Glen here...

...with another review of Batman Beyond, which debuts this Sunday (January 10) on The WB. This review is from AICN's friend, operative, and confidant: the roundly abused and thoroughly under-appreciated ROBOGEEK!

Here's what ROBO had to say about this new incarnation of the Batman animated franchise. While Robogeek's tastes frequently parallel mine (except in the case of Porko Rosso(sp?), in which he didn't seem to notice...or mind...that the main character was (inexplicably) a pig-man who flew airplanes, while everyone else around him was human). Therefore, you'll see some similarities between my initial review of Batman Beyond and his.

Reversely, Robo is an extremely intelligent and hyper perceptive entity, sometimes more so than even myself (I know, I know - that's hard to imagine...ahem). He's got some interesting and perceptive points and questions here - I hope you enjoy them.

So, without further meaningless intrusion for me, here's ROBOGEEK's review of Batman Beyond!

Greetings from the West Coast branch of the Banzai Institute, where I've been vacationing for the holidays and getting my annual tune-up. I've had quite a few adventures here in the past month -- mainly involving potatoes, but I can't really talk about that until I get the okay from Reno.

Anyway, the other day I was undergoing an upgrade session in the cybernetics lab when Scooter raced in with a look of giddy glee on his face. Firmly clutched in his hand was a videotape.

"Guess what I got?" he asked with exuberance, shaking with such excitement that he almost knocked over one of the potato experiments.

After exchanging a mystified glance with me, Dr. Hikita turned slowly to face our zestful visitor. Gazing up over the rim of his spectacles, he cautiously queried, "A... videotape?"

Scooter sighed in exasperation, rolled his eyes impatiently, and actually stomped his foot. "The premiere of Batman Beyond! Right here, baby!"

"Shugoi!" Hikita exclaimed, grabbing me by the arm and leading me to the screening room with surprising haste. Once there, we paged the rest of those available, and Mrs. Johnson even brought out a batch of her famous cinnamon buns, fresh the oven. Oh, how I love Mrs. Johnson and her buns!

Soon, we were all sitting with childlike anticipation as the tape entered the VCR.

"Who's the man?" Scooter trumpeted enthusiastically as he pushed "play."

"You're the man, Scooter," came the familiar response from Reno. Perfect Tommy stifled a giggle, but Buckaroo just smiled, zen-like.

As most of you no doubt know, I am an enormous fan of "The New Batman / Superman Adventures" on Kids WB, from Warner Bros. television animation. In fact, I think it is one of the ten best shows on television (though technically, I suppose, it's three distinct series -- the original Batman animated series, the new Superman animated series, and the new/revamped Batman animated series).

For some time now, I and many fellow fans have eagerly awaited a new show from this brilliant team of storytellers, led by Paul Dini, Bruce Timm and Alan Burnett. Originally we heard it was to be called "Batman Tomorrow," but it was ultimately dubbed "Batman Beyond" -- a title which still confounds me, and defies logic at least as much as, say, "Batman Forever."

You may have seen the new character design at the end of the fantastic (and highly recommended) new "Batman Animated" book, or seen the opening title sequence in a tiny Quicktime movie online at www.batman-beyond.com. And this Sunday, you'll finally get to see the two-part, hour-long series premiere on the WB -- in prime-time.

Simply put, this show is really pretty cool, and you should definitely check it out for yourself. It puts Warner Bros.' recent feature film efforts to shame -- though, for me, it doesn't quite match the level of work being done in the current/redesigned Batman animated series. Watching it, I couldn't help but think "This is a worthy _companion_ to the current Batman animated series, but not quite a worthy _replacement_." It's a treat to get something new and fresh -- but I wouldn't dream of trading it for the Batman I know and love.

And that's the inherent dilemma facing anyone attempting to review this new series -- and why it took so long to write this. I know that what I _should_ do here is review "Batman Beyond" purely on its own merits, on its own terms, separate and distinct from the Batman Animated Series. However, I simply can't do that. I can only examine it in _context_, using the show I know and love as a frame of reference. And while that may not be fair (which I freely admit), that's what it comes down to. And that means this new series has a lofty standard to uphold, and an imposing legacy to live up to.

The film opens with a fantastic three-minute prologue, obstensively chronicling a fifty-something Bruce Wayne's last adventure as Batman (post-Dark Knight?) in a cybernetically-enhanced Batsuit that augments his strength and, to a degree, counters the limitations imposed by his age. But even technology has its limits, as Wayne learns the hard way. And, through this encounter, he comes full circle in a very poetic way; there are no supervillains, only petty thugs with guns -- kidnappers, to be precise. To say anything more would ruin it. But it's inspired, with the help of the familiar symphonic Batman score.

And then, after the prologue ends, we enter a whole new world -- introduced by the new series' exceedingly cool, heavily anime-influenced opening title sequence, which features some really nice 3D CG, and a pulsating techno-rock theme. It's certainly an attention grabber.

We fade in to Gotham City which bears a striking resemblance to Neo-Tokyo. Then we get an all-too-Robocop-esque news cast, which feeds us some expositional narrative; mega-industrialist Derek Powers has taken over Wayne Enterprises through hostile takeovers. This is interrupted by the awkward appearance of one of the members of the "Joker Gang," who holds up a passenger on some sort of tram/bus/elevator thing -- only to be dissuaded by Terry McGinnis, on his way to school. Against this scene is decidedly less cool music than we heard in the main title -- self-conscious electric guitar to match the self-conscious dialogue. "Uh-oh," I thought.

In fact, the entire show blatantly exhibits the influence of anime (i.e. "Bubblegum Crisis" and "Akira" in particular) and films such as "Robocop" and "Blade Runner." And while that sounds cool in concept, being brought face-to-face with its execution is pretty disorienting and distracting. This just doesn't _feel_ like Gotham City anymore. It's different. In fact, it fits more closely to what I'd imagine a futuristic, hyper-evolved Metropolis would look like, not Gotham. I'm not saying it's a bad thing, just that it's... very _there_. The Gotham City of the original Batman animated series is a triumph of production design, exceeded only by the revamped Batman animated series. This new, future Gotham struck me as being inconsistent with its roots -- not just the strict architecture, but the whole color palette. Fans of the current Batman series may find it jarring and disorienting.

Anyway, after a brief scene of Terry in a high school wrestling match, we cut to Wayne Powers Industries, where Terry's dad gets an urgent call from an associate. They meet, and just after the mystery-sickness-stricken associate hands over a disc, the two are interrupted by Mr. Fix, Powers' Odd-Job-evoking henchman (voiced unmistakably by Captain Sulu), whose goons drug and cart off the stricken associate.

We then meet Derek Powers, who comes across as Lex Luthor by way of the Robocop School of Neo-Corporate Fascism. The plot continues to unfold in an almost utilitarian fashion, as Terry's dad uncovers the secrets contained in the disk -- and confronts the challenges of being a single dad to Terry. Up through this point, it's all distressingly ho-hum. Then we follow Terry out on a date into Neo-Gotham's nightlife, and _it_ happens. While standing in line outside a club, the Joker Gang appears.

Let me explain. Ever seen Katsuhiro Otomo's "Akira"? Well, the Joker Gang is a blatant and lame watered-down rip-off of that film's Clown Gang biker terrorists. I was stunned. My heart sunk. "This sucks," I thought -- which is something I almost _never_ think while watching the Batman animated series. (Although I do remember thinking while watching the "Livewire" episode of the Superman animated series, but I digress...)

After a paint-by-numbers motorcycle chase sequence that doesn't even approach those found in anime works such as "Akira" or "Bubblegum Crisis," something finally happens. The chase dead-ends at the gates of Wayne Manor -- disturbing a none-too-pleased seventy-something Bruce Wayne's midnight walk.

Wow. Once Wayne is on screen, everything changes. It's very, very cool. Kevin Conroy's performance as the aged, reclusive, embittered Bruce Wayne is absolutely fanastic, and the character design is perfect. And while I won't give away the scene, there's something _so_ cool that I just can't keep it to myself. The only other resident of Wayne Manor is a doberman called Ace -- as in ACE THE BAT-HOUND! YES!!! That is so COOL!!! Of course, most people won't get it, but for hard-core Bat-fans, it's a great detail. "Okay," I thought, "this made up for the previous ten minutes."

I love the whole reclusive, mysteriously embittered old Bruce Wayne, hidden away at Wayne Manor like Charles Foster Kane, with enormous wealth, technology and resources at his fingertips. I couldn't help but think he was sort of like a good Lex Luthor, in a way.

Anyway, I'll resist the urge to give away too much more about the pilot's plot, but here's the main point -- it comes alive once Bruce Wayne appears, and he meets Terry. After this moment, Terry suddenly emerges as an interesting character, sort of somewhere in between the Dick Grayson Robin and Nightwing. Also, the plot actually starts moving here, and the second half emerges as solid stuff -- though it's burdened by the distracting techno-rock score that just doesn't quite fit.

See, the music just feels too forced, too self-conscious. What the show needs is a timeless score, but what it has sounds dated. But I'm speaking overall. There are some moments when the music kinda works, but those moments are few and far between. Now, if the music were say, on the level of Eric Serra's "The Fifth Element," Vangelis' "Blade Runner" or Yamashiroh Geinoh's "Akira," it would be stunning and brilliant. But it's not there. Maybe it can get there. However, while watching the show it occurred to me that the series should at least partially retain the "classic" Shirley Walker symphonic Batman score, for one simple reason. This show is about Batman -- the real Batman, Bruce Wayne.

Now, bear with me here. It's hard to judge the entire new series on its first hour, but something clicked so solidly I just couldn't help but extrapolate the following. Maybe I'm reading too much into it, maybe it's just wishful thinking, but knowing the previous work from Paul Dini, Bruce Timm, Alan Burnett and company, I have a feeling...

There are a lot of people concerned and upset over a "new" Batman, who feel that there is and always will be only one Batman -- Bruce Wayne. I share that opinion. But after watching "Batman Beyond," it occurred to me that Dini/Timm/Burnett had struck upon something inspired.

Just because Bruce Wayne isn't in the Batsuit doesn't mean he isn't Batman. And just because someone else is wearing the suit doesn't mean they're Batman. You'll pick up on this once you see the show. See, what comes across to me is that Terry is, basically, sort of in between Robin and Nightwing. And by wearing the Batsuit, he becomes an incarnation of Batman -- an instrument of his will, an extension of his identity. Another tool in his arsenal. It's an extremely clever approach, one enabled by the technology that's integrated into the plot as well as the cyber-Batsuit.

And the dynamic of this relationship between Bruce and Terry is an intriguing, inventive twist on the whole Batman and Robin relationship, and in a way is a logical extension of it, creating a rich source of conflict. And it's also,I think, a natural evolution of the relationships we've seen between Bruce and Dick, Barbara, and Tim. Bruce has had a _lot_ of experience at this point with sidekicks, from the original Robin to Batgirl to the new Robin. And with each successive partner, he has gotten better at handling the relationship. With all that under his belt, I think he has the potential to know exactly what to do with Terry. I think so, anyway. I'm anxious to see.

However, I'd be remiss if I didn't comment on the design of the new cyber-Batsuit. While I like the concept of turning the entire costume into a utility belt, it's "look" is just a tad... radical. I mean, you need look no further than the last page of the (damn cool) "Batman Animated" book to see it described as a "hood ornament" or "an Emmy." Simply put, it doesn't look like Batman.

I've been trying to put my finger on exactly what I don't like about it. It comes down to a few things. First, it's not _imposing_. It's too lithe. To me, it looks more like Spiderman with big ears -- ears which, to my eye, seem out of proportion with the overall design. And I think the main reason the suit isn't imposing is the lack of a cape. I mean, how can you have a Caped Crusader without a cape? I like the idea of wings, but these wings are... puny. The look kinda wussy, actually -- more like Spidey's underarm webbing than true wings. Now, if the design had gone back to the old original Bob Kane Batman design, and adapted those big kick-ass wings, it would look damn cool. (But, I suspect, would be harder to animate.)

Other nitpicks about the new Bat-design... the color palette. A black and _red_ Bat-suit just doesn't quite feel right. And the full-face mask is a little confounding; it perpetually begs the question "how exactly does the mouth work?" and, at least for me, is distracting.

Another element that causes me some concern is the decision to give the suit flight capability. I worry that it crosses a line, violating a basic element of the character. Giving him too many powers makes him too much like, say, Superman.

Another tidbit... we're told that this new Batsuit is now twenty years old once Terry dons it. Hopefully, this is a perfect narrative "escape hatch" that the show's producers will take advantage of so they can design a new and improved suit at some point.

Overall, however, that's a relatively minor issue compared to what I view as the primary problem/opportunity faced by "Batman Beyond" -- the fact it faces a virtually blank slate (except for the rare exception, like Ra's al Ghul, for instance, and anyone else who may have managed to stay alive this long). One of the defining hallmarks of the Batman animated series is its Rogue's Gallery -- which this new series has its work cut out for to match. But I have no doubt that the producers wouldn't have started down this road if they didn't think it was worth travelling. I just hope they wow us with villain creations as brilliant as Harley Quinn, rather than as lame as the Joker Gang.

This may read like a fairly critical piece, but please don't get me wrong -- I absolutely worship Paul Dini, Bruce Timm, et al. I enjoyed "Rebirth" overall, and was impressed by its prologue and second and third acts; my main problems with it are contained in the weak first act. And I realize it's not fair to judge an entire new series based on one episode, but this episode is all I have to look at so far, and this is my honest reaction to it.

Check it out and decide for yourself.

P.S.: ATTENTION MACINTOSH USERS! Got OS 8.5? Download the Official AICN Sherlock Plug-In, courtesy of El Cosmico and the Banzai Institute! (Not a Mac user? Then head over to www.apple.com and find out why you should be.)