Category Archives: Comics

Batman: The Animated Series – “The Underdwellers”

The_Underdwellers-Title_CardEpisode Number:  6

Original Air Date:  October 21, 1992

Directed by:  Frank Paur

Written by:  Tom Ruegger

First Appearance(s):  The Sewer King

For a long time, children’s shows were required to have some education content. That’s why we have such memorable segments from G.I. Joe with one of the Joe’s letting us know that “Knowing is half the battle.” These standards were either omitted or relaxed by the time the 90s rolled around, but this episode of Batman feels like it could have been made in the 80s.

The episode opens with a couple of kids playing chicken by riding on the roof of a train. Whoever bails first loses. Batman takes note and swoops in to put an end to such foolishness, and it’s a good thing too because one of the kids gets his foot caught on some cables and might have perished had he not. The boys are admonished by Batman with the line, “Play chicken long enough and you get fried.” See, Batman doesn’t just fight crime!

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Batman says, “Thumbs up, dude!”

Shortly after, a woman is robbed by a little person wearing a green cloak, prompting her to declare she was victimized by a leprechaun. Batman oversees this but is unable to catch the culprit, but seems to be buying her description for some reason. This even leads to a scene at the Batcave with Bruce asking Alfred if he thinks he’s crazy for claiming to see a leprechaun. Alfred smartly responds with sarcasm, before Batman heads out for further investigation. He ends up finding a secret entrance to Gotham’s sewer system, where he finds his leprechaun:  a young boy who’s apparently been living down there. For some reason, Batman deems it necessary to take the kid home with him and have Alfred look after him. I have no idea why he doesn’t bring him to the police and continue nosing around in the sewers, and sadly Alfred doesn’t question Master Bruce.

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This is The Sewer King. He sucks, though Michael Pataki gives a pretty good performance, all things considered.

The real reason for bringing the kid back is likely to pad out the episode as we get to watch Alfred struggle through a day trying to wash the kid, feed him, and even get him to do some chores. He’s a mute with a dislike of sunlight. In a separate scene we learn his name is Frog via his surrogate father:  The Sewer King. The Sewer King (Michael Pataki) is never named in the episode, and his name only appears as graffiti throughout the sewers. He’s some kind of madman dressed kind of like a pirate (complete with the eye patch) who has some obedient pet alligators to make him seem menacing. He also lords over a bunch of orphaned children who do his bidding. They’re forbidden to speak, and are only allowed above ground to steal for him. He’s cruel, but only emotionally. Apparently Standards & Practices wouldn’t let him be physically cruel to the children, which probably would have added more menace to the character. He’s enraged when a child other than Frog brings him his rolls for his dinner, and as the tired and malnourished children look on, he throws the food on the ground and sends them all away to find Frog.

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The Misadventures of Frog and The Butler

Meanwhile, Frog finds Bruce’s room full of antique weapons and plucks an old rifle off of a display. Batman shows up and is quick to remind the audience that children and guns don’t mix. Hey Bruce, I don’t disagree with that sentiment, but if you want to keep guns out of the hands of children maybe don’t just casually hang them on your wall within reach?

Batman and Frog head back to the sewers, where Batman is finally able to confront The Sewer King. He gets to do battle with the gators, and even dislocates the jaw of one of them in unrealistic fashion, but you don’t need me to tell you that Batman isn’t losing to some guy named The Sewer King. When he does finally catch The Sewer King, Batman implies he’s really tempted in this instance to take his life which apparently director Paur felt was necessary in establishing that Batman is a friend to all children.

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Shots like this are probably what caused Bruce Timm to declare it too anime-like in appearance, but I do think it works in places and love the blacks and blues seen here.

This is probably not a well-remembered episode of Batman. It deals with a D-level villain who will never resurface and is clearly aimed at just connecting Batman with a young audience. That said, I don’t feel it’s necessarily written poorly, I just wish it wasn’t so hammy with the lessons. The opening scene exists only for the show to make the statement that riding on top of trains is a bad idea, which feels like something that doesn’t need stating. If those kids were somehow followed-up on at the episode’s conclusion maybe it would have been worthwhile. Instead it feels like an episode that had a 15 minute story, and that scene, as well as Frog and Alfred, needed to be added to add more time. Though I should say, the scenes with Alfred and Frog might be the best of the episode as they are kind of funny, and the villain is so hard to be invested in that those lighter scenes end up working better.

Visually, Bruce Timm expressed dissatisfaction with the episode, saying it too resembled anime. I can kind of see that in the design of the children, but the episode is actually animated rather well. Better than the previous episode, “Pretty Poison.” The lighting in the sewer, something which could have proved challenging, looks great and I felt Batman’s movements were noticeably smoother than they’ve been in some of the other episodes.

There’s no covering up for a mediocre antagonist, and while The Sewer King is easy to root against, he’s also hard to take seriously. With the way these episodes are structured, when the villain stinks the episode tends to follow which is why “The Underdwellers” is probably nobody’s favorite episode. I should add though, I was not looking forward to re-watching this episode for this feature, but I ended up enjoying it more than I thought I would, some of that was ironically. Still, probably not my least favorite episode of season one.


Batman: The Animated Series – “Pretty Poison”

Pretty_Poison-Title_CardEpisode Number: 5

Original Air Date:  September 14, 1992

Directed by:  Boyd Kirkland

Written by:  Paul Dini, Michael Reaves

First Appearance(s): Poison Ivy, Renée Montoya

“Pretty Poison” is another early production episode that’s confident to give viewers a lesser villain rather than a heavy hitter. As the title implies, this episode is the introduction of Poison Ivy (Diane Pershing) and she’s debuting as a new villain, not as one with a prior relationship with Batman (so far, only Joker has been introduced as an already existing villain) making this an origin story for her. Also central to the plot is Harvey Dent (Richard Moll). We saw him briefly in the pilot “On Leather Wings,” but this episode is really his introduction to the audience.

The episode opens in black and white as we see a pair of hands saving a wild rose from being torn up to make way for a new prison in Gotham. An old news broadcast serves to provide a framing device for this prison as it’s the brainchild of Gotham’s new district attorney, Dent, with considerable financial backing from some guy named Bruce Wayne. The show uses colored images to take us to the present, five years later, and a current prisoner of that fancy new establishment is making an escape with the help of a helicopter. This sets up a fun little back and forth where we’re shown scenes of Batman going after this guy and a scene of Dent enjoying dinner with a dashing redhead. They’re waiting for Wayne, and we get some humorous comments from Dent about his boring buddy who is always late while Batman is shown doing mostly Batman things. It’s a scene that will basically be adapted for the first Spider-Man movie.

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Bruce meets Harvey and his new girlfriend Pam for dinner.

Bruce eventually shows up at dinner, having thwarted the escape, and is introduced to Dent’s fiancé, Pam Isely. After she gives him a long, lingering, kiss she departs and Bruce begins to caution Dent on moving too fast (he’s only known her a few weeks). Dent begins to complain about not feeling well, and then passes out into his pudding and Gotham PD is alerted. Dent’s been poisoned, and Wayne naturally is on the case as Batman.

Through the use of his awesome computer, Batman discovers the poison is derived from an extinct species of rose. He also learns that Dent’s new flame is a botanist, who is currently giving a lecture on extinct plants. You would think Batman’s villains would be more careful? Anyway, it’s pretty clear who’s behind the poisoning and Batman confronts Isley, who’s hopped into a backless green outfit with a wrist-strapped crossbow and is now calling herself Poison Ivey. She has some sentient plants that do her bidding and basically makes it clear she values the life of the plant Dent drove into extinction by building his prison (apparently Gotham has a bad environmental works department) more than the life of Dent. I can’t help but wonder if Ivy was created by someone who thought vegetarians were crazy and that they valued animal life more than human life and decided to make a more extreme version?

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I always thought Poison Ivy’s mini crossbow was pretty cool.

Nonetheless, this is a good episode with some pacing problems. I really enjoy the setup, and it’s great that we get to see the Bruce/Harvey friendship before a different tragedy befalls the Dent character. I like that Isley is not too on the nose at first. While it’s not hard to figure out who poisoned Dent, it’s handled about as well as it can be. Ivy does come across as a bit incompetent, even basically just giving up in the end after almost losing her precious plant. It’s always a challenge to put Batman at odds with a female because the censors don’t want Batman handling them in the same manner he would The Joker, but Ivy’s plant monsters work well to take a beating and they’re pretty cool looking. I can’t help but think this episode would have benefitted from being a two-parter though, as it wraps really fast. A second part would have allowed for the introduction of some red herrings to make things seem less obvious leading to a better pay-off in the end.

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Given how Ivy’s feminine features are very much a part of her arsenal, I really hope that mutant plant isn’t supposed to be representative of a certain part of the female anatomy.

Visually, this is a solid episode. There’s some stiff animation at times, but I liked the artistic take of utilizing black and white and color as a way to distinguish the past and present. Batman gets a little beat up too which is always kind of fun to see. There’s also a little visual humor as we get Gordon and his subordinates racing out of the police headquarters when that unnamed prisoner attempts a break-out repeated when they find out Dent gets poisoned. Both times Bullock is just trying to enjoy some donuts because he’s a cop, and he’s fat. Cheap humor, but for some reason it made me laugh a bit when the scenario was repeated. Alfred also gets some nice lines here, and he’ll be even better in the next episode, making him a dark horse early favorite for season MVP.

This episode is a good introduction for Poison Ivy, who could be considered one of the break-out players from this series. Prior to The Animated Series, Ivy wasn’t a big player in the comics, but this series treated her as Batman’s #1 female adversary (it would mishandle Catwoman, coming later), and yes I realize this is the show that gave us Harley Quinn. Without this show, she probably isn’t a featured villain in Batman & Robin, which was a pretty big moment for the character, even if the film is trash.


Batman: The Animated Series – “The Last Laugh”

The_Last_Laugh-Title_CardEpisode Number:  4

Original Air Date:  September 22, 1992

Directed by:  Kevin Altieri

Written by:  Carl Swenson

First Appearance (s):  Batboat, Joker Gas

Despite the finality of the title, “The Last Laugh” is not the last appearance of The Joker, Batman’s greatest foil. While The Joker’s first production appearance in “Christmas With The Joker” featured a pretty slap-stick version of the character, The Joker depicted in “The Last Laugh” is a bit more dangerous and more in-line with his future appearances. Even though “The Last Laugh” marks The Joker’s second appearance in the series, it still isn’t the first appearance the character would make on television as we haven’t come to his broadcast debut yet. This is also the second holiday themed episode of the show, in this case April Fool’s Day, though thankfully The Joker would refrain from only appearing on holidays.

April Fool’s Day has arrived in Gotham, and with it a barge full of garbage is sailing down a canal in the city sending a foul order through-out that also happens to make all who inhale burst into uncontrollable laughter. This is obviously the work of The Joker, and our hero makes the same connection just as quickly as the viewer when the news reports break. Strangely, Batman doesn’t actually set out to put a stop to this until the gas creeps into Wayne Manor, turning Alfred (now voiced by Efrem Zimbalist Jr.) into a destructive force as he happily smashes various objects around the mansion.

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Joker, breaking the fourth wall, declares “When the going gets tough, the tough go shopping,” which is a line I can’t decide if it’s just not funny, or intentionally not funny.

Meanwhile, Joker and his goons are galavanting around Gotham happily looting stores and emptying the pockets of those who are paralyzed with laughter. Unlike other depictions of Joker’s famous Laughing Gas, this version appears to only induce laughter without the fatal component; appropriate for a kid’s show. Batman eventually tracks down the barge with the debuting Batboat, which also appears to function as a submarine (surprisingly, it does not resemble the Bat Ski-Boat from Batman Returns) when needed. Batman is forced into conflict with Joker’s henchman, where one turns out to be not a henchman at all, but an android that is able to surprise and overpower Batman. Captain Clown, as The Joker affectionately refers to his robotic minion, stuffs Batman in a trashcan with a lockable lid and tosses it into the bay, but not before Joker stabs a few air-holes in it. Batman, naturally, avoids death by drowning and tracks the Joker down to a waste management facility where he dispatches with the goons, and eventually corrals The Joker himself.

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The Joker always brings out Batman’s playful side.

Despite the title, this episode is some-what short on laughs as writer Carl Swenson seems to view The Joker as the type of comedian who just makes bad jokes that only he finds funny. While it may not be all that humorous, the visual style is exceptional. There’s some wonky animation early in the episode with Bruce and a shower scene (not as sexy as it sounds), but after that the rest is gorgeous. The initial fight scene between Batman and The Joker’s men features Batman ably darting around and throwing punches. Captain Clown, being a robot, allows for Batman to really tee-off on him in a manner the censors likely wouldn’t allow had the character been human. He even gets to smash him repeatedly in the head with a steel pipe, the clown’s frozen expression is probably rather creepy for those who hate clowns. Batman’s eyes are also allowed to emote in their most expressive manner yet as they’re constantly changing shapes to show fear, worry, and even dizziness. Joker is allowed to get serious and even a little scary when he reacts to Batman “killing” Captain Clown. There’s also a fun playful moment at the end between Joker and Batman, and Bruce even gets to make a joke to close the episode out at Alfred’s expense. The only other criticisms I can levy at the episode from a technical perspective is one shoddy-looking Batman chest emblem at the 9:40 mark and the abundance of eye black on The Joker, which at times makes it look like he’s wearing a bandit mask. The animators also, at times, appeared to have trouble with Joker’s mouth movements. Either that, or they re-recorded some lines after the fact. I’ll have to be on the look-out for this in future episodes featuring The Joker.

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I’m not sure he’d still be smiling if he could help it.

Not to be outdone, the audio section of the episode is particularly lively this time around. Normally, the show can be a bit understated, relying on the Batman theme for its big moments. Joker has his jubilant theme which the series will return to time and again, and this episode has its own unique opening theme that’s really good. It has a nice build and I wish the show had returned to it more in other episodes, but then maybe it wouldn’t be as special.

This is a very good episode for the series, even if it probably isn’t among the very best. It’s harmed some-what by the mostly directionless Joker who has no real motivation here other than to rob Gotham. The show kind of does that sometimes with him as his primary goal appears to just be to stir up trouble and draw Batman out. Maybe I’d feel satisfied if we saw Joker just casually toss all of the stolen goods into the pile of garbage and not really care about it. Instead we don’t really see it at all. Even so, The Joker is easy to write as he’s Batman’s polar opposite so as long as the two get to share some screen time the results are typically entertaining.


Batman: The Animated Series – “Nothing to Fear”

Nothing_To_Fear-Title_CardEpisode Number:  3

Original Air Date:  September 15, 1992

Directed by:  Boyd Kirkland

Written by:  Henry T. Gilroy and Sean Catherine Derek

First Appearance (s):  The Scarecrow, Thomas Wayne

Episode 3 of Batman:  The Animated Series introduces us to what is probably the standard episode template. A physically unimposing villain with a gimmick shows up to cause some sort of havoc while leading a gang of incompetent muscle who mostly exist just to get pummeled by Batman. That’s not necessarily a criticism as its a format that works just fine so long as the main villain is interesting enough.

Enter The Scarecrow (Henry Polic II), a costumed villain armed with a fear-inducing toxin and a grudge. The Scarecrow will see a redesign later this season, but for his first appearance he’s uniquely toon-like with a tear-drop shaped masked head that’s not at all indicative of the shape of the skull beneath it. His eyes, like Batman’s, are void of pupils and his head will curve in natural ways. He’s rail-thin with claw-tipped fingers with a rather ordinary looking attire to go with it. He’s fairly creepy looking, probably because of the unique shape of his model. His future version will add pupils and a more natural shaped head as well as teeth to the hideous moth and some straw hair. This original version is basically the under-stated version, though I like it, despite the simplicity.

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The Scarecrow as seen in this episode. He will undergo a redesign before his next appearance in “Fear of Victory.”

This episode also introduces us to the Bruce Wayne character by showing us how some in the public view him. The episode opens with Gotham University head Dr. Long (Kevin McCarthy) fretting over a recent crime wave impacting the school and being chased down by Summer Gleason for comment. A chance encounter with Wayne, in which Long refuses to shake his hand before admonishing him, shows us that some view Bruce as just some billionaire play boy not living up to the Wayne name. It’s an aspect of the character that’s really not going to be explored much outside of this episode, but I’m glad it’s at least touched upon here. The comments naturally sting Bruce, even if his actions as Bruce are just an intentional cover for his Batman persona.

Batman soon has his first encounter with The Scarecrow, who appears to be robbing a vault on university grounds but may in fact just be looking to harm the university by any means. He’s able to show off his toxin, first on a hapless guard and then on Batman himself. Dr. Long’s words come back in a big way by unveiling to the viewer that Batman’s greatest fear is that he’s letting his parents down. The Scarecrow escapes, but the effects of the toxin linger throughout the episode. It’s not until the climax, where Batman being confronted by a vision of his dead father as a giant skeleton, utters his most famous line from this show:  “I am vengeance! I am the night! I. Am. Batman!” It’s a bit corny, but I know at the time I thought it was awesome and it’s a still a fun little catch-phrase for Batman.

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That’s probably not how your dad wants you to remember him looking, Batman.

Batman naturally figures out The Scarecrow’s identity as that of Johnathon Crane, a former university employee specializing in fear. I should say, Batman’s computer figures out who Scarecrow is in what is easily my biggest pet peeve with this show. Batman’s computer basically knows everything and responds to voice commands in 1992 better than Siri does in 2017. The computer is often the detective with Batman taking all of the credit.

There are some fun little easter eggs in this episode. When Batman is confronted by Bullock after Scarecrow escapes, Bullock refers to him as Zorro with a mocking tone. Zorro is often cited as the real-life inspiration for the Batman character, although the in-universe inspiration will be established later. Also, when Batman is looking at a list of possible sources of The Scarecrow’s mask, Axis Chemicals pops up which is the same name as the chemical plant from the Batman movie that gave birth to The Joker. The vault guard from early in the episode is also seen reading an issue of Tiny Toon Adventures, and enjoying it immensely.

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If this is how everyone on Scarecrow’s toxin would view him, then maybe Batman should start arming himself with it.

Plot wise, this is the best episode so far and The Scarecrow is an interesting villain in his own right. Unfortunately, it’s a low point for the animation quality of the program. I already covered the minimalist approach taken in designing The Scarecrow, but also the character just animates unnaturally. Bruce looks especially off-model in his appearance early in the episode and we get a really bad shot of the Batmobile at one point, as well as the first instance of bendy Batmobile. The vault guard who is the first affected by The Scarecrow’s fear toxin hallucinates spiders all over his body, which strangely only appear to have four legs apiece. On the plus side, I like the added stubble on Bruce when he’s in the Batcave essentially withdrawing from The Scarecrow’s fear toxin. His hands are shaky as he tries to pick up a picture of his parents and he looks appropriately disheveled. There’s also a nice bit of artistic licensing in the closing shot of the episode where Bruce’s shadow is cast as Batman.

This is a good episode, and for a lot of kids this was probably their first look at The Scarecrow. He’s a unique villain who has a good look that gets better and his fear toxin is a fun weapon for the writers to play with. He’ll actually be one of the most used villains by the show which is a bit surprising on the surface, but his episodes tend to deliver which is why the show runners kept returning to him. Also of note, we get to see Batman actually driven to strike Bullock over his mocking, heightening their rivalry. We also get to see one of The Scarecrow’s henchmen, after being exposed to the toxin and revealing his fear as returning to prison, basically kill himself by jumping out of a zeppelin rather than risk capture by Batman. He lands on some trees with a nice leafy canopy. The censors probably intended for us to think those leaves cushioned his fall, but I’m not buying it. That guy is dead. This is also the last episode for Clive Revill as Alfred who will be recast. We hardly knew ye, Clive.


Batman: The Animated Series – “Christmas With The Joker”

Christmas_With_the_Joker-Title_CardEpisode Number: 2

Original Air Date: November 13, 1992

Directed By: Kent Butterworth

Written By: Eddie Gorodetsky

First Appearance(s):  Robin, Joker, Summer Gleason, Arkham Asylum

An interesting choice for a second episode of a series. It’s a Christmas episode, which feels kind of inline with Batman thanks to Batman Returns. It’s also the debut of The Joker, and introducing him through a Christmas themed episode also feels odd. Naturally, since the show premiered in September this episode was held back to be more topical when it did eventually air, though its original air date still came before Thanksgiving which still feels off.

In this episode, we are immediately introduced to The Joker, who with other inmates at the famed Arkham Asylum, is decorating a Christmas tree and singing “Jingle Bells.” In a moment that would probably now be described as “metta,” Joker adds in the “Batman smells,” variation which probably delighted 8 year old me at the time while he improbably blasts away on a rocket-powered Christmas tree just as he arrives at the “and The Joker got away,” part of the song. Right away, we see this episode isn’t going to care much for realism as Joker is going to quickly establish lots of unique traps and engineer a few kidnappings in a short amount of time with zero explanation on how he accomplished any of that. And unlike many of the villains who will follow, this is not a depiction of Batman’s first encounter with The Joker. It’s pretty clear that the two have a relationship that predates the events of this show and have been at this game for years, assumedly, just as this isn’t Robin’s first foray into crime-fighting even though it’s his first appearance in the show (we’ll get to see his origin later).

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The Joker’s humorous, but improbable, escape from Arkham.

Batman is naturally unnerved by The Joker’s Christmas break-out, while Robin (Loren Lester) thinks even villains prefer to spend the holidays with family. Batman is quick to remind him that The Joker has no family. Naturally, Batman is right and when Bruce Wayne and Dick Grayson sit down to watch a television broadcast of It’s A Wonderful Life they soon find the airwaves taken over by The Joker. Joker has kidnapped three pretty important figures in Gotham:  Commissioner Gordon, Detective Bullock, and television news reporter Summer Gleeson (Mari Devon). Joker, lacking a family to spend the holidays with, has dubbed this trio the Awful Lawful Family and given them personalities of Mommy, Daddy, and Baby (Bullock gets to wear the adorable bonnet). They’re hog-tied, and presumably in danger, as are other citizens of Gotham.

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The Joker and his “family.”

Joker lays some traps, including taking out a railroad bridge and arming an observatory with a giant cannon, all while tormenting his captors in a mostly PG sort of way on television. His use of a discontinued toy is what clues Batman in on the fact that The Joker must be housed in an abandoned toy factory and he and Robin race to the rescue. They have a mostly slapstick encounter with The Joker and his toy-themed gadgets, and Robin even gets to make a pretty terrible bat pun when Batman makes use of a baseball bat. The ultimate goal of The Joker’s crime is to get Batman to open a Christmas present from him, and it’s genuinely amusing and makes The Joker look like a psycho, albeit a G-rated one, and I kind of appreciated that fact.

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Merry Christmas, Batman.

“Christmas With The Joker” is a middling episode of this series that’s neither great nor bad. It’s hamstrung somewhat by the Christmas theme and just feels inappropriate as the debut for The Joker. Of course, if I were going in broadcast order it wouldn’t be The Joker’s debut, and those of us watching at the time were introduced to the character in a better fashion. As the debut of The Joker though, it still is a fine reception for Mark Hamill in his second most famous role. His Joker is often regarded as the best voice for the character. It’s mostly goofy and fun, especially in this episode, but when he needs to get a little more malevolent he can slip into a darker tone with ease. And his laugh is brilliant.

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Not to be forgotten, this episode also marks the first appearance of Robin.

As a Christmas episode, I will give this one props for not being an adaptation of a more popular Christmas story. At first, I was afraid it would go in a It’s A Wonderful Life direction (a non-Christmas episode kind of will much later this season) when Robin name-dropped the film, but it thankfully did not. I do hate how Gordon and Bullock are just assumed kidnapped, and the episode is too eager to “yada yada” over such details. It’s the only episode written by Eddie Gorodetsky, and if he could do better it’s too bad he didn’t get a chance to show it. For a show that does a good job of elevating what children’s entertainment could be, this one feels too close to the cartoons of the 80s which treated its audience as imbeciles. It’s not as bad as those old shows, but definitely lacking when compared to future episodes. I’m probably being a little too hard on it, as even this mostly serious show is entitled to just have fun now and then. It’s still a worthwhile episode to toss into your Christmas viewing experience though.


Batman: The Animated Series – “On Leather Wings”

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The series features great title cards for each episode. I like the simplicity of this one quite a bit.

Episode Numer: 1

Original Air Date:  September 6, 1992

Directed by:  Kevin Altieri

Written by:  Mitch Brian

First Appearance(s):  Batman, Alfred, Commissioner Gordon, Detective Bullock, Man-Bat, Kirk Langstrom, Francine Langstrom, Dr. March, Mayor Hill, Harvey Dent,

On this day 25 years ago, Batman returned to television with a show simply titled Batman. Almost immediately, the show came to be recognized as Batman:  The Animated Series and is even referred as such on the DVD volumes released much later. When it premiered, Batman was riding high on a new wave of popularity thanks to two Tim Burton directed features:  Batman and Batman Returns. Batman had returned to his more brooding roots and away from the camp of the television series from the 60s starring Adam West (RIP). And while the Batman of this new show would more closely align himself with Michael Keaton’s portrayal than what was featured on various incarnations of The Super Friends, it was still an animated show featured on Fox Kids that would appeal to a general audience.

Before Christopher Nolan came along, the Batman of this cartoon series (voiced by Kevin Conroy) was often cited as the preferred Batman above all others to escape the comic books. And for a great many fans, it still is. Batman:  The Animated Series tackled mature stories and treated its legendary hero with respect. Primarily the work of Bruce Timm and Paul Dini, it has become a landmark for animated television and is often considered the best comic-book adaptation to ever grace a television set.

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In the series’ first episode, Batman tackles an unfamiliar foe to most of the audience.

To celebrate 25 years of Batman:  The Animated Series, I’m going to take a trip through each episode in short write-up reviews. The posts will be in production order, so even though the series premiered with “The Cat and the Claw Part 1,” the first post is for “On Leather Wings,” which was the second episode to debut. The air dates are all over the place, as Batman’s first season was a 65 episode order designed to immediately qualify it for syndication. It was successful enough that more episodes were ordered (these are The New Adventures of Batman & Robin) and WB would order a third and final season many years later (The New Batman Adventures) to pair with their Superman animated series. I intend to get to all of them, including The New Adventures, though I have no idea how long it will take me. Hopefully I can refrain from typing 2000 words about each episode in order to move along at a decent pace.

With that out of the way, let’s talk about the first production episode “On Leather Wings.” This is a natural for the first episode because it’s a Batman solo adventure and does not feature a noteworthy villain who will hog the spotlight. This show very much follows a villain of the week/day type of format. There’s very little continuity from episode to episode and few callbacks, especially in the first season. This particularl episode was directed by Kevin Altieri and written by Mitch Brian. It’s sort of a surprise that Dini and Timm aren’t directly credited with the first episode, but since 65 were done at once I suppose it doesn’t matter much which is first. That and they also likely had a hand in just about every episode from some point in the development. Altieri will direct several episodes in this first season. Brian is credited as a co-creator on the show, though he only shows up a couple more times as a story writer.

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Commissioner Gordon and Detective Bullock, who will make many appearances in this show.

“On Leather Wings” feels like an introduction for Batman as the plot involves people confusing the villain with him and attributing his crimes to Batman. That villain is Man-Bat, a B-level villain who’s essentially a were-bat, if you will. The story calls on Batman to use his detective work to figure out who is the man behind the Man-Bat, essentially. Batman’s sleuthing skills take him to a bat exhibit in Gotham Zoo where he meets the irritable Dr. March. March, who seems to prefer bats to humans, is our episode’s red-herring though he’s clearly hiding something. Bruce also encounters March’s daughter and son-in-law, who have followed in his footsteps as bat experts.

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Fox was pretty good about letting the show depict some blood as well as guns and general, tasteful, violence.

 

Having Batman investigate a bat monster is a fun way to debut the series. We also get introduced to series mainstays Commissioner Gordon (Bob Hastings) and Detective Bullock (Robert Costanzo), and we also get a glimpse of Bullock’s distrust of Batman which will be an ongoing thing. Trusty butler Alfred is also debuted, though oddly enough voiced by Clive Revill. He will be voiced by Efram Zimbalist Jr. for all but three of Alfred’s appearances. The episode is also a nice exhibit of the show’s unique look. We get to see the Gotham skyline at night, done on black backgrounds and Batman and the Man-Bat pop nicely against it. The Batcave is also featured and we get to see Batman’s super-powered computer in action which will help him solve many mysteries through-out the series. It’s a tight little plot, which is resolved by the end in a mostly satisfying manner, though Batman seems very trusting of the bat experts to make sure this never happens again (spoiler alert – it does!) and declines bringing them to the police. In short, it’s a good episode though probably no one’s favorite. The production values are quite nice (we get some nice sound effects in particular for Man-Bat) and consistent through-out. Episodes both better and worse are still to come.

Like what you just read? Check back here every Friday, starting this Friday, for another episode recap of Batman:  The Animated Series. If you want to follow along we’re going in production order which just so happens to be how the DVDs are arranged. Individual sets can be had fairly cheaply these days, and there’s a complete collection for those with finer taste. All of the episodes are also currently airing on Amazon Prime so if you have a subscription you can watch there. I hope you enjoy reliving this series as much as I plan to enjoy writing about it.


Batman: Mask of the Phantasm Blu Ray

Batman-Mask-of-the-Phantasm-Blu-rayI’ve written about Batman: Mask of the Phantasm on more than one occasion, often in glowing terms. I dubbed it the definitive take on the Batman character for film and ranked it pretty highly on my list of best Batman movies of all time. In addition to that, I did a straight-up review of the film as well. Most of these articles are old by the standards of this blog, but all of those write-ups were based on the DVD release of the film. It’s taken Warner years to finally put this film on Blu Ray, but it’s finally here and I’m going to tell you about it.

Now since I’ve already done an actual review of the film, I’m not going to go into much detail though I did re-read my review and I have some embellishments I can make in order to pad this post out. The Blu Ray itself is what is important for this post. Mask of the Phantasm is a film I always felt would benefit from a high-definition transfer because of all of the deep blacks, particularly in the backgrounds. The DVD release was an old one and not particularly good by the standards of DVD. It was re-released in multi-packs with the direct-to-video Batman films based on the animated series and I don’t know if any of those were handled better than the version I have. As far as the transfer goes, the Mask of the Phantasm Blu Ray is a mixed bag. My assumption the blacks would benefit was spot-on. Not only are they rich, but the deep blue of Batman’s cape looks great as well and the animation is nice and fluid. Sadly, there’s some blurring that takes place, particularly early in the film. I’m not sure if it persisted throughout at times and I just became engrossed in the plot or if it was confined to the beginning of the picture. Either way, it’s disappointing the transfer isn’t better.

The other disappointing aspect of the release is the complete lack of special features. The DVD did the same as both only include a standard definition version of the trailer for the film and nothing else. I find it hard to believe the likes of Paul Dini and Bruce Timm weren’t interested in doing something for this release, be it a commentary or a short piece on the making of the film. The subpar transfer and lack of special features really makes it feel like Warner cared little about the integrity of this release, which is a shame because it’s a film deserving of more respect.

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What you see is what you get.

And what a film it is! In re-watching it for this write-up I’m just reminded of how well it gets the Batman character. Seeing Bruce’s early years as a vigilante really drives home the tragedy of the Batman character. And I don’t mean the sad origin of Batman, but in how Bruce has given up any chance at a healthy life by committing to being Batman. He’s fighting an un-winnable battle to rid Gotham of crime and foregoing marriage, children, and the simple pleasures of life. He’s unquestionably doing good in the community and helping people, but it’s probably not a fulfilling lifestyle.

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The Joker could have felt tacked-on to give the film a recognizable villain, but his inclusion pays off

The other aspect of this film that really merits praise, because it feels overlooked in light of The Dark Knight, is its depiction of The Joker. The Joker of the cartoon series is somewhat of a cornball. There’s some danger to the character, but standards and practices kind of holds him back. He’s overshadowed by the likes of Mr. Freeze and Two-Face as far as memorable villains go. Instead he’s kind of the old reliable stand-by for Batman as decades of Joker material from the comics means it’s relatively easy to come up with a decent episode. Here we get The Joker that the animated series probably wanted to give us, but couldn’t. He’s still a nut, but so much more menacing. There’s a real tension in his scenes because he feels unpredictable. Is he going to aid a character? Kill him? What’s his endgame? It’s a shame he doesn’t share screen time with a character we as an audience are invested in, instead he’s paired with scum and we don’t mind if Joker opts to murder them. And what more can be said of Mark Hamill’s performance as The Joker? He’ll always be my favorite.

What we have here is a mixed bag, a great film undermined by a mediocre release. Even so, the Blu Ray is an easy recommend for those who do not have the film already, especially if you’re into Batman and you’ve never seen it. It may be a brief experience, but it’s worthwhile. For those like me who already had the DVD, it’s a tougher sell. This strikes me as a release that will be discounted to the ten dollar bin by this time next year, so maybe waiting on it is the right move if you’re not eager to re-watch. If you’re perfectly happy with the DVD then sure, feel free to pass on this one. I don’t feel burned by it, but I do feel like at 19.99 it’s probably five bucks too expensive. Next year is the film’s 25th anniversary so perhaps there’s an outside shot of Warner doing a more robust release, but I kind of doubt it. This is probably all we’ll get with maybe a future two-pack coming along with an HD transfer of Batman & Mr. Freeze: SubZero, but I doubt that would feature any additional content aside from the films themselves.


Neca 1/4 Scale TMNT Movie Leonardo

IMG_1387NECA is now 3/4 of the way through the release schedule of their TMNT 1990 movie line with the release of Leonardo – the REAL leader of the group. And like Donatello and Raphael before him, he’s a pretty impressive specimen.

The original 1990 movie impossibly never had dedicated action figures. Playmates half-assed a line in recent years that didn’t seem like it committed to being a representation of either of the first two films and tried to have it both way, similar to how their own “classic” turtles were an amalgamation of the original cartoon and toy line. These giant figures from NECA have done an admirable job of filling that void, and while I do wish they came in a friendlier scale, I can’t deny how awesome these 16″ behemoths look.

Leonardo has all of the same articulation as his two brothers and that’s primarily because he’s essentially the same figure with a different head and belt. Of the three I have thus far received, I found Leo to be the easiest to pose right out of the box as his joints were pretty nimble and I never felt like I was in danger of breaking anything. His ab crunch however, hidden underneath the shell, is a little loose compared with Raph and similar to my Donatello. This means he has a tendency to pitch forward slightly and it’s hard to get his head to look straight out in front of him. The rest of his joints are tight and accommodating and the paint applications are flawless on my turtle. His belt is film accurate featuring two thing strips of leather crossing his chest from his right shoulder. I have no idea if the sheaths on the back of his shell are film accurate since you never really get a good look at them onscreen, but they look fine to me.

Leonardo naturally comes equipped with his twin katana. They’re very light which kind of surprised me and I do worry some about their durability. Currently, I’m a little scared that he’s going to fall off of my shelf and snap his blades, but hopefully that does not happen. They look pretty accurate to the film, and even have the octagonal hand guards and taped hilts. The film makes them seem a bit more dingy and worn, but that could just as easily have more to do with the lighting of the picture than anything. I can’t deny they look good, and their length seems spot on. Leonardo also comes with the same set of extra hands as Raphael. I’m a little disappointed that his pointing hand isn’t the reverse of Raph’s. He also comes with the same slice of pizza as the other two, but surprisingly he also comes with a canister of that famous ooze. Unlike the canister that came with Donatello, this one does not feature the crack from which the ooze leaked out and thereby justifying its existence. This means Leonardo comes with more accessories than brothers, though not by much. I would have preferred extra pizza to complete a pie, but oh well. Maybe Mikey will comes with that, though I doubt it since his weapons are probably the most costly to produce.

Aside from that, there isn’t much more to say since he’s fundamentally the same figure as the other two I’ve already reviewed. The only real downside to that is Leo should be a little taller than his brothers, and Mikey should be noticeably shorter (we’ll see how that turns out later), but it’s not egregious. The head sculpt looks fantastic and captures that grim seriousness embodied by the character in the film. The likeness is flawless, and I’m really glad to have this version of my favorite turtle upon my shelf. I very much look forward to completing this set when Michelangelo ships later this summer.


NECA 1/4 Scale TMNT Movie Raphael

1200x-Raph9-It took awhile, but I finally have my hands on the second turtle from NECA’s 1/4 scale series of Teenage Mutant Ninja Turtles based on the original film. Raphael was released back in February, but I left the preordering of this series to my wife who saw them as gifts for basically the coming year for me. My wife, bless her, is not someone who normally orders such things and she ordered from a site I had never heard of that ended up not getting Raph in when they were supposed to, so what was originally planned as a Valentine’s Day present turned into a June birthday gift. Fear not though, I have since clued her in to better vendors so my actual birthday present (Leonardo) should be arriving soon, as I know you are all waiting with bated breath for my reviews.

If you read my review for Donatello way back in January, then you should already be pretty familiar with Raph. Structurally, he’s essentially the same figure as Don as both make use of the same parts. This is both good and bad as it means the things that are great about Don are shared by Raph, and the not so great things are as well. That’s sort of the “curse” of being a TMNT collector as you basically buy the same figure four times, but it’s hard to argue against the practicality of the release.

 

Let’s get the bad stuff out of the way before getting to the good. This is a big figure, being 1/4 scale, so he’s also pretty heavy. Being heavy means he needs tough joints or else his arms and legs would be too flimsy for posing. This also means some of the joints are really hard to work, and the cumbersome nature of a turtle shell doesn’t make things any easier. My Raph has a particularly troublesome left shoulder that’s hard to get the socket to work right so that he can lift his arm. There’s definitely some “breaking-in” required for these figures, but since they’ll end up running you over $100, there’s a reluctance to work the joints too hard out of fear of breaking them. While Raph possesses an abundance of articulation, it’s not the most functional articulation out there and the pictures you see in this post are essentially the only poses I was comfortable creating.

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Hey, brother!

These figures are also somewhat minimalist when it comes to included accessories. Raph, by virtue of having two weapons, actually has one more accessory than his brother Don. Don came with five extra hands, a canister of ooze, and a slice of pizza in addition to his bo staff. Raph comes with six extra hands and a slice of pizza to go with his twin sai. Strangely, one set of extra hands is identical to his stock hands so I guess you can break and/or lose a set before you’ll be missing anything. Raph has one unique hand gesture compared with Don, a finger-pointing left hand that can be used to hold his sai in a unique way or use as a gesture. He famously gestures to his holstered sai when confronting a pair of muggers in the film, though sadly his range of motion can’t quite recreate that one. This is consistent with Don who has a thumb’s up hand gesture that Raph does not. The slice of pizza included with Raph is the same as the one Don came with, right down to the placement of the black olives. Laying them side by side, it looks like we’ll need four additional pieces to make a complete pizza so I wonder if Mikey will come with some extra slices when he’s released this fall. The missing accessory here is obviously Raph’s trench coat, hat, and backpack he sports in the film when he heads out to a movie. I can understand why NECA didn’t include such as it would probably be a substantial cost addition, but that doesn’t mean I don’t miss it.

 

Raph primarily differentiates himself from Don with his head sculpt. One my favorite aspects of the original film is how the costume designers, the without peer Jim Henson’s Creature Shop, made sure each turtle looked unique. It was really the first time you could tell the turtles apart without their weapons or colored masks, even though they never remove their masks in the film. NECA did a great job with Don, and maybe a better job with Raph. His facial expression perfectly captures his beady eyes and that tough, but sympathetic, aspect of his character. A more serious expression works better for Raph than it did the more jokey Donatello, so it was probably easy for NECA to settle on a facial expression than it was Don. The “tails” on Raph’s mask are also of the same cloth-like material used for Don’s. The color matching between the tails and sculpted plastic of the mask is well done and it’s a nice, authentic, shade of red. The material adds a little personality to the ends of the mask that sculpted plastic can’t replicate. As I mentioned before, aside from the head sculpt the body is basically the same as Don’s. The freckles are different, and I don’t know if they’re just randomized for each turtle or if they match to the actual costumes in the film. Raph’s shell also sports significantly more ware and tear than Don’s, implying he’s probably been in more fights than his brother which certainly fits with his character. The musculature of his limbs is the same though, with an added vein here and there. His belt rides lower, as it did in the film, and the sai fit off to the side just fine, though I find angling them in the same manner as they are on the back of his box a little tricky. And that box, which resembles the original movie poster and VHS release of the film, is a nice way to display the figure for those who do not like to open their toys. I also love how the NECA logo on the rear of the box resembles the old f.h.e. logo of the home video release of the old cartoon.

 

NECA’s Raphael is every bit as good as Donatello which came first and which figure is better is probably determined by personal preference for the characters. Raphael was basically the star of the first film, and it’s great to see him brought to life like this. The 1/4 scale may not be for everyone (he stands over 16″ tall), but it’s hard to deny the level of detail the format allows. Licensing agreements with Nickelodeon and Playmates, who has held the main TMNT toy license since the cartoon was launched, prevent NECA from doing what they want with the license, but it’s clear the company has a love for the franchise. The price, which basically starts at $99.99 but is sometimes priced higher by other merchants, is also steep, but at least the release of each turtle has been spread out to help minimize the impact of such an expensive purchase. The figures are impractical, but if you loved the original film as much as I did, then you can probably talk yourself into collecting this line.


Bucky O’Hare – The Arcade Game

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Bucky O’Hare (1992)

One of the underplayed downsides to the death of the arcade in America is the amount of arcade games that remained solely in the arcade realm. Arcade technology was always ahead of what was available in-home. Arcade cabinets were also often equipped with 4 or 6 player possibilities while virtually every home console in the 80s and 90s could only natively handle 2 players. Sometimes, companies would release two distinct games for the arcade and the home console. While gamers were enjoying co-op play with X-Men at the arcade the home console gamer was forced to experience Marvel’s most famous mutant team via a hideous top-down shooter/action game with horrendous technical issues. X-Men was a popular enough arcade game that it would eventually be released digitally about 20 years after it first hit arcades. It took awhile, but it made it. Other games were not so lucky, and one of them is Bucky O’Hare.

Bucky O’Hare has been a topic more than once here as I take a small sense of pride in being one of the small areas of the internet where Bucky can still exist. Bucky originated in the comics, and when the Teenage Mutant Ninja Turtles exploded he was one of the main beneficiaries. Suddenly, toy companies and television studios were scooping up licenses for any kind of anthropomorphic action series that could be tossed in front of children to make piles of money. These properties were often fast-tracked to the consumer as everyone assumed the TMNT were just some fad that would die a quick death. This meant television shows, toys, and even games were all put into development at around the same time and Bucky O’Hare got the full treatment. So even though the cartoon series would only last 13 episodes and see a quiet cancellation, the aspects of the license that took the longest to develop would still see release after the fall of the show.

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Good luck finding one of these.

Most people into retro-gaming or who had a Nintendo Entertainment System back in the day are familiar with Konami’s Bucky O’Hare for the NES; the Mega Man clone of surprising depth and skill. It’s become a bit of a cult hit these days and copies of the NES cart fetch a pretty decent price on the after-market. Lesser known, is Konami’s Bucky O’Hare game for the arcade, also simply titled Bucky O’Hare.

Like most of Konami’s  arcade games for licensed properties, Bucky O’Hare is a 4-player beat-em-up where the player takes on wave after wave of enemies before reaching the game’s conclusion. And like most games of this style, it sometimes feels like it was designed first and foremost to eat quarters and force gamers to spend a decent chunk of change in order to see the game to its conclusion. Where Bucky O’Hare differentiates itself from Konami’s other brawlers is in that the primary attack for each character is a projectile. All four characters; Bucky, Jenny, Deadeye, and Blinky – all possess a handgun to shoot at the bad guys with. This naturally allows the player to maintain some distance between them and the enemy which actually seems to result in fewer deaths when compared with X-Men or Turtles in Time. Each character also possesses a special attack, referred to as a gimmick weapon, that can be activated at any time and surprisingly doesn’t cost any health to activate. There’s also bomb attacks available and they’re pretty abundant and clear the screen of enemies or deal a significant chunk of damage to a boss, which feels really generous for a game of this genre.

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The game is enjoyable with one of two players, but these ones are always best with four.

The game also further distinguishes itself in style. The previously mentioned gimmick weapons though are sadly the only thing that really differentiates the characters. Of the four, I found Deadeye to be the most useful (though you would think a four-armed duck would possess more than one pistol) as his weapon is basically a temporary shield that orbits around him until it hits something. Jenny’s is a homing attack that’s also useful, though her attack animation is a liability. Bucky just tosses a bomb forward, and Blinky has a flame-thrower. Most of the levels move from left to right, but there’s variety from stage to stage. Some levels have the characters moving at an angle towards the screen (think the second stage from the first TMNT arcade game) and there’s a stage where you’re falling and another where the characters are all riding Toad Croakers that can even stomp on the enemies. Brawlers can get quite stale by design, and Bucky O’Hare does as good a job as any in keeping things as fresh as possible for the game’s duration (of roughly 45 minutes).

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Minimally animated, but fully voiced, cut scenes help to move the story along.

Perhaps surprisingly, the production values on Bucky O’Hare are quite high. It’s very bright and visually appealing with all of the characters looking like the source material. Bucky is the only one that looks a bit off to me, and Blinky is definitely too tall, but for the most part the characters and animations look great. The enemies are especially striking, though the variety is not great as you’ll mostly spend the game fighting Toad Storm Troopers and these little robots. The boss characters look awesome though and they’re mostly taken straight from the cartoon series. Toadborg is appropriately menacing looking and the final battle is against a Komplex-to-Go contraption that even looks like it’s suffered some damage since its encounter against Bucky in episode 13 of the series.

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You’ll be killing lots of Toad Storm Troopers in this one.

Which brings me to the aspect some Bucky fans seem to appreciate most is that this game seems to take place after the cartoon ended and serves as a nice book-end to the series. You take the fight straight to the Toad homeworld and vanquish Komplex seemingly forever. Konami made liberal use of the voice talent from the show and only a couple of voices are off (Blinky most notably being voiced by Scott McNeil). Even characters who aren’t playable still make voiced appearances like Willy and Bruiser. And if you’re into the comic, the omniscient mouse race that never made it into the series shows up in this game and it really feels like someone at Konami really cared about the representing the license as best as possible. It’s pretty cool considering they must have known already that this was to be the last major release for the license and that no season two was coming for the animated series.

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Willy and Bruiser even get to cameo in some cut scenes.

Bucky O’Hare for the arcade is a satisfying experience, especially so for fans of the license. It possesses some of the short-comings inherent with the genre, and I do wish a character like Bruiser or Dogstar was playable as neither was in the NES game, but this is a fun title worth tracking down. Of course, being that it’s been over 25 years since the game’s release, it’s unlikely you’ll be able to find a cabinet in the wild and it’s even rare to see them come up for sale on eBay. There are other means available to you, if you want to seek them out, and I’ll let you research that on your own should you wish to play it. Sadly, licensed games like these rarely receive a digital release in this day and age, but maybe this very mild Bucky comeback in 2017 could lead to a digital release of this game and the NES game, though I certainly wouldn’t hold my breath for either.