsons. America’s favorite animated family is coming to Disney+ and all thirty seasons will be available on day one. I think most assumed that The Simpsons was destined for Hulu, but apparently Disney feels the brand is too valuable for that platform. It’s probably right, though this likely spells the end for The Simpsons World, the streaming portion of the FX Now app which currently is home to the entire series for anyone with a cable subscription. That app was limited, though it was still useful to have every episode on demand, with optional commentary no less. I assume the show will still air on FXX, assuming Disney keeps the channel around, but the on demand options to cable subscribers are probably about to decrease substantially.

What wasn’t touched on in as much detail as I would have liked is what is to come of the television properties Disney owns? Specifically, can we expect to see the entire Disney Afternoon collection of shows on this service? The announcement did make mention of Disney Channel programming so it’s expected all or most of the current programs will be there, but it wasn’t elaborated on. I also want to know if the classic theatrical shorts will show up, and if so, will they be remastered in HD? Some packages of shorts are currently available on Netflix, so it wouldn’t surprise me if those make it to Disney+ early on, but I’m really hoping all of the classic animation is included.

Disney+ could be a place where television shows like The New Adventures of Winnie the Pooh, one that has been ignored by Disney since it ceased airing, could finally find a new home.

Given the amount of content and the low introductory price, I think it’s safe to say that Disney+ will have a pretty successful launch. My household will likely be a day one subscriber as my kids probably average one Disney movie per day and this will save ware and tear on my Blu Ray collection. I suspect the price-point to change much faster than Netflix changed its pricing. The most popular Netflix subscription just increased to $13 per month, nearly twice what Disney+ will cost in November. There’s no way Disney, a company that really loves money, will stay at the low-end for long. It’ll be interesting to see how aggressively the company raises that number, with it likely staying put for a year or so. Disney will probably try to incentivize consumers to subscribe to the service in a package with Hulu and ESPN.

What we’re also likely to discover in the coming years as well is just how large an appetite the consumer has for streaming content. Cutting the chord used to be a radical concept, but now is starting to become pretty normal. It was once a way to drastically reduce the cost of television in the average household, but with more streaming options showing up spreading things around it’s no longer the value it once was. My guess is that consumers will become less loyal to any one brand and will be constantly switching between services on a monthly basis. That is, until the content providers start forcing or aggressively incentivizing consumers to subscribe to deals that last for months, or even years. It’s even possible they’ll be forced to turn to contracts, and then we’ll basically be right back to where we were with cable companies. The cycle will repeat.

Leave a comment | tags: captain marvel, disney, disney afternoon, disney plus, fox, hulu, marvel, netflix, pixar, song of the south, star wars, streaming, the simpsons, toy story 4 | posted in Film, Television

April 12, 2019

Batman: The Animated Series – “Showdown”

By Joe

Episode Number: 78

Original Air Date: September 12, 1995

Directed by: Kevin Altieri

Written by: Kevin Altieri, Paul Dini, Bruce Timm, Joe R. Lansdale

First Appearance(s): Jonah Hex, Arkady Duvall

We’re in an odd string of episodes, with perhaps this being the oddest, structurally speaking. It’s probably the episode to feature the least amount of screen-time for Batman up to this point, and there’s a good reason for that. Also, look at that “Written by” line – that’s a lot of cooks in the kitchen for one episode. The last name, Joe R. Lansdale, is credited with handling the teleplay so the other names handled the story – and they’re pretty big names. Kevin Altieri, Bruce Timm, and Paul Dini are the three most commonly credited with really bringing this series to life. Altieri has mostly handled directing duties and Timm producing with Dini leading the writers. It’s possible this episode was envisioned as a back-door pilot, but nonetheless, the list of writers gives this episode an aura of importance before it even begins.

For a lot of viewers, this was likely their introduction to Jonah Hex.

Most of all though, this episode is remembered as The Jonah Hex episode. Most of the episode occurs as a flashback to a time where Batman didn’t exist but there was Jonah Hex (William McKinney), a disfigured bounty hunter of the old west. Created by John Albano and Tony DeZuniga, Hex first appeared as an ad in Batman #237 in 1971 before officially debuting in the pages of All-Star Western #10 the following year. He mostly remained in the pages of Western themed comics before being catapulted into the future to appear in a post-apocalyptic kind of setting in the pages of Hex which was cancelled in 1987. He would eventually resurface on DC’s indie-inspired label Vertigo in the 90s. After limited runs in 93, 95, and 99 he vanished once more but received a new line of comics in 2005 which ran for 70 issues before ending in 2011. All-Star Western then got revived and lasted until 2014. There was also the film in 2010 starring Josh Brolin that was a huge flop. This episode, airing in 1995, came during his revival period. I would guess the writers liked the character and wanted to do a treatment of him, and since he debuted in an issue of Batman, it probably felt appropriate. The problem though is figuring out how to connect a modern-day hero in Batman with a bounty hunter from the 1800s. It just so happens though that Batman has an enemy who can provide a link since he lived through the era himself: Ra’s al Ghul.

The episode opens at a rather unusual setting: a retirement home. Ninja-like infiltrators are on the scene and they bare a resemblance to some old friends, The League of Shadows. What could they possibly want at a retirement home? All in due time. Batman and Robin show up and do battle with the men they encounter, but they’re after bigger fish, namely the leader of the group: Ra’s al Ghul. He’s there as well, and is shown entering a long hallway that ends with an old man in a chair. Ra’s has apparently come for this man, and given his long life, there could be any number of reasons why. When Batman and Robin get to the same room they find an empty chair where the old man sat and a cassette tape (how dated). They don’t know what Ra’s could have wanted at the facility, but they take the tape and leave.

For our younger readers, this is what’s known as a cassette tape deck.

Once in the Batmobile, the two examine some flight schedules and find one labeled Lazarus. It would seem Ra’s wants to be found. While they head to the airport, they decide to listen to the tape Ra’s left behind. When Robin presses play, the cabin of the Batmobile is filled with the voice of their enemy, it would seem he has a little story to share with them.

The role of the barmaid is played by actress Elizabeth Montgomery in her final role originally airing four months after her passing.

Back in 1883 when the Transcontinental Railroad was nearing completion is where our story takes place. Out in the old west in a town called Devil’s Hole, an old man in a gray duster strolls into a bar. He’s got a pretty nasty looking disfigurement and it causes the barmaid (Elizabeth Montgomery, in her final role before her death) to recoil when she approaches him. He wants some water, but also information. He’s a bounty hunter looking for a fellow by the name of Arkady Duvall. The barmaid knows, and hates him, and she brushes aside the coins the bounty hunter tosses on the table and offers to help him for free. It would seem Duvall beat on some of her girls in the past and has been driven out-of-town, hence why she’d like to see the bastard get what’s coming to him. A sheriff (William Bryant) then barges in and confronts the bounty hunter. It’s then we learn his name, Jonah Hex, and it would seem he has a reputation for bringing his bounties in dead. The sheriff is mostly there to intimidate, as he says he’s got nothing on Hex, who in turn embarrasses the sheriff by pointing out his fly is down.

That night, the barmaid leads Hex away from the town to a rock formation with strange light pouring from it. Duvall apparently has no home in town and isn’t staying at any of the inns. He’s the soft type, so she rules out him sleeping on the ground under the stars with the real cowboys and figures there’s something more to these strange lights. Hex thanks her for taking him out there, and she thanks him with a kiss and a wish of good luck before taking her leave.

I wonder when he gave up on that monocle.

Hex investigates the formation and finds a cave, the inside of which is ludicrously massive. And it needs to be, because a group of laborers are building a massive dual-balloon zeppelin. And this isn’t some Good Year blimp, it’s coated in steel panels and looks to be heavily armed with canons and turrets. Near the sight, a moustached man in an expensive suit is whipping one of the workers. He’s soon stopped and accosted by a man in a top hat, and we know this man to be Ra’s al Ghul. Besides the funny attire, he looks more or less the same and even has that silly facial hair. He is angry at the man for beating on his workers and will not stand for it, and we learn the other man is Hex’s target, Arkady Duvall (Malcolm McDowell). Duvall falls in line with his boss, but not happily. Ra’s also fills us in on what is going on. The massive airship has been christened The Phoenix, and he intends to use it to smash the Transcontinental Railroad before taking it to Washington, D.C. where he’ll force the current President (Chester A. Arthur, if you’re curious) to surrender to him and make himself Master of America! The man is a dreamer.

Ra’s does not seem to be a big fan of Arkady Duvall. It’s a wonder he just doesn’t hand him over to Hex and get on his way.

As Hex watches the scene unfold, a noise behind him alerts him to the presence of some of Ra’s al Ghul’s men. He spins and fires his revolver, but the men are in large steel suits (kind of like old diver suits) and his bullets ricochet harmlessly away. They grab him and take him to Duvall, who immediately thinks he’s a government spy. Hex informs him he’s a bounty hunter, and that he’s come for him and him alone. He doesn’t really care about the railroad, or anything else going on here. Duvall doesn’t believe him and orders the men to drop him in a melted vat of lead. They chain him up and begin to lower him headfirst, but Duvall has the men pause before the ends of Hex’s hair touches the boiling metal to get some more taunts in. Ra’s shows up and is again outraged to see the measures Duvall has taken in addressing the problem. He orders Hex be taken down and placed in a holding cell for interrogation, and turns to Duvall to tell him he is no longer allowed to make decisions for himself.

While Ra’s and the others prepare to depart, Hex is thrown in a cell. It doesn’t take him long to devise an escape plan, and he tricks the guards into thinking he’s already escaped which in turn causes them to enter the cell allowing him to exit for real. And he does so just in time, as the mountain they’re occupying opens up (it’s pretty absurd, even by this show’s standards) and The Phoenix begins its departure. Hex is able to grab onto a rope ladder draping off The Phoenix as it leaves and the few men who notice are unable to shoot him down.

That’s some rather intimidating fire power for 1883.

As Hex makes his way aboard The Phoenix, a local governor (voiced by current Vermont Senator and longtime Batman fan Patrick Leahy) is dedicating the railroad by driving in the last spike. The Phoenix comes into view and fires upon the town from a massive, rotating, turret. The locomotive is destroyed, among other things, and The Phoenix then turns broadside to unload a huge volley of cannonballs at the town itself. The local militia shows up, but their pitiful rifles don’t appear to bother The Phoenix one bit. A gunner on the airship unleashes another one of its many weapons, a crank-powered gatling gun, just adding to the lop-sided nature of this skirmish.

Hex shows up and takes out the gunner. He makes his way into the innards of the ships where the canons are manned and finds a stash of spherical, black, cartoon-styled bombs. He lights one and rolls it toward the men, who rather than try to get rid of it, all run like Hell. The place goes up, since it’s full of bombs and gun powder, but somehow doesn’t destroy the ship and everyone onboard in the process.

He’s pretty slick with that knife.

Hex then heads higher while some more men foolishly shoot at him. An officer (Michael Bell) orders them to cease-fire since they’re aiming right at the hydrogen filled balloons. Hex reaches a bridge, where more men come after him though this time they’re brandishing knives and swords. He’s able to illude them and eventually he comes face to face with Duvall. Duvall is surprised to see Hex aboard The Phoenix, but will be happy to force his exit. Armed with a sword, he approaches Hex, who rather than fight kicks a canon so that it points straight up and fires it right into one of the zeppelin balloons. It blasts right through it and the ship immediately begins to lose altitude.

Duvall is incensed and asks what Hex is up to. He explains he just doesn’t like them and will enjoy thwarting their scheme. Duvall then informs him he has no chance of beating him since he’s an expert fencer and Hex is only armed with a bowie knife. Undaunted, Hex welcomes the attack, though he soon retreats.

As those two fight, Ra’s al Ghul is ready to concede defeat. He launches himself from The Phoenix in a glider, but before he does he orders the others to evacuate. When the person he gives the order to asks about Duvall, he tells him to leave him to his fate.

Hex eventually gets his man.

Hex and Duvall continue their fight, and it’s moved to another part of the ship where a bunch of piping has been erected. An errant swing of the sword causes Duvall to strike the pipe and steam blasts him in the face as a result. The momentary distraction gives Hex enough of an opening to disarm him and as The Phoenix crashes into the mountains they’re able to jump off onto a nearby rocky outcropping. Once on the ground, the now unarmed Duvall begs for his life and Hex tells him he’s not going to kill him. He gives him a shove and then finds his hat on the ground, which he had lost while fleeing the men on the airship so this is quite a special hat. He remarks that he’s getting too old for this, as Ra’s al Ghul’s story comes to an end.

Robin is left puzzled with why Ra’s shared that story with them, while Batman claims he knows why (I call bullshit). They soon arrive at an airport runway and Ra’s is there with his loyal attendant Ubu and an old man in a wheelchair. Ra’s turns to face Batman as the duo approaches. It’s then revealed the old man is Duvall himself, and when Robin questions how he could possibly still be alive, it’s revealed that Duvall came into contact with a Lazarus Pit as a young man for he is the son of Ra’s al Ghul. Ra’s explains he recognized that Duvall was too cruel to take over for him as his true heir. Following his capture by Jonah Hex, he was sentenced to 50 years hard time. He surprised everyone by surviving the sentence, and Ra’s lost track of him until now. Telling Batman he still has a few good years left in him, he promises they can cross swords another time, but for now he just wants to take his boy home. Batman snaps his cape across his shoulders and turns around leaving Ra’s to do as he wishes.

Ra’s and his very old long lost son.

I touched upon this during the write-up of “Avatar,” the most recent appearance of Ra’s al Ghul, in that this is an odd final note for the character to go out on. Batman and Ra’s al Ghul were setup as enemies destined to confront each other for decades to come, but “Avatar” failed to capitalize on the excitement of “The Demon’s Quest” while this episode really doesn’t attempt to address it. Ignoring that short-coming, it’s still an interesting episode with a fun twist of an ending. This show reserves almost all of its twists for Ra’s, which is a bit amusing, and I like the Duvall twist at the end. It’s also interesting to see Batman acquiesce to Ra’s al Ghul’s request as we’ve seen him be rather inflexible at times in the past.

The portions of the episode set in the past confused me as a kid. I think I turned this one on for the first time having missed the beginning, because I remember being really confused. I could tell it was an episode of Batman given the style, and then the presence of Ra’s al Ghul, but for some reason I wasn’t able to let myself get absorbed into the story. As a result, I never looked forward to revisiting it when the show first hit DVD, and I still didn’t for this viewing. Now though, I just see it as a change of pace. It’s fun to see a new setting, and the character of Jonah Hex, while feeling like a cliché of classic characters, is entertaining enough. Some of the stuff that happens in the flashback is pretty ridiculous, but in an Indiana Jones kind of way. And it’s fine for Batman to step aside once in a while to let someone else soak up the spotlight. It’s not the last time he’ll do so.

“Showdown” is what I would consider a fun episode. Lots of action with the bonus of actually containing some interesting character development. It’s shortcomings are almost entirely due to the surrounding episodes featuring Ra’s al Ghul which seemed to promise something bigger, which the show never delivered. If Batman had one final showdown of his own with the villain before the series ended then it wouldn’t matter at all. On its own, it’s a good episode that’s a nice showcase for Jonah Hex at a time when he was far from being a household name.

1 Comment | tags: all-star western, arkady duvall, batman, bruce timm, david warner, elizabeth montgomery, joe r lansdale, john albano, jonah hex, kevin altieri, malcolm mcdowell, patrick leahy, paul dini, ra's al ghul, tony dezuniga, william mckinney | posted in batman the animated series, Comics, Television

April 5, 2019

Lego 21317 – Steamboat Willie

By Joe

It was just over a week ago I made a post wondering what happened to the Lego/Disney relationship. Sure, there have been some Duplo sets and the Lego Friends brand has featured some princess characters, but nothing major followed the 2016 release of mini figures and Cinderella’s Castle (based on the structure in Walt Disney World’s Magic Kingdom). At the time, I thought those releases were just a start of things to come, but Lego has been content to just stick with movie tie-in sets for Disney owned properties like Avengers and The Incredibles.

Last year presented an opportunity for something special. On November 18, 2018 Disney celebrated 90 years of Mickey Mouse dating back to the release of his official debut cartoon Steamboat Willie (insert obligatory acknowledgement that the first Mickey cartoon was actually Plane Crazy). Steamboat Willie seemed like an obvious release for Lego given the occasion and the fact that it would be a fairly simple set: a steamboat and re-releases of Mickey and Minnie. When November came and went without such a set, I was actually surprised and just assumed that Lego didn’t see the value in coordinating a release with Mickey’s 90th.

The rear of the box.

Apparently, it was just an issue of timing. For whatever reason, Lego held off until April of 2019 to properly celebrate the 90th birthday of Mickey and Minnie as Steamboat Willie is now in brick form. And to top it off, Lego even announced a second wave of mini figures to follow in May (still no Goofy or Pluto though). Perhaps it was just an issue of not getting the legal side of things straightened out, not just with Disney, but also with the creator of the set, Máté Szabó. This one originated as a Lego Idea, meaning a fan created it and uploaded it to Lego’s creator website where other fans could choose to back it or not (there’s no monetary component for backers like there is with a crowd-funding site, it’s just a simple vote of support) and when it hit the required amount of votes it then went to Lego for final approval. This is how many sets have made it to retail and for Lego (this one is numbered #024, apparently it’s supposed to be #025 though) it’s practically free development as they’re under no obligation to produce anything, no matter how many votes it gets.

Steamboat Willie was likely an easy approval for the company since it’s a relatively modest set with a recognizable character owned by a company that Lego regularly does business with. It may have arrived a few months late, but I suppose that’s better than not arriving at all. And if one were to create a set celebrating 90 years of Mickey Mouse, is there really a set more appropriate than a recreation of the S.S. Willie?

There’s a good chance that Steamboat Willie is no one’s favorite Mickey Mouse short. It’s basically a show-off piece for 1928 for how sound could be integrated into a cartoon. That’s why a large section of the sub 8 minute runtime is just Minnie and Mickey playing music with farm animals aboard the ship. It’s not without its charms though and it’s probably almost shocking for new viewers to see Mickey chuck a potato at an obnoxious parrot since he’s so squeaky-clean by today’s standards.

Sadly, there are no included potatoes for Mickey to hurl at the bird.

The classic steamboat makes for a nice visual when completed. It utilizes colored bricks in the construction, but once completed they’re all hidden preserving the black, white, and gray look. Some silver accents are used in the lettering which is a nice touch. It probably goes without saying, but this isn’t meant to actually float on water which is why it’s actually on wheels. As the set is pushed along a hard surface, the dual paddles spin and the smokestacks move up and done as they do in the cartoon. The mechanism for the smokestacks is essentially free-floating atop the axles so it’s not always a smooth motion and for mine the rear stack moves while the forward one does not. If I messed around with it I could probably get it to function better, but it’s not something I’m all that concerned with.

The build is simple and fairly painless. About the only thing I found annoying was clipping on the rear and the bow of the ship as it was hard to do without disturbing other pieces already in place. The paddles also weren’t a ton of fun, especially for someone like me recovering from a recnet hand injury. Still, it wasn’t a long build which is to be expected of a set with only 751 pieces in it. I spread it out over three nights as my 4-year-old likes to “help,” but I’d guess I could have put it together in just a couple of hours if I was prioritizing speed, though I often take a leisurely approach to Lego sets. It’s the journey, not the destination.

The crane adds a bit of fun to the set.

The set features a working crane on the rear of the ship which also includes actual black thread. Threading it is not the most fun and takes me back to Home Ec class, but it’s hard to imagine it working much better if done differently. The crane can pick up blocks and there is a specified potato bin for just that, harkening back to the closing scene of the short. Other necessities include the bell and the trio of whistles atop the boat. Some of the noise-making equipment is present as well including a mallet, bucket, and a pair of pans clipped to the exterior of the cabin. The short includes many animals, but the only one included here is the parrot, who looks more like a standard bird. The goat does get a shout-out via Minnie’s sheet music brick which includes a graphic of the happy goat, a nice tough added by Lego graphic designer Crystal Bam Fontan.

Hello, Mr. Goat!

Rear of the stand.

Two mini figures are included with the set, and it’s probably no surprise to find out the figures are Mickey and Minnie. They’re both done in black, white, and silver to make them seem a touch “special.” Standard black and white versions are to follow in the mini figure wave in May. These are basically repaints of the other Mickey and Minnie figures from a few years ago only now Mickey has a captain’s hat that fits into a peg hole on his head and Minnie has her classic hat in place of a bow. Minnie does not feature her top from the short and her skirt is polka-dotted instead of plain. She comes with a ukulele which is a fun little piece that she’s able to hold with relative ease. There’s also a little Mickey head backdrop/platform included. It’s a simple and elegant touch and it can be propped up or placed flat on a surface for the characters to stand on.

This is a nice set, but this is also the part where we discuss what’s missing. The general look of the ship is preserved, though the construction cheats a bit. There’s no access for the cabin, both the lower and upper portions. No stairs, and the doors are intentionally blocked as the interior of the set was needed to house the guts of the smokestack mechanism. Mickey can fit into the bridge with the steering wheel, but it’s not easy and you’re better off removing the top first if you want to make him grip the wheel. Perhaps a hinged-top should have been included, but maybe that didn’t look right. I’m also a little disappointed there’s no Pete included, since we haven’t received a Pete figure yet. And like Minnie and Mickey, they could have slotted a repaint of him into the upcoming mini figure wave. I’m guessing he’s not here because the set wanted to celebrate Mickey and Minnie, but damnit, Pete has feelings to!

The past meeting the present.

At a suggested retail price of $90, Steamboat Willie is a bit on the pricey side given the size of the set. Some extra cost is to be expected with anything Disney-related and I think the price is also meant to reflect that this is more of an adult, collector, piece than a toy. Sure, a kid would have some fun pushing this boat along and playing with the crane for a bit, but some parts are a touch fragile and really there are better boat sets out there if play is what you’re after. I have a fairly extensive Disney collection, so this set was a no-brainer for me. The $90 price tag is probably about the limit of what I would want to spend on such a set, and I’m mostly okay with it. Hopefully there are more fun Disney-related sets for Lego to consider and I expect something equally fun for when Donald Duck hits 90. He is the superior character, after all.

2 Comments | tags: lego, lego ideas, mickey mouse, mickey's 90th birthday, minnie mouse, steamboat willie, ub iwerks, walt disney | posted in Film, toys

April 5, 2019

Batman: The Animated Series – “The Lion and the Unicorn”

By Joe

lion and unicorn card Episode Number: 77

Original Air Date: September 15, 1995

Directed by: Boyd Kirkland

Written by: Diane Duane, Peter Morwood, and Steve Perry

First Appearance(s): Cousin Frederick

“The Lion and the Unicorn” brings with it some new additions and an old unfavorite. As far as the episode goes, we only meet one substantial new character, Alfred’s cousin Frederick (Roy Dotrice). This is mostly just interesting because after 76 episodes we still know very little about Alfred so anyone attached to him feels noteworthy. On the production side, we have two new writers in the husband and wife duo of Peter Morwood (who was mis-credited as Philip Morwood) and Diane Duane in their only contribution to this series. And then we have a returning face in Red Claw (Kate Mulgrew). Red Claw is a show creation of little importance. Her episodes aren’t great and she was never deemed worthy of introduction in the comic books. Her headlining role here is particularly noteworthy though since she debuted in “The Cat and the Claw.” That episode was chosen to be the series premiere, while this episode (her only other appearance aside from Part 2 of “The Cat and the Claw”) was the series finale. Now it wasn’t billed as such or setup as the finale, it was largely just circumstance as far as I know. Still, it’s pretty interesting given all of Batman’ celebrated villains that it’s Red Claw who gets to open and close the series.

In this episode Alfred gets a phone call!

The episode begins rather mundanely. Alfred is brushing lint off of Batman’s cape as he protests the criminals won’t care about the cleanliness of his costume while Dick works out on some gymnastics equipment. Alfred admonishes Dick for not wearing a shirt (it’s cold and dank in the Batcave) while Batman smiles as he watches the exchange and takes off in the Batmobile to go do crime-fighter stuff. Alfred leads Dick upstairs to the mansion while telling him where he can find his dinner. When they get up to the manor Alfred goes to answer the phone while Dick heads off to either get his food or take a shower or something. Alfred is surprised to find his cousin Frederick on the line. Frederick requests that Alfred meet him in what he calls the usual spot, and Alfred agrees to do so right away. As their conversation ends, we get a look at Frederick who’s tied up with a crimson-clad person behind. The tattoo of a clawed paw on her arm is a dead give-away for the identity of this nefarious individual.

Bruce, unsure how he’s going to get dressed without his trusty butler.

The next morning, Dick comes downstairs and playfully asks Bruce if there’s a butler strike because there’s no breakfast (the problems of the 1%). Bruce is standing in the same spot we last saw Alfred holding a note. He hands it to Dick and it’s from Alfred saying he needed to go to London right away because his cousin Frederick needed him. He apologizes, and even signs it as “Your obedient servant” which strikes me as kind of sad if that’s how Alfred thinks he should be viewed. Dick is surprised and a bit confused and this is the start of the episode showing us how Dick has viewed Alfred as some doting old guy. Bruce is more alarmed as he knows Alfred has no living relatives. He also knows Alfred was once a British agent and they often refer to their fellow agents as cousin.

The London street scenes are dark and terrible.

We’re then taken to dark and foggy London. At least, I think that’s the effect Dong Yang Animation was going for. It’s a real dirty, grainy, image that’s not particularly enjoyable to look at. Alfred is at the spot requested, and two gentlemen approach him (they seem to be credited as Bert and Ernie, voiced by Adam Ant, [yes, the one from Adam and the Ants] and Richard Doyle, respectively) claiming to be sent on behalf of “Freddie.” Alfred knows Frederick hates being called Freddie, and he is immediately skeptical. When the two get hostile, he uses his umbrella to trip them up and then take off. Back at his hotel, Alfred is able to phone Bruce to fill him in on what’s going on. Before he can say much, Bert and Ernie cave in his door and Bruce is left to helplessly scream “Alfred!”

Alfred is then taken to some Scottish castle where he is reunited with Frederick. His hands are bound and the real captor emerges: Red Claw. Alfred recognizes her, and I can’t tell if it’s because we’re supposed to think he tangled with her before or if he just remembers seeing her back on Batman’s massive computer.

Red Claw is back and everyone is just super happy about it.

Back in Gotham, Bruce fills Dick in on what happened as well as Alfred’s background. Dick is surprised to find out Alfred used to be a government agent, which is a running theme of the episode. The two decide they need to help their friend, and they depart for London as Batman and Robin in the Batwing. Once there, they investigate Alfred’s room as Dick and Bruce, which gets the attention of Bert and Ernie who have been staking the place out apparently expecting someone to come nosing around. They try to tail them as they leave, but they don’t realize they’re tailing pros. Batman and Robin drop in on them, and give them a good beating. When the commotion is over, Robin inspects one of the men and finds Red Claw’s marking on his arm.

A meeting between British agents is going down. Two men and a woman are discussing what’s going on, noting Frederick’s disappearance and Red Claw’s occupation of a castle. Apparently that castle houses a missile silo and Red Claw wants to take control of it to hold Britain hostage. Batman and Robin then drop in, and the three agents seem to regard the duo with a ho-hum manner. I’d assume that Batman is pretty popular world-wide, but they essentially have no reaction to his presence in London. Actually, they’re a touch hostile. Batman alerts them that Red Claw also has Alfred Pennyworth and requests their help, but they don’t really see value in that. When he promises to deliver Red Claw, they change their tune and tell Batman where she’s hiding out and the two depart.

She has ways of making men sing,

At the castle, Red Claw records a message for the British government. She lets them know she has control of the silo, and unless they pay up they’re going to get a taste of it. As the video signal is cut off, it’s revealed that Red Claw was bluffing, to a point. She has yet to get control of the missile because Frederick and Alfred each possess a unique code needed to activate it. They’re not going to talk, but Red Claw has her ways. She produces some truth serum, and apparently her crew is concerned about maintaining a sterile environment as one of her goons swabs Alfred’s arm before it’s administered. Both are given a dose and Frederick is the first to sing while Alfred just sort of mumbles away. Red Claw hardly seems dismayed though and is content to wait for the serum to do its thing.

Outside, some sentries hear a sound and go to investigate. That’s a mistake, as it allows Batman and Robin to take them out. They start making their way through the castle, picking off other men as they go along. In one fun sequence, a quartet of men are walking along in a diamond formation and Batman and Robin keep dashing back and forth and picking them off one by one.

It’s even foggy indoors over there.

Inside the command room, Alfred finally cracks. He’s singing a song about the lion and the unicorn, a reference to the Royal Coat of Arms of the United Kingdom. Red Claw mistakes it as nonsense at first, then realizes it’s the code. After she enters it into the terminal, the silo becomes armed and she is free to launch it whenever she pleases. By now, they’ve become alerted to Batman’s presence so she and her men arm themselves and set out to take out the intruders. They burst into a room and open fire on Batman and Robin. The heroes use cover to try and take them out one at a time, and thankfully everyone can’t shoot.

Robin eventually makes his way to the room where Alfred and Frederick are being held. He opens the door, but finds a gun pointed at his face by the one woman who stayed back to guard the prisoners. He smiles sheepishly, and then the woman gets taken down from behind by Alfred wielding a chair. He expresses some remorse at smashing the chair as it apparently dated back to Louis the XV. Robin congratulates him, but the celebration is short-lived as Red Claw chops him from behind knocking him out. She then heads straight for the terminal, Alfred apparently has no desire to try and fight her, and launches the missile and takes off as Batman busts in.

Go for the face!

Batman immediately takes off for the Batwing. His only hope is to shoot it down as there’s no way to cancel the launch command from the terminal. As he flies towards it and gets it in his sights, Red Claw emerges from behind him. She’s a stow-away, and grabs at Batman’s face and pulls on his cowl, successfully removing it in the process. This causes her to fall back into her seat allowing Batman to eject it sending her parachuting into the waters below. Batman then has to re-find the missile all while dealing with the fact that the Batwing’s hatch is open. We know Batman doesn’t like guns, and he doesn’t use them, but apparently that apprehension doesn’t extend to missiles. He locks onto the missile heading for London and then fires a pair of his own missiles. They do their job and take out the rogue-fired weapon and it detonates harmlessly in the London skies.

With the threat of Red Claw over, Batman and Robin apparently head home without Alfred to avoid suspicion. There’s no indication that they made good on their promise to deliver Red Claw to the British government, and she will never be heard from again. Alfred says goodbye to his “cousin,” who tries to coax him into returning to the agency. Alfred says he’s needed elsewhere though and heads back his life as the humble servant of Bruce Wayne.

A curtain call for Red Claw. So long, you won’t be missed.

“The Lion and the Unicorn” is a bit of an atypical episode, but it gives Alfred more of a share of the spotlight than he’s had in awhile so it’s an episode I appreciate on that level. Especially since one of the other episodes to feature a heavy dose of Alfred is “The Forgotten,” one of my least favorite episodes of the series. Red Claw still kind of sucks, but she’s not really asked to do much. I like that she’s fairly ruthless and actually launches the missile. I don’t really get a sense of what’s motivating her here though. I guess money, or just general terrorism, but it’s not that important, I suppose.

The aspect of the episode that disappoints me the most though is some of the visuals. I mentioned it during the write-up, but the London night setting looks awful. I’m torn on if HD improves it or makes it worse. It’s so dark and grainy that it’s just frustrating to look at. My eyes are working too hard to make out the visuals. I don’t know if the animators were going for a fog effect, but it’s not good. The rest of the episode looks fine though, and the castle setting is new and interesting to look at. This castle apparently exists in the real world, though it’s an inland structure not located on the coast. I don’t know why they didn’t just make up a fake name then, but this was also back in the early 90s and the only way you were going to find out the depiction here isn’t authentic is if you found this thing in a book. In other words, it was information not as easily accessible as it is today.

If not for the unique setting and focus on Alfred, this episode would be pretty forgettable. The villain isn’t important, and there’s nothing flashy or memorable about the plot. It’s just a solid B- type of episode from the show. It’s miscast as the final aired episode of the show, and there’s a shame there wasn’t more of a “bang” to go out on, but the final fourth season Fox aired is mostly pretty mediocre so there wasn’t much to choose from. They could have chosen “The Terrible Trio,” so at least they didn’t go with that one.

1 Comment | tags: adam ant, alfred pennyworth, batman, diane duane, efrem zimbalist jr, kate mulgrew, peter morwood, red claw, robin | posted in batman the animated series, Comics, Television

March 29, 2019

Batman: The Animated Series – “Baby-Doll”

By Joe

baby-doll title Episode Number: 76

Original Air Date: October 1, 1994

Directed by: Dan Riba

Written by: Paul Dini

First Appearance(s): Baby-Doll

Well, this is an interesting one. Batman: The Animated Series has done well with original creations, and it’s also done not so well. Harley Quinn may have been a huge hit, but nobody likes Boss Biggs. Baby-Doll is yet another invention of the show and I’m curious how she came to be. Paul Dini, who has had to do some heavy lifting on the show’s second season, wrote this episode and presumably created the character. Baby-Doll is a Hollywood has-been with a rare genetic condition that makes her look like a child. Batman refers to the condition in the episode as systemic hypoplasia, but that’s a condition that usually impacts organs so Batman’s diagnosis is a bit off. The character is likely inspired by someone like Gary Coleman or maybe Emmanuel Lewis, two actors who played children on-screen even though they were older. Coleman had a kidney condition and his stunted development was the result of medication and complications from his disease, where-as Lewis apparently simply stopped growing. No matter, what’s important to know about Baby-Doll is she’s an adult female that resembles a child and she’s really unhappy with her life choices and how her career turned out. It’s certainly an unconventional premise for a Batman villain, but really, how many are truly conventional?

The episode opens as a play is letting out, Death of a Salesman. A young actor named Brian (Robbie Rist) waves goodbye to his cast mates and then is startled to hear crying. He finds a little girl with big, blonde, curls in the alley behind the theater. She’s lost, and apparently her brother is to blame. Brian goes to comfort her and when he gets a look at her face a shocked expression crosses his own. Before he can react further, he’s knocked out from behind and the girl apologizes for playing rough.

The cast of That’s My Baby, a show that probably would have aired on Nick at Night had it been real.

Some time later, Batman and Robin are watching video in Commissioner Gordon’s office. Today’s subject is an old sitcom titled Love That Baby and Gordon informs the vigilantes that cast members from the show have gone missing. The young man we saw earlier, Brian Daly, was a part of that show which starred Mary Louise Dahl (Alison LaPlaca) as the title character Baby. Batman knows her from reading a report on her condition which caused her to retain a child-like appearance into adulthood. Robin mostly just remembers watching the show, which he was not a fan of. Dahl hasn’t been seen or heard from in years, while one other actress from the main cast has yet to go missing: Tammy Vance (Judy Strangis). Batman takes the tape to check it out further, but then Bullock comes over on the police scanner about gunfire where they’re currently providing protection for Ms. Vance.

At the studio, which looks really similar to the background from the prior night, armed gunmen are firing on police while trying to abduct Vance. The two gunmen have a Gilligan and Skipper look going for them, which is interesting if nothing else. Batman and Robin soon arrive to put a stop to the gun-play and rescue Vance, but before they get a chance to settle down an armored truck comes barreling down the alley. Batman has to get out of the way and Robin is nearly flattened. The distraction allows the goons to grab Vance and toss her in the truck. As they speed away, Batman uses the controls on his belt to summon the Batmobile, but when a kid runs out into the street the Batmobile is forced to swerve and crash while the bad guys get away. Robin scoops up the crying child, whose mother soon shows up to take. As she’s holding her daughter the girl says to her mother “I didn’t mean to.” Batman recognizes this as the catchphrase for the Baby character from the show, and when he goes to stop the pair the girl slams a ball she was carrying on the ground which explodes into a big, cloud of smoke to mask their escape.

Meet Batman’s newest foe: Baby-Doll.

Batman and Robin then drop in on Summer Gleeson (Mari Devon) who recently had done a “Where Are They Now?” styled feature on the cast of Love That Baby. She has some tapes of the show, but when Batman asks why Dahl might have a grudge against her co-workers he finds out it’s they who should be angry with her. It would seem Dahl left the show to pursue a dramatic acting career, and Gleeson has a copy of her failed attempt at the notoriously unlucky MacBeth. Robin thinks it stinks and shares his opinion with the group. Apparently the critics and audiences felt the same way as the production was a flop. Following that high-profile failure, television networks no longer wanted to work with Dahl and the rest is history.

Meanwhile, Baby-Doll has assembled her old cast. Vance wakes up to find herself dressed as her old character and when she exits her bedroom she finds the old set and the familiar faces. The other actors include her TV father, Tod (Alan Young) mom June (LaPlaca) and brother Brian. They’re in costume as well and Baby-Doll comes strolling in with her favorite doll, Mr. Happy-Head. She’s very happy to have her “family” back, while the rest are pretty confused. She gathers them at the table where she lets them know they’re going to celebrate her birthday. It’s at this point that Tod has had enough. He tries to leave, but Baby-Doll’s assistant Mariam (Tasia Valenza) assaults him and he lumbers back to his seat at the table.

Joker has tried this same thing. It too failed.

At the Batcave, Robin is suffering through the tapes they got from Gleeson and letting Batman how much he’s enjoying himself. He does stumble onto one potential lead though. In the show’s final season, to combat sagging ratings, it pulled a Cousin Oliver and added a new character named Cousin Spunky. Spunky would basically upstage Baby-Doll, and we see a clip of him slamming her face into her birthday cake from one episode. Apparently, it was the presence of that character that drove Dahl to quit and Batman assumes it’s only a matter of time until she sets her sights on the actor who played him.

We’re then taken to a suburban neighborhood where a heavy-set kid is playing guitar in his garage. A woman pushes a baby carriage up the driveway to him to complain about the loudness of the music claiming it woke her baby from her nap. The woman is Mariam, once again posing as a mom (she was the one who picked up Baby-Doll after the Batmobile incident) which means there’s only one person who could be in that stroller. When Spunky (James Marsden) looks in, he sees Dahl looking back at him and she shoots him with brown gas from her baby bottle.

I hope you weren’t expecting much of a fight scene from this one.

Back “on-set,” Spunky is now tied to a chair and at the dinner table with his other former cast mates. Like them, he’s really confused about the situation as Baby-Doll confronts him from on top of the dining room table. She blames him for ruining her birthday, while he tries to explain they were just acting. Baby-Doll will hear none of it though and she pushes a giant cake towards him. She then starts smearing cake on his face as revenge for what happened to her, but she’s not stopping there. Soon she places candles on the cake and a big ‘ol stick of dynamite right in the middle. She lights it then tells Spunky (we never learn his actual name) to blow it out, which he tries to do, but is unsuccessful. Seeing no other option, he grabs the dynamite with his mouth and flings it over his shoulder. It bounces onto another part of the set where it explodes harmlessly (the blast was quite large, so either Baby-Doll underestimated it or she planned on killing herself and her fake family in the process). disappointed, Baby-Doll whips out Mr. Happy-Head who apparently has a gun hidden in his head. She fires a shot which emerges from the doll’s eye socket and then starts towards Spunky in an obviously threatening manner.

Glass shatters above the table, and Batman drops in (seriously villains, avoid skylights)! He makes quick work of Gilligan and his buddy and knocks the doll from Baby-Doll’s hands. It’s at this point Spunky jumps up, free of his restraints, and reveals he was actually Robin in disguise (so did he have that dynamite thing the whole way or was Batman late in getting there?). The Dynamic Duo has played Dahl for a sucker, but things aren’t a wrap just yet. Mariam comes to her boss’s aid and she apparently has some moves. She blasts Batman into some rigging and takes out Robin as well, who can’t help but pay her a compliment. Batman is able to rope her ankle with a Batarang-hook, when Mariam goes for a jump-kick he gives it a tug and swings her into a wall putting an end to that threat.

She’s smart enough to know to lead Batman somewhere he won’t have as easy a time navigating as she will.

Batman then leaves Robin to tend to the actors while he goes after Baby-Doll. She’s taken off with her doll and made her way into a nearby amusement park. Unlike the parks Joker typically inhabits, this one is very much in use and Baby-Doll is able to hide amongst the patrons. When Batman drops in to survey the area, his appearance attracts attention as people flock to get a look at him. This works to his advantage as Baby-Doll hangs back and then takes off running. She ducks into a shooting gallery type of game. When Batman does the same, he finds himself staring down an over-sized gun that fires tennis balls. Baby-Doll, apparently forgetting she has a real gun, pummels Batman with tennis balls until he is able to grab a doll prize and throw it at her the force of which knocks her from her perch.

What Baby-Doll refers to as her real self.

Baby-Doll then flees into a fun house that’s closed for repairs. She taunts Batman apparently wanting him to follow her. He’s forced to crawl through plastic tubes which Baby-Doll can run through, putting him at a pretty big disadvantage. She continues to taunt him before slipping in some strikes. When she finally turns to her doll-gun, Batman fires his grapple gun at it to knock it from her hands. Baby-Doll exits the tube to retrieve her gun and finds herself in a room of mirrors. One of which reflects back an “adult” version of her. She identifies with this image as “the real me,” and seems to grow sad. Batman then appears and she swings around and fires only to find it was a reflection. As Batman appears in other mirrors, Dahl fires repeatedly at them destroying them all until the only one left is the one reflecting back her “real” self. With tears in her eyes, she fires once more destroying the image. She tries to continue firing but she’s run out of bullets. Batman removes the doll from her hands and she tearfully turns to him and repeats her catchphrase “I didn’t mean to.” She clutches at his leg as a high-angle shot from the camera lingers a moment, then fades to black.

“Baby-Doll” is an unconventional episode, no doubt about it. Or rather, the villain is unconventional in her design since really the story is just another insane individual looking for revenge on those she perceived wronged her. A lot of Batman villains can say the same. It’s also interesting that this episode follows “Bane,” an episode where the villain is a huge physical threat to Batman where-as Baby-Doll is really not one at all. I’m impressed that Dini came up with the funhouse as a way to put Batman at a disadvantage, since the thought of Baby-Doll taking him out is ludicrous on the surface.

When ever Baby-Doll gets mad, her voice deepens and the black around her eyes thickens. It’s a neat approach.

Obviously, part of the genesis for the episode stems from someone like Dini just working in television. The Cousin Oliver gimmick is interesting as it refers to Oliver from The Brady Bunch, who was played by Robbie Rist who voices Brian in this episode (I guess it would have been too on-the-nose to have him voice Spunky). Baby-Doll is a stand-in for many child actors who have had a tough time transitioning to adulthood. And in her case, the point is hammered home by having her physically remain like a child.

This episode marks the final contribution to this show by Studio Junio. Aside from their episodes seeming to contain lots of grammatical errors in the backgrounds, I must say I enjoyed their work. There’s a bit more of a cartoon vibe to their episodes and even some flashes of anime. Batman looks great in this episode and Junio apparently had access to better shades of green as Robin doesn’t have those turquoise accents on his gloves. Baby-Doll is perhaps a bit too cartoonish for my taste as she reminds me of Elmira from Tiny Toon Adventures. Her head is gigantic like a cartoon character, and it pulls me out of the scenes sometimes especially the closing shot with Batman.

I feel like “Baby-Doll” is an episode that should suck, to put it bluntly, but doesn’t. The story it tells actually proved compelling and the character of Dahl is made sympathetic in the end. A lot of that can be attributed to the voice work of Alison LaPlaca who does a great job in shifting tones from a higher, child-like voice, to a lower aged one when Dahl gets upset. There’s even a touch of a Child’s Play vibe as Dahl gets a little creepy when not using her Baby voice. This one works, in spite of its weirdness. It’s not anywhere near my top 10 episodes, and I don’t need to see Baby-Doll again (and we won’t until The New Batman Adventures), but I am fine with this episode existing.

1 Comment | tags: alan young, alison laplaca, baby-doll, batman, cousin oliver, james marsden, mari devon, paul dini, robbie rist, robin, studio junio | posted in batman the animated series, Comics, Television

March 25, 2019

Spider-Man: Into the Spider-Verse

By Joe

spider-verse poster Over the years, the comic book movie has changed immeasurably. Prior to the year 2000, you could basically count the successful superhero movies on one hand and the only heroes able to really break through were Superman and Batman. This meant Marvel was completely shut out despite feeling like the hotter publication for a long time. That company’s forays into the world of cinema were largely terrible and the only semi-successful venture was probably The Incredible Hulk television series.

Now though it seems like anything Marvel wants to send to the big screen is a massive success. It’s not that surprising that X-Men eventually worked or that Spider-Man could become a big player. Captain America? That one is pretty surprising considering how lame he was when I was a kid. Basically everyone associated with The Avengers had been pushed aside. Those were the heroes your parents might have read about, but us 80s and 90s kids wanted mutants, pouches, and clones, damn it! We once thought that in order for these movies to be successful they needed to be more grounded than a comic and basically not look like one. Drab costumes for the X-Men, realistic villains for Iron Man, and so on. Now we’ve learned that doesn’t matter. Bright spandex is in, heroes leave the planet, and a big, purple, bad guy can lead one of the most successful movies of all time.

Spider-Man: Into the Spider-Verse pushes the super hero movies even closer to the world of comic books. It’s a bold movie on the part of Sony Pictures and Marvel, though considering the budget for this film is far less than what is spent on a typical live-action super hero film it’s perhaps not perceived as being a great risk. Spider-Verse is a film aimed at the longtime fans of Spider-Man. It’s not really made for those who liked Spider-Man comics as a kid and then moved on, or simply know the character from his other films. This film is modern, it contains references to the old Peter Parker who fell in love with and married Mary Jane Watson, something Marvel has undone. It also references a Spider-Man who divorced MJ, a Spider-Man who is actually a woman, and a Spider-Man who is black. Only in comics could all of these different, yet all valid, versions of one character exist and this film seeks to throw them all into one movie. It’s a transdimensional gathering of Spider-People (and animals) which is the type of story usually reserved for the world of comics as comic fans are used to differentiating from Earth-616, Pre-Crisis, Ultimate, etc. It sounds complicated, and it kind of is, but Spider-Man: Into the Spider-Verse ends up being far more accessible than it has any right to be.

I hope you like Spider-Man, because there’s a lot to go around.

Spider-Man: Into the Spider-Verse is based on a screenplay from Phil Lord and Rodney Rothman directed by Rothman, Bob Persichetti, and Peter Ramsey. It’s a computer-animated film that seeks to emulate the look of a comic book. Movement is intentionally janky as a low frames-per-second was utilized to make sure that basically every moment of the film could work as a still image from a comic book panel. It’s the careful planning of the screenplay and the direction that allows the viewer to ease into this one as it slowly peels away layers making the plot more complicated as it goes along without becoming overwhelming.

Miles never leaves home without his trusty Sony headphones.

The movie focuses first on teenager Miles Morales (Shameik Moore). Morales is a young man who is an only child to police officer Jefferson Davis (Brian Tyree Henry) and nurse Rio Morales (Luna Lauren Velez). His father is african american and mother Puerto Rican, and even though he shares a last name with his mother, his parents are a couple and they all live together in Brooklyn. Miles though is sent to a special academy for schooling which functions like a boarding school. He doesn’t like it, but his father insists it’s for his own good. His mother is more sympathetic to his concerns, but not enough to interfere on behalf of her son. Miles is quite smart and apparently gifted, but he desires to be what he feels is normal. As a result, he has a kindred spirit in his uncle Aaron (Mahershala Ali) who encourages Miles’ preferred form of expression: tagging. Aaron and Jefferson apparently had a falling out of some kind and aren’t on speaking terms, so Miles has to sneak around to hang out with him.

It’s partly through sneaking out with his uncle that causes Miles to run into Spider-Man (Chris Pine). While tagging a tunnel in the subway, Miles is bit by an odd looking spider. The next day, he feels off and finds he’s sticking to everything and unable to make sense of it. When he returns to find the spider that bit him he encounters Spider-Man, who is battling with a massive, monstrous, version of the Green Goblin who is working for Wilson Fisk (Liev Schreiber), also known as The Kingpin. Kingpin also employs The Prowler and Tombstone and they’re trying to prevent Spider-Man from destroying a particle accelerator. He will be unsuccessful, and it’s the turning on of that particle accelerator that opens up a rift between the various dimensions which causes other versions of Spider-Man to enter Miles’ world.

Spider-Man may be in the title, but this is a Miles Morales movie.

Most of the movie will then center around Miles and one of the other Spider-Men, played by Jake Johnson. With Miles trying to figure out his own spider-powers, he turns to Peter B. Parker, but unfortunately for Miles this version of Parker is older, out of shape, and not really a good teacher. They need to steal a code from Fisk in order to destroy the accelerator and return Peter to his own dimension. It becomes apparent that they’ll need help though, and gradually more versions of Spider-Man are introduced including Spider-Gwen (Hailee Steinfeld) and Spider-Man Noir (Nicholas Cage). Each time a new one is introduced, they get a little 30 second origin story that all utilize the same concept. It’s both informative and amusing and never gets old.

While a lot of different versions of the classic character appear, the film never loses sight of the fact that this is really Miles’ story. He has to deal with disappointing his father and trying to find his footing amongst a group of people that have all been at this Spider-Man thing for quite awhile. He’s insecure, and unsure of himself. He just wants to be a normal kid, and while we see right away he’s a fan of Spider-Man, it’s not really something he necessarily wants to be. It’s a movie of self-discovery, camaraderie, and family. Most of the villains are simply physical adversaries, though some time is given to Fisk, and yet the film doesn’t suffer because of it.

A good chunk of the movie is devoted to an odd couple pairing of inexperienced Miles with past his prime Peter B. Parker.

The story in the film is well-told, but the major take-away from the film will be its look and style. It’s computer-animated, but there’s a hand drawn quality to everything present not seen in something from the likes of Dreamworks or Pixar. It’s bright, bold, and unafraid to take chances. There’s a sequence where Miles and Peter are stuck via webstring to a subway car and are pulled throughout New York at night. They pinball off of cars, slam into pillars, and slide across windows. It’s a chaotic, visual, experience that never gets out of hand or hard to follow. The finale is even more ambitious as the heroes battle the villains while the accelerator goes nuts and starts sucking in buildings and vehicles from other dimensions with everything suspended in a surreal setting. The film doesn’t need those tricks to be interesting though as even watching Miles walk down the street or emerge from a subway car is visually engauging. Sony stumbled onto something that really works here and I doubt this is the last we’ll see of this style.

There are a lot of big fights and moments in this one, but no matter what there’s always going to be a scene where Spider-Man needs to hide from someone in an amusing manner.

The vocal cast is wonderful with not a bad performance to be found and the music the film turns to is appropriate as well. The film opens with Miles listening to the film’s featured song, “Sunflower” performed by Post Malone and Swae Lee, and the rest of the songs used in the film all sound like something Miles would listen to. It’s heavy on hip hop and R&B, while composer Daniel Pemberton mixes similar concepts within a traditional superhero score. Like the film’s visual, the soundtrack and score meld beautifully with the scenes and characters and it’s hard to imagine the film having a soundtrack that could possibly be more appropriate than what is here.

Spider-Man: Into the Spider-Verse is a technical and artistic marvel in cinema. It’s a film made for the Spider-Man fan, but one that isn’t exclusive to that fan base. The character of Miles Morales is portrayed in such an authentic manner that it’s almost unfathomable to think someone could watch this film and not fall in love with the character of Miles. His journey from typical teen with typical problems to full-fledged Spider-Man could feel too familiar, but the film makes it compelling and interesting every step of the way. It’s also impossible to talk about the film and not mention how important and refreshing it is to see a character of mixed race assume the spotlight in a superhero film. I’m just a dumb white guy, so perhaps my opinion isn’t relevant, but I found it exciting and awesome to see Miles assume the mantel of Spider-Man and make it his own. The message of the film is that a hero can come from anywhere, anyone can be Spider-Man, and it’s a message the film takes to heart. And it isn’t just Miles as we also get a wonderful portrayal of Spider-Woman via the Gwen Stacy character. I’d love to see another adventure from Miles, and I’d also love to see a Spider-Gwen movie because I found her character really compelling as well. Hell, I’d even take a Peter B. Parker movie to see how things turned out for him.

I would love another movie centered on Miles, but if Sony wants to give us a Spider-Gwen I won’t be complaining.

I suspect that given the success of Spider-Man: Into the Spider-Verse that we’re not done with this setting. I don’t expect a sequel to feature dimension-hopping unless it’s flipped and Miles journeys to help another Spider-Man. I think more likely is that a more conventional plot is scripted for Miles. However it happens, it needs to because Miles is too wonderful to only receive top-billing in a single film. I think most who see this film will walk away pondering if it’s their favorite Spider-Man film or close to it. I want to watch it again, but I think I would put Homecoming ahead of it, but it’s not an easy call. This film may be crowded with Spider-People, but it understands Spider-Man and presents what is a perfect Spider-Man story. It may be animated, but it’s paced like a live-action film and definitely isn’t aiming to lure in children, like many animated films developed primarily for a western audience aim for. If you passed on this one because it’s not tied into the Marvel Cinematic Universe or are intimidated by the plot then you made a mistake. There’s time to fix that mistake though and I urge you to do so.

4 Comments | tags: marvel, miles morales, sony pictures, spider-gwen, spider-ham, spider-man, spider-verse, stan lee, superhero movies, superheroes | posted in Comics, Film

March 22, 2019

Batman: The Animated Series – “Bane”

By Joe

Bane title card Episode Number: 75

Original Air Date: September 10, 1994

Directed by: Kevin Altieri

Written by: Mitch Brian

First Appearance(s): Bane

Episode 75 brings us a relic from the 90s: Bane. Bane has always felt like the Omega Red of DC. He’s kind of cool looking, yet also lame at the same time. Both characters were introduced into the comics in the early 90s, then fast-tracked to their respective animated counterparts. In the case of Bane, basically a year elapsed between his debut and this episode’s airing, so it was likely in development not long after Bane’s lore was created. Either as an indictment of that lore, or because things were still in flux, this version of Bane is merely a basic representation of the character from the comics. His look is largely intact, save for the superficial difference of his mask featuring an exposed mouth, and he’ll rely on the serum Venom to augment his strength. Almost everything else is different, and arguably for the better. He’s a mercenary here, rather than a guy tormented by visions of a bat monster, and the episode has no need to dive deep into his origins. So much of Bane’s comic book back story strikes me as ridiculous, and it’s rightly ignored for this episode. It’s just possible the lot of it was ignored or glossed over for time constraints rather than because of its quality.

I guess when you do something like break Batman you get to make the leap from comic to TV rather quickly.

Bane, for all of his problems, is merely here to play the role of physical adversary for Batman. He can overpower Batman with no problem, and unlike a Killer Croc, he’s got brains to back-up his brawn. He’s portrayed as a tactician and takes to the task of destroying Batman in the way an expert hunter would approach its prey. It’s a unique approach for the series as really few have attempted to engage Batman in a similar manner. And for all his strength, Killer Croc has never been much of a problem for Batman in a fight. One could argue his toughest physical foe up to this point has been the ninja Kyodai Ken. Say what you will about Bane, he has a role to play on this show and it’s a role that had not been filled by anyone else.

This episode also marks the beginning of Fox’s third season of the show launched in September 1994. That makes “Bane” the first episode to feature the new opening. It’s set to Shirley Walker’s Batman theme, which some argue is superior to the Elfman theme. Obviously, Walker probably never would have arrived at this sound for her Batman theme without Elfman’s, but it’s a point worth taken. And even though I think this opening is inferior to the original, I do think it’s nice Walker’s theme got a chance to shine.

An old enemy is introduced to Bane.

“Bane” begins inauspiciously at an airport. A rather large man emerges from a commercial flight and finds a car waiting for him. We don’t get a full-frame look at him, but get to see the vehicle buckle under his tremendous weight as he climbs in. Inside is a character we haven’t seen for quite some time. Candice (Diane Michelle), the assistant to Rupert Thorne whom we haven’t seen since “Two-Face,” welcomes the man. He sits beside her and speaks with a Spanish accent. She takes him to her employer, Thorne himself (John Vernon), who is in the middle of a work-out. His coach, in a bid to motivate Thorne to hit the punching bag harder, hits a sore spot when he brings up Batman and gets knocked out as a result. Thorne greets the big man, who we come to know as Bane (Henry Silva), and we find out he’s been hired to take out Batman. The caped crusader recently cost Thorne a lot of money, but he did manage to hang onto a suitcase full of diamonds which he uses to pay Bane. After payment, Bane hands over a newspaper with a cover story on Killer Croc, who recently escaped from Arkham (as we saw in “Trial,” he ended up there for some reason following the events of “Sideshow” in which he was supposed to be transferred to prison), and wants to know how he can find “the reptile.” Thorne isn’t really thrilled to see Bane targeting Croc when he’s supposed to be going after Batman, but Bane explains he wants to see the Batman in action before engaging him.

Rupert Thorne may be the man paying Bane to take out Batman, but we’ll learn that Bane has been looking forward to matching wits with the detective for some time.

Apparently not one to sit around, Killer Croc (Aron Kincaid) has assembled a small gang and is either on the run from Batman and Robin or is in the midst of having a crime foiled. He’s being chased through a construction yard or factory of some kind, a typical nondescript backdrop for the show, and Croc demonstrates his own impressive strength by mangling a series of pipes and tossing them at Batman and Robin, scoring a direct hit. This gives Croc time to flee into the sewer. Wanting Batman to follow, he makes no attempt to hide his escape and is shown waiting in the sewers with a pipe in hand quietly urging Batman to come on in. Behind, the wall smashes in and in comes Bane. He’s dressed like a giant lucha-libre performer (Mexican wrestler) complete with mask and singlet. He announces that Batman is his to destroy, and when Croc retorts with “Over my dead body,” Bane responds with “As you wish.” He flicks a switch on a wrist contraption and a liquid starts pumping from it into a tube connected to the back of Bane’s skull. His muscles begin to bulge and the background turns bright red to heighten the apparent adrenaline rush Bane receives. He grabs Croc by the skull, his hand now large enough to palm it effortlessly, and shoves his head underwater.

Killer Croc gets a look at Bane, now in full wrestling-inspired attire.

By now, Batman and Robin have entered the sewer and we can hear the sounds of Croc being pummelled, Bane apparently not content to merely drown him. He soon floats into sight, but Bane is gone. As the two haul Croc out of the sewer, Robin wonders if there’s a new vigilante on the block while Batman remains silent. They arrive at the Batmobile to find it’s been smashed. It’s there Batman agrees with Robin that whoever stopped Croc is tough because he notes the damage to the Batmobile was done with bare hands.

Later on, Batman pays Croc a visit at Arkham where he’s looked better. His head is bandaged and he has a broken arm and leg both of which are being suspended by slings on pulleys. Batman wants to have a chat, but Croc is in no mood. Batman basically uses some mild torture by messing with the pulley which is enough to make him sing. Croc tells him about Bane, in particular about the drug that pumps him up, and also taunts Batman a bit as he’s convinced Bane will snap him in two once he gets his hands on him. Batman doesn’t seem too concerned and departs with a, “Later gator.”

At the Batcave, Robin is working on the Batmobile while Batman is at the computer. Alfred comes strolling in (feels like we haven’t seen him in awhile) and mentions something about Bane to Batman who makes a quip about it being personal now that he totaled his car (Batman is on point with the jokes so far). Batman, having heard enough from Croc, already knows everything there is to know about Bane as his computer reveals all. Bane is the only man to escape from some notorious prison in Cuba. It was there he was experimented on with the substance that will be identified as Venom. Since escaping, Bane has fashioned himself into a merc for hire, and a real expensive one at that. His price starts at 5 million a job, and when Batman questions who has that kind of money and a desire to kill him Alfred hands him a newspaper (this again?) that inexplicably has a headline that just reads Rupert Thorne.

Robin must not have been very good at hide and seek.

At Thorne’s office, Candice is seated with Bane while he does curls with a massive dumbbell. Earlier, Thorne had offered Bane the “services” of his assistant and Bane appears to be taking full advantage of said services. Candice tells him that he could own this city, and she, once he takes out the Batman. When he asks her about her boss, she just says “accidents happen,” and plants a kiss on his exposed lips. Thorne then enters and Candice takes her leave. When Thorne casually says “He’s out there, Bane,” referring to Batman, Bane respond with a “Closer than you think.” Across the way, Robin has been eavesdropping the whole time and recording the conversation too. As he’s putting his equipment away he notices Candice leave in her own vehicle and the Batmobile then appears and follows her. Behind Robin, a red-eyed shadowy figure emerges and starts racing up behind Robin. He spins around at the last second to find Bane. He dodges Bane’s attack, but soon finds himself in his clutches. As Bane dangles him over the ledge, Robin is able swing between Bane’s legs and upend the big man. He wisely doesn’t try to pick a fight with Bane and flees to another rooftop. He hides behind some ventilation as Bane walks by, but when Robin tries to sneak away Bane is there to wrap him in a bear hug. He turns his back to the camera so we don’t see Robin get choked out. When he turns back around he’s cradling an unconscious Robin in his arms and makes a remark that he may prove useful to him as he walks off.

It would be sweet had he not just choked Robin out.

Batman has followed Candice back to her apartment. He enters and confronts the woman about Bane. She seems rather casual and plops herself down on the couch to watch cartoons (surprisingly, not another Warner cartoon) while Batman yaps on. She then tells him he has no chance against Bane. He’s studied him since he was in prison and is obsessed with taking him down (a slight nod to Bane’s comic origin, I suppose). As she goes on, the phone rings and she tells him that it’s probably for him. Batman answers and it’s Bane, who lets him know that if he were a sniper he’d already be dead. He then threatens to get him by getting to whom he values most. Batman is alarmed and looks out the window to see Robin’s shirt and cape draped over an antenna on a rooftop across the street. In an action that was actually amusing to me, Batman smashes Candice’s window rather than open it so he can fire his grapple gun to retrieve Robin’s garment. A note is affixed to it with Robin’s apparent location on it.

The note instructed Batman to head to a wharf where a ship called The Rose’s Thorn is docked. I don’t know if it’s Thorne’s ship or if Bane picked it because it reminds him of his employer. There Robin has been chained up with a massive weight chained to his ankles. Candice managed to beat Batman there and tries to remove Robin’s mask, but Bane stops her for no apparent reason. Robin is then lowered into a pool on the ship that has water pouring in. Soon enough he’ll be underwater with no apparent way to escape.

They should have just gone all-in and hired Jim Ross to do commentary.

Batman arrives to see Robin and goes for him, but Bane soon announces his presence from the top of a mast. He activates the Venom and jumps down, the camera shaking as he lands on the deck. Batman is tentative, but goes in eventually. The fight turns into a faux wrestling match with Bane no-selling Batman’s strikes as if he were The Undertaker. He tosses Batman into the ship’s railing, which cartoonishly bends like wrestling ring ropes allowing Batman to rebound off of them into a massive clothesline from Bane. Batman gets up and uses some lucha-libre of his own with a series of head-scissor takedowns on Bane. Eventually, the enraged behemoth just catches Batman and heaves him into a bunch of crates. Among the rubble, Batman finds some device which turns out to be a grappling hook gun. He plunges it into Bane’s midsection and fires catapulting the villain from the deck to the water below.

With Bane out-of-the-way, Batman races to Robin’s aid and finds the water level has reached his chin. He dives in and starts prodding at the chains around Robin’s wrists, but the boy wonder quickly directs Batman to the weights on his ankles. Batman goes under water and finds the chains padlocked. Expecting him to go to his belt for something to break the lock or chain with, Batman surprises me by pulling out a set of keys. Did he remove them from Bane during the fight? He frees Robin, but while Batman is busy Bane re-emerges behind Candice, who looked like she was about to flee.

This isn’t the fight we were promised.

Bane waits for Batman to climb out of the pool before grabbing his head and tossing him. He merely kicks Robin back into the water, apparently not at all concerned about him. From the water, Robin spies Candice and beckons her into the water. For some reason she obliges, tossing aside her red pumps (but not her jacket) and dives in and the two start wrestling with each other. Likely owing to the show not wanting to show Robin assaulting a woman, Candice is shown to have the upper hand immediately.

The animators at Dong Yang utilized a red background for some of Bane’s Venom scenes, which is pretty effective.

On the deck, Batman and Bane have resumed their fight. Batman, apparently running out of ideas to confront this beast, tosses a Batarang at Bane who catches it. He crumples it in his hand and taunts Batman for trying to fight him with toys. Now clearly with the upper hand, Bane methodically beats on Batman though the camera is careful not to show anything particularly gratuitous. He grabs Batman by the shirt and demands he scream his name, but of course Batman isn’t about to do that. Looking to end the fight, Bane lifts Batman over his head and announces that he will break him. He assumes another classic pro-wrestling position, that of the backbreaker. It’s at this point those who were familiar with Bane’s presence in the comics may have actually fallen for the tease. In the books, Bane does indeed break Batman’s back across his knee, but he won’t be so lucky here. Batman, holding onto the mangled remains of his Batarang, uses it to stab the pump on Bane’s wrist. This causes it to go haywire and continuously pump Venom into Bane’s noggin. He drops Batman and starts freaking out as he can’t control the Venom. His muscles keep increasing and we return to the red background to focus in on Bane’s face. The red lenses over his eyes pop off as his eyes bug out and the whole sequence is rather freaky. He’s in obvious pain and in a state of panic, but he also is in a state of disbelief that he could be defeated. Taking apparent pity on him, Batman rips the tube out of Bane’s head causing the massive man to collapse and begin returning to a normal size. At the same time, Candice climbs out of the water with Robin right behind her. She takes off running and Robin is prepared to go after her but Batman stops him since he knows where she’s heading.

Batman’s mercy.

Batman drops by the office of Rupert Thorne on his way home. A still soaking wet Candice is cowering behind her boss’s chair as Batman presents the defeated Bane. He mocks Thorne as he pulls off Bane’s mask to reveal a baby-faced man beneath it who lets his head slam onto the desk. Still in a pretty good mood, Batman whips out a tape player and lets Thorne know he has a new release and even gives it a title, Better Luck Next Time. It’s the recording Robin made of Candice propositioning Bane where it’s insinuated they were going to knock-off Thorne. Batman then takes his leave while Thorne roars “Candice!”

And that’s all she wrote for Bane. He won’t show up again until the made for television move Mystery of the Batwoman which is part of The New Batman Adventures. I suppose it’s not surprising since Batman would be able to beat him the same way, kind of like how X-Men ruined The Juggernaut by revealing the blueprint for beating him in his first appearance. It’s also the final appearance for Candice, which is actually a little menacing. Did Thorne have her killed? If he really is a ruthless criminal he probably would. My guess is we’re supposed to assume she was fired. The ending scene feels like it’s played for laughs, but she just got caught plotting to have Thorne killed. He’s not going to let that slide.

The baby face beneath the mask.

The whole tone of this episode is really amusing to me, though not necessarily in a good way. Mitch Brian is the writer, and he previously wrote “On Leather Wings” and “P.O.V.” which were not particularly humorous. For this one he really went all-in on the wrestling motif of Bane with the fight scene especially looking silly. I like wrestling, but Batman rebounding off of steel railings like they’re ring ropes was pretty over the top and it takes me out of the scene every time. Batman is also jokey, which is unconventional, though his dry delivery to Alfred helps sell his car line. The “Later gator” line is way more playful, and pretty out of character. Not offensively so, but it is jarring. I wonder if some of the humor was intended to soften the menacing undertones of the episode where a contract killer is out to get him.

The way Bane is made a fool of, and subsequently not utilized again, leads me to the conclusion that the staff wasn’t too high on Bane. Was he forced upon them because of Knightfall? I don’t know if anything was necessarily mandated upon, but it wouldn’t surprise me if they were encouraged to do Bane in season two. He’s fine, and the episode largely is as well. He’s not one of Batman’s greatest foes, but at least he’s not a big, dumb, strong man like so many similar villains. He didn’t need to come back, and I’m fine with this being his lone appearance. Not to be forgotten, this also marks Killer Croc’s final appearance in this show. Unlike Bane though, he’ll return in The New Batman Adventures where a reboot is sorely needed. He’s turned into a silly character who isn’t a threat to Batman despite his appearance. Most of all though, I’ll actually miss Candice. She’s just so nasty and a natural bad girl that it’s a shame she and Thorne were separated. It might have been fun to see her resurface with one of Thorne’s rivals down the road, but alas it was not to be, so pour one out for Candice.

3 Comments | tags: aron kincaid, bane, batman, diane michelle, henry silva, john vernon, killer croc, robin, rupert thorne | posted in batman the animated series, Comics, Television

Recent Activity
Categories
Categories
Vital Signs
- 698,892 hits
Search
Email Subscription

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Email Address:

Join 306 other subscribers

The Nostalgia Spot

Author Archives: Joe

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Recent Activity

Categories

Vital Signs

Search

Email Subscription