by Childhood memories are in a league of their own and have a power over us much greater than some might think. To those of us growing up in the 80s and 90s, some of these fondest memories certainly revolve around pop culture. The kind that drove parents insane because they couldn’t relate with all that “high tech” and new culture now unbelievably dated, such as 2D videogames, the walkman and neon-colored sneakers. While a lot of this returned for nostalgia’s sake, there was a component of pop culture that never left. Animated TV-series, or formerly cartoons, reached a whole new level, including merchandise. Their logos and heroes and antagonists were printed on t-shirts, shoes, bath towels, toys so new and inventive were made they instantly turned into collectibles. There was Spider Man: The Animated Series (1994-98), ThunderCats (1985-89), He-Man and the Masters of the Universe (1983-85), Teenage Mutant Ninja Turtles (1987-96) and Superman: The Animated Series (1996-00). But as with all empires, there could be only one king. And that king was Batman: The Animated series.
Love it or hate it, but when Tim Burton’s Batman (1989) came out it paved the way for the rise of comic book adaptations and rekindled interest and fandom for the medium. Comic books and their adaptations had suffered in quality and appeal for some time until Burton spearheaded DC’s launch for the masses. It is ironic how Batman is widely neglected these days in the shadow of Nolan’s Dark Knight Trilogy when it’s likely that there would be no Batman Begins (2005) or The Dark Knight (2008) on a big budget if it weren’t for the long term development started in 1989. Not because DC financed the films out of earnings from Batman. But certainly because several animated series were created to carry the hype, along with an extensive range of merchandise. And that was the pop culture nourishment to the loyal fans that eagerly anticipated the Dark Knight Trilogy and bought tickets.
Batman: The Animated Series started in 1992 after VHS sales brought Batman back to even more viewers and ran for 85 episodes until 1995. Despite drawing heavily from Burton’s vision, it is the brainchild of Bruce Timm, Paul Dini and Mitch Brian. Bruce Timm has become a legend in the animated business since, owing to his indispensable work on Batman: The Animated Series. This series has a unique style, modern for its foreground simplicity and cubist approach, but also with its set design inspired greatly by art deco, Bauhaus, futurism and even dieselpunk elements. Police airships epitomize this dieselpunk influx. They’re entirely fictive and seem kind of impractical, but they’re amazing when it comes to style, especially for their contribution to Gotham’s uncanny atmosphere when floating over the skyline. Together with Eric Radomski, Timm found a new look to tell stories. Of course, they didn’t go without their own inspiration.
The first cartoons were hard to make in the first place as techniques yet had to be invented. To achieve consistent, life-like movement in characters was nearly impossible. That change with Fleisher Studio’s Rotoscope, allowing artists to trace pre-filmed live material in order to produce realistic action. Ko-Ko the Clown resulted from this in 1918. And farther down the road, the Fleischer Superman cartoons in the 1940s. Max Fleischer acquired the rights to produce short sound films based on DC’s Superman. Their style was unique, the action, thus also storytelling possibilities, benefited greatly from the Rotoscope. The Superman shorts were art deco, they were futuristic and also a very early example of dieselpunk. And Bruce Timm grew up watching these shorts so they set the foundation for the tone that evolved into Batman: The Animated Series. It is almost unbelievable that short cartoons from the 40s are more complicated in their design than their 90s successors. But this wasn’t only due to budget restraints that, even back then, could’ve save Fleischer Studios as it cost an arm and a leg to make one of the Superman shorts. It was a design decision that only adds to the overall feel of Batman: The Animated Series. The modernist spirit “Less is more” proves spot on here. In fact, the mix of art deco, streamline modern and futurism is so atmospheric and pleasing you wish Gotham City existed in the real world. And that you could live there. But Batman: The Animated Series isn’t style over plot or narrative.
One of the hardest challenges imaginable is making entertainment that is primarily aimed at kids but also appeals to adult viewers. Finding a way to narrate stories suitable for kids and also keeping them interesting to adults is difficult. With Batman: The Animated Series, that is exactly what happened. Other animated shows accomplished the same, Superman: The Animated Series in particular, if not over as many episodes. The scripts have many good twists, subtle dialogue and, unimaginable these days, plenty of action. The parents of the Generation Y and later would probably find this unsuitable to their children (even though chances are they enjoyed the action and the privilege of being allowed to watch it when they were kids). But violence is not a stylistic device and only goes as far as it has to. With good storytelling, action adds to the story with no need for sensation. The same goes for characters. They’re not flat but more complex than could be expected of a product for kids.
Even in the live action Batman series back in the 60s, stories and characters appeared to be of lesser importance than flamboyance and corny, educational advice. When Timm, Brian and Dini conceived the characters for Batman: The Animated Series, they certainly had something else in mind. Characters have a backstory supporting them, often poignant, always relatable. When you relate to an animated character, interesting things are happening. Suddenly, dangers become really scary, pain both physical and emotional is imaginable, stories become round and strong – the lines between the real world and the on-screen world start to blur as you are drawn into Gotham City. Despite all its atmosphere and outstanding score including the infamous opening theme by Danny Elfman, Batman: The Animated Series hadn’t achieved cult classic honors if it weren’t for daring and intelligent character design. Bruce Wayne and his alter ego Batman are a clear development from Michael Keaton’s character in Burton’s Batman. His history is the same we know already. But unlike Christian Bale’s Batman, he’s not hiding from the public behind an obnoxious playboy front. Bruce Wayne works at Wayne Enterprises all day and knows every employee by name. He’s generous, doing charity work. And nothing suggests he needs that as a front to be Batman. The man bears all the pressure by himself. Kevin Conroy only strengthened the character with his voice: soft with those that deserve it, hard with the rogues but also his crew.
Giving screen time to minor characters is clever. New frameworks for episodes automatically develop, adding variety and complexity to the pallet. To see more of Commissioner Gordon increases his weight as character, but also Batman’s ally. The same goes for Tim Brake as Robin, Dick Grayson as Nightwing and Barbara Gordon as Batgirl. They’re not simply sidekicks doing menial jobs being patronized by Batman in a booming, fatherly voice. We suddenly understand their frustration when Batman wouldn’t listen to them. And we also understand the conflict between Dick and Bruce, his father figure and mentor. A good father has to know how to let go. A lesson Bruce Wayne knows but Batman has to learn the hard way. To also focus episodes on Officer Renee Montoya and Detective Harvey Bullock of the GCPD at first glance seems almost insignificant. But the capable crew accomplished to develop them as characters and human beings, giving us an insight on how Gotham City is at street level, next to a steaming gutter, or in a dark alley with reeking dumpsters behind a fish restaurant. This is a stark contrast to the predominant vantage point of our heroes, observing from rooftops and swinging from one house to the next. The duality of doing your duty and being a hero is clarified: there’s a difference between cop and vigilante, yet they need each other to fight Gotham’s lunatics. And what lunatics they are.
The rogues gallery in Batman: The Animated Series is, in the same fashion it is to the comic books, one of its greatest assets. The heroes are interesting enough, but given the right opposition, great things are happening. Even here, the Joker’s popularity is towering over everything, which is deserved. And Mark Hamill provides without a doubt the best voice the Joker ever had and ever will have. He’s wacky and funny, his plans are often ironic. But he can also blow his top when things aren’t going his way. Next to Batman, it’s Harley Quinn that drives the Joker up the walls the most, resulting in memorable scenes. Harley had her first ever appearance in the episode Joker’s Favor in 1992. And what a career she’s had. Even though her iconic outfit would probably look off in live action, her cartoon character is arguably still preferable over Margot Robbie’s performance for the great humor and irony alone. Those that aren’t too familiar, or not familiar at all, with the comic books were introduced to some of the lesser-known rogues here for the first time. Take Killer Croc, aka Waylon Jones, or the Ventriloquist with his dual character of Arnold Wesker and Scarface, the hand puppet he uses as outlet for his sinister other half. And who knew of Matt Hagen as Clayface before the awesome two episodes Feat of Clay 1 + 2 (1992), an aging actor working for Roland Daggett in return for a mysterious cream that revokes his aging but also turns him into Clayface. Even Bane was presented as the man most likely to break the Batman. A feat he accomplished in the comic book story arc Knightfall (1993-94). If it weren’t for these complex and creative rogues, and the many others, the stories weren’t as effective, the heroes not as great as they are. Batman: The Animated Series simply wouldn’t have wound up as probably the best animated kids series of all time.
It could’ve been so insignificant, so forgettable. But everyone involved went the extra mile to make Batman: The Animated Series great. From character development over story writing to atmosphere and score: when you look at the bigger picture, it’s impressively flawless. A lesser product wouldn’t have created the loyal fan base Batman and also DC Comics are to this day benefitting from. Kids that grew up being serious adults still enjoy watching the show whenever it’s aired (if they don’t happen to own the discs). Not only for nostalgic reasons. Even after all these years, the formula works. Nothing proved to be corny or off-beat farther down the road. A whole generation enjoyed their first taste of great storytelling and what creativity can do by watching Batman: The Animated Series. There’s no question it stood the test of time like no other animated series.
