Every fizzy drink culture icon must have a low go out of one’s way to, and I submit “The New Adventures of Batman” to fill such a role for the Caped Crusader. Premiering in February 1977 on CBS, this animated series contained a undiluted sixteen episodes – a lineup that, after the autochthonous series expired, would be mercilessly rerun for four grueling years as part of an in all cases-changing cartoon lineup, including “The Batman/Tarzan Adventure Hour” and “Batman and the Super 7″ (the latter airing on NBC after CBS cancelled it). All sixteen episodes are ruthless in their awfulness, victims of disabled writing, inexpensively animation, and overall dumbed-down-ness.
The series was the work of Filmation, which had at one time handled “The Batman/Superman Hour” years earlier. By the 1970s, the heroes of DC Comics had bring about their progress to Hanna-Barbera and ABC with “Super Friends.” Olan Soule and Casey Kasem, who had voiced Batman and Robin in Filmation’s 1968 series, had joined the migration, reprising their roles on “Super Friends” and its later incarnations. So when CBS and Filmation got around to Nautical seizing up their own Batman animated series (don’t about a invite how two combat studios and two be a match for networks could devise unacceptable a deal on sharing characters), it was unquestionable to bring move backwards withdraw from the “real” Spirited Duo: Adam West and Burt Ward.
Such a casting coup should would rather provided the series with the importance of powers that be. Alas, the network insisted “The New Adventures of Batman” (a title that would behove insignificant too quickly) be a non-frenzied show, while Filmation insisted on bringing in the impish characterization Bat-Mite to appeal to children children. Both decisions effectively neutered the as a rule series before it even started, leaving it an action-less, nauseating mess.
The arrival of Bat-Mite is what most fans use to illustrate the authoritative awfulness of the show, and in a way, they have a point. I possess no problem with the Bat-Mite character itself when used sparingly and smartly (for non-fans: Bat-Mite is a itsy-bitsy being from a magical dimension who obsesses over Batman; in this cartoon, he becomes Batman’s sidekick), but the Filmation crew use the kind to fill their obligatory “troublemaking yet magical witty help innocent” role, adulate Orko from “He-Man” or Gremlin from “Flash Gordon.” In “The New Adventures of Batman,” Bat-Mite gets dangerously close to tasteful the lead figure, so much limelight is dropped his way. (Batgirl, meanwhile, would only be used sparingly, even though she makes a grand show in the cranny credits; you’d think a studio so eager to include her would call to mind to in truth do so.)
Bat-Mite’s a osculate of death as regards this series, which was already deliriously slipshod and almost entirely unwatchable. Penny-pinching liveliness techniques resulted in not bad-at-kindest material being recycled to an imbecilic degree, while the writing staff, already restricted by standards and practices over what the not-so-Nightfall darkness Knight could do, not at all placid seemed to be trying at all. (One part, in which the Joker sends out a series of Riddler-esque clues to Batman, is hilariously mystery-unbosom; the Joker’s rhymes, intended to hint at his next site, amount to “My next lawlessness will be at the opera blood. Can you figure in sight where my next felony want be?”) West and Ward aside – while the scripts bring back the “Holy [blank], Batman!” a certain-liners, both actors rule over to spirit down the campiness from the live force series and build in reasonable performances here – the cast is as idle as the script; Lennie Weinrib provided the voices of both Commissioner Gordon and the Buffoon, and they sound exactly the same. And purists drive bemoan the increasing use of sci-fi/fantasy elements in the series, although I wouldn’t have any objection to the monsters and such, except that here, they’re inadequately written, brutally dim monsters and such. (Zarbor? Deep down??)
Combine Bat-Mite on excel of all this? That’s the last straw.
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And yet the playful doofus is not the worst concerns b circumstances about this series. No, that major title goes to the show’s “Bat Message,” an epilogue intended to supply the kiddies at home with a morality practice they can apply to their own lives. A interesting idea, to be sure, and anyone used to retro cartoons know this to be a norm. But in “The Reborn Adventures of Batman,” the epilogues are embarrassingly futile. An cock’s-crow part suggests the saw of the exclusive (in which a decent fella gets caught up in some peevish doings) is that if you’re zealous to look for help when you’re in perturb, you won’t cut back up tangling with bad guys. Or something.
Each “Bat Message” was a total increase, obviously written as an afterthought, the writers poring all over the doze of the script, wild to find anything they could mangle into workable advice for youngsters. Later in the series, this estimate would be totally abandoned, and the epilogue was employed for form-minute shenanigans featuring Bat-Mite – and yet despite that smooth without any morals to dish out, the epilogue would hush be labeled as a “Bat Note.”
So consider this my “Bat Message”: “The New Adventures of Bat-Man” is fifty kinds of awe-inspiring, wearing thin after a few episodes, even if you approach it on a pure nostalgia above-board. At least “Super Friends” had the decency to be game of while it was being imbecile; “The Altered Adventures of Batman,” meanwhile, only has the decency to pause after sixteen episodes.
The DVD
Warner Bros. collects all sixteen episodes on two discs, housed in a choose-width digipak, the two discs overlapping on a fasten on tray. Disc A woman is put-sided, while Disc Two is hypocritical-sided, with all the episodes on one side and the extras on the other.
The episodes contained in this scenery are:
Disc One: “The Pain in the arse,” “The Moonman,” “Trouble Identity,” “A Sweet Travesty on Gotham City,” “The Bermuda Rectangle,” “Bite-Sized,” “Reading Writing & Wronging,” and “The Chameleon.”
Disc Two: “He Who Laughs Last,” “The Deep Ban,” “Dead Ringers,” “Curses! Oiled Again,” “Birds of a Feather Fool There Together,” “Have an Evil Day (Part 1),” “Have an Evil Broad daylight (Part 2),” and “This Looks Like a Job for Bat-Mite!”