DCAU 4: The New Batman Adventures

New Batman Adventures

Now, everything we love about the DCAU began with Batman: The Animated Series, that much is sure. The serious storylines, the dark animation style, the voice talent… It all began there. And, with the end of BTAS style, something of DCAU died, as well. The Art Deco Gotham city, something in the designs, will never be the same. Despite BTAS being the clearly superior cartoon to Superman: The Animated Series, the sleeker art designs of Superman actually won out. This was, no doubt, in no small part linked to the production costs, which must have been monumental for BTAS – after all, colorists had to wear gas masks to use aerosol paint to do the art for most of the original series. So there is a part of me that wishes Batman could forever be the same as in those first 85 episodes. That being said, storywise, The New Batman Adventures contained some of the most exciting Batman stories, at least for me personally – enough to make the claim that some of the legend of the greatness of BTAS owes a debt to the fantastic stories of The New Batman Adventures.

To realize how wonderfully deep the show was willing to go, one needs look no further than Growing Pains (written by Paul Dini and Robert Goodman), where Robin tries to take care of a little girl Annie, who has amnesia and is being stalked by a terrifying presence. Robin is now Tim Drake, replacing Dick Grayson who has become Nightwing in the gap between shows. While the wonderful Sins of the Father (Rich Fogel) set up Tim Drake’s motivation very confidently in its own right, I did not truly connect with the character until this episode, where his friendship with Annie takes him on a path to confronting Clayface, and a tragic realization about his friend. The twist towards the end, which I won’t spoil here, was a complete gut-punch to me, in that incredible way the DCAU seemingly specialized in.

You Scratch My Back (Hilary J. Bader) was not the first episode to introduce the older Dick Grayson, but it did feature Nightwing for the first time. Motivated by striking out on his own, being his own man, Dick Grayson establishes himself as a solo hero – and teams up with Catwoman. The pair bonds over Batman’s strictness, and Nightwing is established as a fun, capable hero. The sexual tension with Catwoman is fantastic, as is the dynamic between Dick and the rest of the bat-family. In the end, it’s revealed the schism between him and his mentor isn’t as deep as they’d put on, and while the twist isn’t as radically unexpected as Growing Pains, it’s just good-clean-superhero fun.

Legends of the Dark Knight (Robert Goodman and Bruce Timm) is told from the perspective of three children discussing Batman, and their different encounters with him or stories they’ve heard. The episode becomes an excuse to go through many of the most famous portrayals of Batman in the media, as well as the different ways he is perceived by the public. It ranges from him being a metahuman, a light version that is a nod to 40s and 50s version of the character, and Miller’s “Dark Knight Returns” take. There is even a nod to the Schumacher Batman! In the end, after all the children have told of their version of Batman, they actually witness the true Batman in action – and once again, go away believing the same “truths” about the Caped Crusader they started with.

I would be remiss to not mention Mad Love (Paul Dini and Bruce Timm), the famous story that reveals the origin of Harley Quinn. I definitely like the episode, and it is a great characterization of both her and the Joker, but the Batman-light episode was not actually my favorite. That being said, its contribution of an important story, later adapted to the main Batman mythos is beyond question. I also really enjoyed Beware the Creeper (Steve Garber), a genuinely odd story with a very strange superhero. His origin mirrors that of the Joker, except this time the Clown Prince of Crime himself is responsible for the transformation – it should be no surprise, then, that the Creeper is both driven mad, and placed on a path of vengeance against the Joker. He makes another appearance in the Justice League cartoon, however, indicating that as teased at the end of the episode, his career as a superhero went beyond mere revenge.

Finally, my absolute favorite episode of the series (and one of my favorite Batman stories ever) is Over the Edge (Paul Dini). Throwing us into the action with Gordon and the police attacking the Bat-Cave and later flashing back to explain how we got there, it places the Commissioner on a war path against the Dark Knight. The story of the two friends turned against one another by a tragic death is awesomely believable and heart-wrenching. Typically, I would not be for a story that turns out to not be in-continuity, especially the way that is explained here… Except that here, it works completely. The trick allows the show’s creators to do something that so often provides the best superhero stories, but is generally not allowed due to their serialized nature – the end story. Or at least one possible end. One walks away from the episode realizing that this is entirely one that Batman’s story could end, that a single tragic move could put the entire Bat-family on an irreversible path. And that is not even the end of the episode, which ends with a fantastic character moment for both Jim and Barbara Gordon. It’s truly great superhero storytelling – and absolutely remarkably told in only 22 minutes. Anyone remotely interested in storytelling should study this episode simply for a lesson in economy.

DCAU_batsuits

Finally, of course, there are the character designs. The Batsuits on the right show the general progression of the costumes throughout the DCAU, and the TNBA version is the one labelled 1997-1998. While I love the the original version, I ultimately have to concede that the pure-black symbol and the darker grey suit works well, and I like the pouches better than the older style belt. The eyes on the costume were so very expressive in the original version, though… I would definitely say that aspect, at least, was and remains my favorite in the original version. I recognize why the white eyes cannot truly work in live-action, mostly because of the way they move, on the mask, in a way that is only available in cartoons, to match emotion in a completely unrealistic way… But I can’t help but be bummed they couldn’t figure out a way to do it in the new suit. Speaking of which… see the first color picture of the new cowl below!

Batfleck

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DCAU 3: Superman: The Animated Series


STAS

There’s no way around it – Superman: The Animated Series is just not as good. It’s not even worse – it’s just that the subject matter, as cool as it is, is, ultimately lends itself far less easily to serious or emotional storytelling. I’m not saying Superman can’t be dramatic – he absolutely can be, and he actually sometimes is in the series. The scope in the series, however, is so wildly inconsistent – ranging from street crime to the cosmic, that I simply never really felt I got a grasp of the intended tone of the series, which left me floundering from one episode to the next.

Superman is somewhat de-powered here, which is actually a positive – his power level has always been variable, and this allowed some more tension when squaring off again an opponent. But the traditional problem of Superman being effectively unkillable and unstoppable remained, despite the fact that the writers came up with plenty of creative ways to provide credible threats to him, as well as inventive ways for Superman to get out of them. Not even because Superman is impossibly fast, but because we actually don’t know how fast he really is. In the first few episodes, when Clark discovers his powers, he’s seen as just a streak when he runs at top speed. There’s even an episode, Speed Demons (which coincidentally introduced the Flash to the DCAU) where he races Wally West around the earth 100 times. I was very surprised, therefore, to rarely see the effect used later in the series. He’s occasionally seen chasing cars, for example, and while he doesn’t necessarily have trouble with them, he does not just zoom down in the blink of an eye and stop them immediately, either. I can see, of course, why this is done, but it does hinder drama. Despite the fact that we know it’s  cartoon where the hero will ultimately prevail, it is more exciting to see Batman trying to make a jump, run fast enough, or hit hard enough. Not because the Man of Steel is super-powered, but because we can’t rely on hard limits for his powers. This inconsistency ended up being one of the major problems I had with the series, as a whole.

I also simply did not enjoy watching Superman fight very much in this series. I understand that Clark Kent is not any kind of martial artist, so the fact that his fighting style is very simply is justified in-world, but there are only so many haymakers I can watch him through before it gets simply boring. When he comes up against physical opponents, therefore, it rather quickly becomes a rather uninteresting episode – not to mention the fact that very few of them could even stand up against him before first softening him up with kryptonite (as is the case with Metallo).

This is not to say that I did not enjoy the series as a whole. I did love some of the multi-part episodes. I thought the first few, that established Superman’s origins, managed to bring a few new aspects to the story than I’d seen elsewhere, as well as being simply really genuinely exciting. In fact, even the existence of an origin story is a pretty major contrast to many of the other heroes in the DCAU – we do see origin stories for a few of them, but many of them (most notably Batman) are simply first shown as established crime-fighters. Even the first season also contains over-arching stories and buildup to the confrontation with Braniac, and the coming Darkseid in a way that was not at all present in many of the other shows on DCAU (Justice League Unlimited returned to a similar format a decade later).

 

Many of my favorite episodes were ones that had Superman team up with other superheroes, allowing him to work as part of a team. I cannot quite put my finger on why, but I really like him as part of a team, as is later seen in the Justice League shows. Something about him racing Flash, helping a young Green Lantern deal with his new powers (In Brightest Day…, DCAU’s only real appearance by Kyle Rayner), or leaving his comfort zone to confront magic with an unwilling Doctor Fate (The Hand of Fate) is simply consistently more enjoyable than having him be on his own. This is tripled by the multi-part World’s Finest episode, which featured great characterizations for both Bruce Wayne and Clark Kent – the scene where the two recognize each other, through different means, is nothing short of fantastic.

The cosmic episodes typically worked well.  That side of the DCAU was only explored by STAS, and JL and JLU, and it really worked with Superman. While those episodes were also not consistently fantastic, the Apokalips-themed eps, such as Apokalips… Now!  and Legacy were generally very strong.

I also enjoyed the episodes that were more conceptual or had a twist on the usual storytelling. The Late Mr. Kent, for example not only featured a very touching funeral for the mild-mannered reporter, but one of the very first real dangers for Superman’s secret identity.

Generally my favorite aspects of the show, however, dealt with established parts of the character’s history and tropes, some of them rather surprisingly gleefully embracing inherent silliness of the concepts. A perfect example is Mxyzpixilated, which could have been unbearably boring and silly, and actually ended up really fun, in a classic fairy-tale sort of way. Bizarro episodes were similarly enjoyable, with sufficient pathos for the deformed villain.

Much of the voice-acting is really good, but the true stand-out for me is Clancy Brown as Lex Luthor, who brings real gravity to the character’s villainy. His range – from complete sophistication to growling hatred – is truly remarkable.

8 Incredible Batman Film & TV Concept Designs That Were Never Used

My article on WhatCulture.com – 8 Incredible Batman Film & TV Concept Designs That Were Never Used
http://whatculture.com/film/8-incredible-batman-film-tv-concept-designs-that-were-never-used.php/7#eMbCJIK8ObTGJth6.99

Beware the Batman Is, Shockingly, Not Terrible

Beware the Batman logo; Photo courtesy of Cartoon Network

This article was going to be about how terrible the CGI in Cartoon Network’s new Beware the Batman looks. However, to my surprise watching “Hunted”, the premiere episode, it really did not bother me as much as I expected.

I am still puzzled by the decision to go all-CGI. I realize shows like Green Lantern: The Animated Series and Clone Wars have been successful enough to prove it a viable model. However, the fact is, that while Pixar has the money and time to make really quality CGI animation, that is not an option for television. The problem is texture, in particular with clothing, which tends to all look like spandex, which can be distracting. What we are left with is animation that is already dated by about 10 years the moment it is released, in comparison to what we are used to seeing in cinemas and video games. The alternative, 2D animation, even if on the cheap side, would look much more timeless – proof positive being Batman: The Animated Series, which I have been re-watching of late, and which still holds up completely (and would be far cheaper to do now, due to the new technology). See, for example, the title sequence below, or if you want to watch a full episode, I would heavily recommend “I Am the Night”, which is as serious a take on Batman as anything Nolan ever produced.

The plot of Beware the Batman‘s first episode feels brief, the story being only lightly wrapped up. This, once again, does not compare favorably to the classic animated series I mentioned before. It may be, however, an indication of more of a continuous storyline than that incarnation, which mostly ended each episode with a return to the status quo. Looking ahead to the available details of upcoming episodes, the format of “villain of the week” appears to hold true, but there are indications that the focus will switch to character interaction. As an example, the third episode will feature the first appearance of Anarky, who has been described by producer Mitch Watson as the Moriarty to Batman’s Sherlock. However, if the plot synopsis available online indicates their confrontation is relegated to a “meanwhile”, the main plot of the episode apparently being about putting Batman putting his new sidekick, Katana, introduced at the end of this episode, to the test.

Overall, however, the show feels exciting. The writing is clever and quick. Batman himself is still, it seems, learning some of the ropes, and is not quite as confident as he is often portrayed. It is unclear in the show how well he is known in Gotham City yet, or what his relationship with the police is. Gordon is also a lieutenant, not the commissioner. Alfred, on the other hand, is more rough and physical, taking more of an active interest in Bruce’s training. I can see the show trying to introduce more detective elements, even though it often gets carried away with running from explosions.

I will actually be quite curious to see where this series goes. In particular, if it chooses to go the route of multi-episode story lines, I may end up being a fan of it. Though, once again, it would help if everything in the show didn’t look like it was cast from plastic.

What do you think? Have you seen the show? What were, or are, your expectations for it? Will you give the next episodes a shot?