Airing in the mid-90s, Batman: The Animated Series remains the definitive version of the Dark Knight for many, myself included. Not only did this iteration of Batman pave the way for all future interpretations, but the hero’s rogue’s gallery was explored and expanded upon so flawlessly that certain characters were fundamentally changed forever. Not to mention that the series was also the birthplace of Harley Quinn, one of the most popular comic characters of the modern age.
So, when it was announced that Bruce Timm, creator and showrunner of The Animated Series, was returning to work on a new Batman, with Matt Reeves, J. J. Abrams, and Ed Brubaker as executive producers, it felt like I had slipped into a dream I was happy to stay in forever. Batman: Caped Crusader is that project, exploring Batman’s earliest days as a vigilante in a 1940s Gotham as he fights crime, solves mysteries, and does a lot of world-class brooding.
All ties and trilbies, the vague 1940s setting is drenched in the art deco styling that was found within The Animated Series. You won’t see any out-of-place tech here though, with old timey cars accompanied by scratchy radios, period-appropriate clothing and television sets that you would need to sit inches from to enjoy. The setting helps give Caped Crusader its own identity, but it also lends itself to the pace of each episode.
Little details, like this map being the same as the one in Batman ’66, reward eagle-eyed Bat-fans
Online forums are fond of deifying the Cape and Cowl, claiming that he can overcome any obstacle with enough prep time, but I’ll always argue that Batman is at his best when living up to his “World’s Greatest Detective” moniker. With a tighter focus and smaller scale, Caped Crusader delivers on this front wonderfully. Skulking into Gotham Police Department to shuffle through files, prowling on rooftops to study a mark, and piecing together evidence in the Batcave, Batman is shown putting in the investigative work on every case.
And each episode plays out very much like an individual case, taking the monster of the week approach that introduces a villain that will be foiled by the time the credits roll. With the exception of two storylines that permeate the entire season, we get a fresh foe for each 20-minute-long episode, keeping each outing exciting. Though this pacing did leave me wanting for the character depth that The Animated Series was so adept in. That said, later seasons can up the ante and spend more time on each villain, so I’m not too fussed.
Unafraid to dig deep into Batman’s bag of baddies, we’ve got plenty of recognisable faces here, but the show doesn’t just stick with the mainstays. Caped Crusader revels in oddball choices like Onomatopoeia and even delves into the supernatural with Gentleman Ghost and Papa Midnite. I was surprised by the depth of the character roster, and even more so with their portrayals.
Each character gets a rework, with some being more extensive than others
Caped Crusader proves early and frequently that it’s more than happy to change the formula with established characters too. This rendition of the 1940s is a far more accepting and inclusive one, with the cast being diverse in gender, race, and sexuality. The Gordans are African American, Harley is Asian, Renee Montoya is gay, and the Penguin is reimagined as a woman. The changes to these characters go deeper than physical appearance and bedroom proclivities, but the strong representation deserves appreciation.
Barbara is public defender in Caped Crusader, Harleen is a practicing psychiatrist, and Harvey Dent, while still the DA, is a narcissist and ruthless one. There are plenty of excellent moments with these reimagined characters that I can’t spoil, but, as a long-time DC fan, I loved getting a fresh perspective on tenured heroes and villains.
The characters are brought to life by a brilliant voice cast that deliver consistently impressive performances. Jamie Chung as Harley and Kystal Joy Brown as Babs both bring dimension to their respective roles, but it’s Hamish Linklater’s turn as the Bat that shines brightest. Carrying on the mantle from Kevin Conroy is an impossible task, but the Midnight Mass actor put in a phenomenal performance by taking cues from Conroy without slipping into mimicry. His deep Batman growl is juxtaposed with Bruce Wayne’s entitled tone, making for a well-rounded and complex individual.
The various visual callbacks to the Golden Age further ground the series in the 1940s
The amination and art are similar to Linklater’s performance in some ways, feeling close to The Animated Series without being a carbon copy. The rich colours and bold lines are timeless, matching the Golden Age-inspired designs of many of the characters. Reimagined visually as much as they are conceptually, character designs are an amalgamation of old and new, drawing from various references while still feeling unique and clean. The 2D animation is largely excellent, except for the odd inclusion of the third dimension, like during car chases, feeling a bit awkward and out of place.
Final Thoughts
This ten-episode debut season pays homage to The Animated Series in many ways, but Caped Crusader is very much its own beast.. The darker and more mature stories strike a balance between the creative voices involved and the unique spins on established characters keeping it from just being Batman in the 40s. Despite Linklater feeling like he’s been in the role for years, this Batman is still very early in his vigilante career, and I can’t wait to see where it goes from here.
Episodes supplied by production company
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