Any time I write about Batman: The Animated Series, it gets harder and harder to come up with something to say. I touched on this in my review of The Batman Adventures Omnibus, in that while I could talk all day, every day about this series, so much has been said and written about this property that at this point we’re all just coming up with different ways of saying “it rules.”
Let it never be said that you can’t discover new aspects of a beloved series, though, BTAS included. See, just before the world shut down a few years ago, I found something at a user bookstore that I wasn’t even aware existed: a novelization of two Batman: The Animated Series episodes. And for like three bucks? I’d be nuts to not buy it.
Naturally, over the next few months I tracked down other novelizations, eventually putting together a nice little collection of books taking place in the series’ continuity. Eventually I decided to read them, and figured why not share these somewhat obscure treasures with other Batman fans? In release order (as far as I can tell), here’s a look back at Batman: The Animated Series novels and adaptations.
Batman: The Animated Movie – Mask of the Phantasm
Written by Geary Gravel
Based on a screenplay by Alan Burnett
On paper, this is exactly how a novel adaptation should be: taking an existing script and expounding on it, using narrative point of view to add new insights to the familiar while still staying beholden to the overall story. In that regard, Geary Gravel’s Mask of the Phantasm is a success, as it really doesn’t veer too far from the beats in the film, but still manages to largely stay fresh and interesting.
Largely, as there are some added elements that are a bit of a mixed bad, though nothing egregiously terrible or distracting. Gravel wrote four of the books I’ll be covering in this post, and this is definitely his best and most well-rounded effort. When he sticks to the story and dialogue from the movie, he manages to dive a bit deeper into each character’s psyche and provide more dramatic context to scenes that most of us know backwards. Having seen the climactic chase between Batman and the GCPD, I didn’t think I’d be on the edge of my seat reading what I already know, yet Gravel has a pretty strong narrative voice that kept me intrigued and interested throughout.
It’s the supplemental details that are a bit distracting, and indicative of some of the issues I have with his later books. There’s an entire subplot devoted to an original character named Burton Earney, which is either hilarious or ridiculous, I can’t decide which. At first this guy is kind of irritating, only tangentially interacting with the main story, and eventually finding his way into situations that are more and more contrived. Having him take photos of Chuckie Sol’s car after it plows into the side of a building is one thing, but bumping into Bruce Wayne and Andrea Beaumont during the Gotham World’s Fair flashback? That’s a bit much. He has an entire arc, though, which was really surprising, and I like where he winds up in the end– except the very end, which is way too cutesy and obvious. Considering I rolled my eyes any time I got to any of his early chapters, that’s saying something that I mostly came around to him.
Mostly.
When Gravel focuses on the existing story elements is when he really shines, successfully expounding on the already tense and moving plot and character beats written by Burnett. The scene where Andrea discovers the nature of her father’s relationship to the mob was already emotional, even terrifying in the film, and Gravel lingering on the man we find out becomes the Joker during that scene adds even more tension to one of the dramatic high points of the story. The Animated Series Joker is scary because he’s unpredictable, and Gravel completely understands that.
Batman: Mask of the Phantasm is about as perfect a Batman movie as you could ask for, and it’s almost impossible to top it. This book doesn’t exceed the excellence of the film– even in using the written word to dive into the psychology of each character, the film’s streamlined storytelling more than gets the point across– but it does what any good adaptation should do: make you appreciate the original material, and give you more of what you love about the story and characters.
Plus a guy named Burton Earney. Ho ho.
Junior Novelization
Written by Andrew Helfer
Based on an original story by Alan Burnett
Once I found out there was a second novel based on the film, I had to get it and read it.
Not just for the purposes of this post. For my collection.
You know I couldn’t help it. I know I couldn’t help it. I was going to buy this regardless, so why not write about it a bit?
Given what I’ve already written about Phantasm so far, there isn’t a ton to add to this, other than comparing the two books. Given that this is aimed more at middle-grade and younger readers, Andrew Helfer’s writing is more concise and easy to read than Gravel’s. It follows the story of the film incredibly faithfully, with hardly an ounce of fat to be found, yet it’s never dry or dull. Some dialogue is changed up a bit, often for the worse, and Phantasm is actually referred to as such by multiple characters. That’s not necessarily a bad thing, but considering she’s never actually given a name in the film.
Either way, the book is otherwise faithful to a great movie, and as a bonus there are some pretty cool illustrations sprinkled throughout. It’s a quick read, perfect for younger Batman fans, and can be found in great condition at a relatively cheap price. Can’t beat that.
Shadows of the Past
Written by Geary Gravel
Based on scripts by Gerry Conway, Dennis O’Neil, and Randy Rogel
Geary Gravel is back for the first of three novels he wrote, all of which are adaptations of at least two separate Batman: The Animated Series episodes. Shadows of the Past leads off, with an intriguing title and that absolutely incredible cover art. And for the record, it’s this book that I found in that’ll aforementioned used bookstore, setting me off on this adventure.
Taking cues from the episodes “Appointment in Crime Alley” and “Robin’s Reckoning”, as well as sprinkling in a bit of “It’s Never Too Late”, this is a narrative mashup that looks like it might should work on paper but doesn’t ever get there. Gravel sticks largely to the script of each half of his story, down to the dialogue and action beats, but can’t keep it from feeling like it’s structured like two whole, separate narratives that were tied together with the thinnest of connective tissue.
That said, I did like how he connected the two stories, even if his intentions were never fully realized. Introducing Robin in the “Appointment” chapters was a nice idea, especially because he’s a third-party observer of the main story. It’s how he’s introduced that is… less than great, but I’ll get into that later.
“Crime Alley” is a great episode, and one that is a perfect example of the series telling mature stories that can still be suitable for children. There isn’t a ton of meat on the bone, so to speak, as most of the episode’s appeal comes from the performances and atmosphere. Having to fill up close to a hundred pages with Batman’s trauma and insurance fraud is a tall order, at least with the material presented in a 22-minute episode of television. Gravel manages it, but barely.
“Robin’s Reckoning” has more than enough story for a book on its own, though, and it’s in the second half that the book really picks up. Tightly plotted and faithful to the award-winning episodes, I burned through the latter portion of this book once the focus shifted to Robin. Gravel handles the flashbacks and modern day stories well, wringing tension from familiar story beats by giving us a glimpse into the inner thoughts of the characters. There are a few spots where it isn’t clear when the action is taking place, so a little more editing might have been beneficial, but everything becomes clear fairly quickly.
Now, I might as well get my biggest gripe out of the way, not just with this book but the next three. Gravel includes scenes in each book that are used to bring Duck Grayson into the story, which in itself isn’t a bad thing. The problem is the contrivance he uses isn’t nearly as funny or clever as he clearly thinks it as, as a mysterious stranger shows up on the Wayne Manor doorstep, Alfred answers the summons and sees through Dick Grayson’s disguise, and invites the young man in and encourages him to try harder next time if he wants a to fool the savvy butler. Sure, it’s harmless and inoffensive, and doesn’t take up too much time from the narrative. It does drag the story to a halt, though, and like I said, it just isn’t nearly as funny as the writer wishes it to be. Like Burton Earney, these asides are more curiosities than storytelling necessities, and this is just the start.
Dual to the Death
Written by Geary Gravel
Based on scripts by Alan Burnett, Randy Rogel, and Brynne Stephens
Gravel’s second outing– as far as episode adaptations go, anyway– is the high point of his brief run of novels, adapting the two-parters “Two-Face” and “Shadow of the Bat”. These two stories flow together incredibly well, thanks in no small part to the fact that Two-Face plays such a huge role in both. I won’t lie: I’d forgotten he was the big bad in “Shadow of the Bat”, so the way Gravel managed to reconfigure some of the events and pacing to make his involvement a surprise was remarkably effective.
What really helps the two stories is the fact that they’re largely character pieces, narratively dense so there’s plenty of material to use for a prose novel. Lots of time is spent with Harvey Dent, Jim Gordon, Barbara Gordon, and even Grace Lamont, so the tragic aspects of each story land particularly hard.
Like the novel that precedes it, there’s the silliness between Dick and Alfred that could have been excised, but it doesn’t impact the pacing and flow nearly as much as before. It helps that the two halves of the narrative have more connective tissue and work together organically, so it’s more a speed bump this time around than a true detour.
Frankly, if you’re going to read one of these books, make it this one. It’s the best example of adapting previously-written material and making enough changes to feel fresh while still telling the same story.
The Dragon and the Bat
Written by Geary Gravel
Based on scripts by Steve Perry
Awwwww yeah, Kyodai Ken!
On a personal level, this should have been my favorite book, because I love both “Night of the Ninja” and “Day of the Samurai”. Plus, I mean, ninjas are cool, and Kyodai Ken is such an interesting antagonist, what with his pompous, smug attitude and karate skills.
While I didn’t dislike this, it’s definitely the weirdest book of the bunch, with several… uhh, interesting narrative choices of varying effectiveness.
The first half plays out much like you’d expect, with a pretty straightforward retelling of Kyodai Ken’s introduction in “Night of the Ninja”. Gravel’s writing in the action scenes is particularly strong, which is good because there are quite a few here. There’s not much to say about this section of the book, because it adapts the episode pretty well, and wraps up in less than 100 pages.
Which is odd, because the book is over 200, and there really isn’t enough material from the second episode to fill that many pages.
::sigh::
You know what that means. More “Robin tries to fool Alfred with a silly costume” shenanigans.
To Gravel’s credit, he puts a spin on it this time around, as the first person to approach Wayne Manor incógnito is not the Boy Wonder, but a mysterious crook. This could have led to an interesting little side story if done well, but it’s so random and out of place that I honestly lost interest after a bit. Thankfully this section is fairly short, but man was it rough. It ends up being Clayface and his crew, wanting to burgle Wayne Manor, and given that it has zero bearing on the rest of the story it didn’t work for me at all. And I love Clayface.
“But Jay,” you say, “Robin isn’t in ‘Day of the Samurai’!”
Right you are, friend, so it should surprise you just as much as me that I actually really, really liked how Gravel included him in the latter half of the book.
See, Dick gets interested in the strategy game Go, and Alfred proves to be quite fond of the game as well. Not only does he think it’s a great way for Dick to strengthen his problem solving skills, he also feels that the young lad should attend a Go tournament that just so happens to be held in Japan when Bruce plans to track down Kyodai Ken. That way Dick can feel like he’s going to help Bruce, when he’s really there to be preoccupied so he can stay out of harm’s way.
Where the Bruce scenes are pretty close to how they play out in the episode, everything involving Dick was created from whole cloth, including his young guide. The pair travel the Japanese countryside, discuss their vastly different cultures, enjoy some good food, and take in plenty of Go. Where the original Clayface material didn’t work at all, I enjoyed this subplot because it had a clear narrative advantage: it actually made sense with the story.
The Dragon and the Bat is the most inconsistent of these books, and the most ambitious. It has strong source material, yet too little story to tell over too many pages. I’ll give Gravel props for trying to do something different, but in the end he’s only partially successful.
Subzero
Written by James Raven
Based on a script by Randy Rogel and Boyd Kirkland
Like the Mask of the Phantasm junior novelization, this is almost word for word the SubZero movie that we’re all so familiar with. There really isn’t a lot to say about it, because it’s so faithful to the movie’s script and moves along at a quick pace. James Raven uses his text to give us a bit more insight into Mister Freeze’s heartache and anger, which gives the book a nice amount of heart. It’s also a really quick read, so there isn’t a huge time investment involved if you were wanting something light and breezy to read. It could have done more with the story, but it could have done less with it too, and this manages to strike a nice balance for a book largely aimed at younger readers.
Honestly, if you’re looking for the purest adaptation, this is probably it. It doesn’t add anything to the story, nor does it take it away. Whether that’s a good or bad thing is entirely up to you, but I like this movie and enjoyed how easy this is to read.
Batman: The Rise of Sin Tzu
Written by Devin Grayson and Flint Dille
Based on a script by Flint Dille
In several ways, this was the most interesting book to read of the lot. It’s a largely original story, tying into and supplementing the video game of the same name. While I remember the hubbub about the Jim Lee-designed title character and have played maybe the first level to create a save file, this isn’t an aspect of Batman lore that I’m remarkably familiar with, so I didn’t have many preconceived ideas going in. Working from Flint Dille’s game script, writer Devin Grayson and Dille himself craft a tense tale of one fateful night in Gotham City, told from the points of view of multiple characters. It’s an ambitious approach, and one for which they should be applauded, because the different POVs mean that each chapter has a different voice, a different personality, and the structure is laid out almost like different levels in a video game. It’s unique and interesting, to be sure.
That’s also where the book’s weaknesses creep in, because some of the chapters are great, and others… less so. Aside from Sin Tzu, every character gets a single chapter told from their vantage point, ranging from costumed heroes and villains to prison inmates and government officials. Sin Tzu has multiple interludes, which start out fairly interesting, but the character becomes more boring the further we go along. I think the mistake is in taking a character who uses the powers of mystique and the unknown and trying to make us understand him, even empathize with him. What’s worse, his plan is almost exactly the same as Bane’s in “Knightfall”, at least in the broad strokes, so it all ends up feeling derivative. Especially because Bane is a large part of Sin Tzu’s army, it becomes all the more evident that the story beats are inspired by that comic arc, to be generous.
The best chapters are those with completely original characters, like the street level thugs and Stonegate prisoners who are released to wreak havoc across Gotham. Each of these guys feels unique, whether they’re full of bluster and arrogance or led to a path of redemption and repentance, I liked spending time with these original creations more than I did with the established characters. There’s even a bit of cheeky humor throughout, with one character’s hypothesis that Batman calls on an army of soldiers referred to as Reserve Officers of the Batman’s Intelligence Network getting a big laugh out of me.
The main issue is that Grayson and Dille aren’t always successful in capturing the personalities of each of the familiar heroes and villains: Robin comes across like he’s being written by adults who are trying to write a kid, for instance, and Clayface’s chapter is full of one too many references to acting and dramatic craft. Plus, since we’re only following each character in their given chapters, a lot of the big action occurs “offscreen,” with prior events involving characters we’ve already read about being mentioned in passing in later chapters. Granted, considering the final confrontation between Batman and Sin Tzu is so confusing that I don’t know how the Dark Knight actually beat his foe, maybe that was for the best.
If nothing else, it made me a bit more interested in playing the video game, but you also shouldn’t have to refer to other media to make sense of a story. Overall I enjoyed reading the book, I just wish it stood on its own and exceeded its ambitions.
Have you read any of these? Are there any BTAS novels– or any other Batman novels, for that matter– that we need to check out? Sound off in the comments below.
