![]() ![]() This approach is evident in B:TBATB by the portrayal of its titular hero. By contrast, B:TBATB takes those old stories and characters but treats them with reverence and modern storytelling sensibilities. #BATMAN BRAVE AND THE BOLD REVIEW SERIES#The ’66 Batman series intentionally took the silliness of those old comics and magnified that in its own dutch angle lens. In basic terms, the Camp aesthetic is where bad taste becomes good fun in the ironic eyes of the audience. You see, being “Campy” is not the same as being “Sincere” and kids (along with some jaded adults) don’t really see the distinction between the two. Together, they created off-beat escapades and tributes to the imaginative era of the Golden and Silver ages in a way that I wouldn’t classify as “camp”. DeMatteis, Matt Wayne, Joseph Kuhr, Stan Berkowitz, Paul Giacoppo, Alexx van Dyne, Dean Stefan, Thomas Pugsley, Marsha F. These things don’t ruin the episodes, but they’re very noticeable when watching.Ĭo-Producer Michael Jelenic ( Legion of Superheroes, Teen Titans Go!, that Thundercats Reboot y’all slept on) took on the writing half of the B:TBATB equation with a revolving door of writers which includes Adam Beechen, Dani Michaeli, Todd Casey (also a story editor on the series), James Krieg, Steven Melching (also a story editor on the series), Greg Weisman, J.M. The editing by Joe Gall is great overall but in fight scenes, a white flash gets cut in whenever a character strikes another character. Computer generated models and effects (vehicles, lasers, etc) stick out of the 2D environments like a sore thumb. The Elite, Teenage Mutant Ninja Turtles), Michael Goguen ( Jackie Chan Adventures, Scooby-Doo! Mask of the Blue Falcon) and Brandon Vietti ( Batman: Under the Red Hood, those LEGO DC Superhero movies y’all are sleeping on) worked very hard on bringing these episodes together but there’s some weird artifacts. Episodic Directors Ben Jones ( Teen Titans, Teenage Mutant Ninja Turtles), Michael Chang ( Teen Titans, Superman vs. ![]() Co-Producer James Tucker ( Legion of Superheroes, Batman Beyond, an awful lot of titles with the words “Justice League”) drew out the initial character designs for the series which are very much inspired by the artwork of Golden Age comic book artist Dick Sprang. Both Batman shows draw from the pages of Golden and Silver Age Batman comics but B:TBATB goes further by taking elements from the Bronze and even Modern Age stuff like Grant Morrison’s eight year run on Batman. B:TBATB feels directly influenced by the Adam West Batman but upon closer inspection, is different in many respects. So don’t expect me to criticize B:TBATB for not being “MY BATMAN” as this Batman is no less valid than the incarnations portrayed by Adam West, Michael Keaton, Ben Affleck, Kevin Conroy, Anthony Ruivivar ( whose performance I’ve covered in my Beware the Batman review) and countless others.īut I digress. For better and for worse, the Adam West Batman is a crucial pillar of the Dark Knight mythos so disregarding it because it’s “Not My Batman” is an attitude I don’t agree with. #BATMAN BRAVE AND THE BOLD REVIEW TV#But here’s the thing, the 1966 Batman TV Series drew its inspiration from the comics of that era. But when it comes to a “light” version of Batman, a lot of Bat-Fans immediately of the Adam West Batman and draw ire at the campiness. An argument can be made that the “Inherited Wealth From Old Money” angle might be dated but everything else about Bruce Wayne and his superhero alter-ego are very cool and appealing to both children and adults. From his Golden Age roots as a gun-toting vigilante, to the Silver Age silliness that today’s fans tend to ignore, and to all of the modern re-imaginings, Batman endured the test of time because Batman is an icon that’s flexible enough to be interpreted in any multitude of ways. And then there’s Batman: The Brave and the Bold (B:TBATB), a throwback to the Silver Age in a time where Batman is viewed as the “dark, gritty, and most realistic” superhero by the public at large.īut that wasn’t always the case. Stranger Things uses nostalgia as a lure to hook viewers into their subversion of Steven Spielberg’s films and Stephen King’s horror novels. Mad Men uses nostalgia as a potent storytelling device by connecting marketing campaigns with their products as means of exploring America’s cultural identity during the 1960’s. So many modern reboots and remakes use nostalgia protective barrier to rehash old ideas and old stories while offering nothing creative for today’s audiences. In the world of entertainment, nostalgia is used as a crutch. To tear things down and build them back up in ways we always thought it should be or in ways no one could have ever dreamed of. It’s that painful yet earnest feeling when we remember things from our past, and we often use it to fuel the future. ![]()
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