Even if they solve his riddles, they end up in the wrong place, and he gets away with a crime again.
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But the story is that Riddler is coming out with an exceedingly clever series of riddles that throw Batman and Robin off his trail. In our first story, the main villain is the Riddler, and then Catwoman shows up, and it's Julie Newmar, of course. So what was the core one-sentence Batman story pitch that you started with for your first digital comic, and what was the element in the scripting that really brought out the feel of the show? It always looks very lavish in our comic. One of my notes is, "Always act like we have a 'Cleopatra'-level budget." I just want to make a big spectacle out of it. Now that we're in the comics, we can make the sets as expensive as we like. But then they ran out of budget, and by the third seasons the sets and everything are way cheaper than they were before. Once it became very popular, they tried to really cash in on it and immediately rolled out the "Batman '66" movie. That happens with everything that becomes a bit hit like "Batman." Obviously, with years of hindsight we can pick out what worked and what didn't and try to stick to that.īut it seems to me that the "Batman" producers did something that everyone familiar with comics would recognize. It's something you see happen to a lot of shows where the show suddenly becomes self aware, and you start to lose some of that magic that magic that made it really fire at the beginning. Was it like that to you where the show changed some after "Batmania" hit, and the celebrity cameos started coming in force?
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You've probably had a chance to watch the full run of this more than other fans recently.
It's all the things he brings to the table. He comes off as a complete winner because of the way he figures things out and his sweet pad and the car. There's a ton of humor there, but at the same time Batman looks really cool. He's in on the joke, and it's important to let him look cool." So we really get some of the tone of the very early episodes where they did that best. I keep giving notes to the artists like, "Let's remember that we're not making fun of Batman ever. You know, Commissioner Gordon and Chief O'Hara immediately would give up and just call him "Batman." It's getting those moments right where the humor really comes from. It's once you let the characters run around loose and you're getting the way Adam West would do Batman that it comes together. It's "Joker has a plan to do this." There's nothing inherently funny when I write down the plot point. So if you look at my plots, they could be typical Batman plots. That guy can change his face into anything!" or "That guy can play piano so crazy!" īut the important thing to me in trying to get the tone right for this is that I don't want to come up with funny premises for the book. Stuff's getting real!" "Batman better take care of this. That's why when you're an adult watching it, you can just have a great time, and when you're a kid watching it, you go "Oh man. I don't know if everybody gets what I mean, but the show is full of humor. It's interesting that you say that, because this is one thing I try to say to people. When you're writing this digital comic, do you think of it as a comedy as much as it is a retro adventure comic? We think of Adam West's show as being campy and sometimes corny, but it also had moments that were legit clever comedy. Right! Aside from his playing twin brother pianists who lived on opposite sides of the law, there was a scene in there where Chandell's lawyer gets him out of police lockup by threatening Comissioner Gordon with a police brutality charge, and I was struck by how funny it was.
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