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Batman: The Animated Series – When the Riddler Reformed (?)
Welcome to the thirty-third edition of Adventure(s) Time, where we examine a classic animated series and an issue of its tie-in comic that follows a similar theme. In this week’s edition, we look back on a Batman: The Animated Series episode that features one of the Riddler’s rare animated appearances, and another direct sequel from the Gotham Adventures comic book series.
Debuting on September 24, 1994, “Riddler’s Reform” features a story by Alan Burnett, Paul Dini & Randy Rogel and direction from Dan Riba, and is one of the better installments from a run of consistently strong episodes. The Riddler, voiced with equal parts wit, charm, and menace by John Glover, tends to be a beloved villain from this series, even though he only made a few appearances over the course of over a hundred episodes.
The writers have cited a difficulty conceiving of mystery plots that not only challenged Batman, but were also visually compelling, for the villain’s lack of appearances. “Riddler’s Reform” doesn’t necessarily present incredible mental puzzles (although the bit where the Riddler’s real clue is revealed by flipping his chalkboard over is brilliant), but it is an engaging look into the Riddler’s psychology, in addition to offering Batman and Robin some cool action scenes.
The episode begins with the Riddler being granted parole, and quickly accepting an offer from Charles Baxter, president of Wacko Toys. Baxter wants to exploit the Riddler’s reputation for a new series of puzzle toys, a premise that might’ve seemed slightly absurd over twenty years ago, but seems more plausible every day. Is there even a line between fame and infamy now? Of course someone could make a mint exploiting the Riddler’s legendary intelligence.
Batman, however, is dubious about the Riddler’s motives, and soon enough, he catches the Riddler leaving clues to a series of robberies on his Wacko Toys commercials and TV appearances. Even though this canon’s version of the Riddler began as a commercial video game designer, and should easily be able to make a living off his intellect, his private conversations make it clear that the Riddler has no desire to change his ways.
Yet the Riddler’s motivations aren’t steeped in revenge, violent desires, or greed. He absolutely cannot accept the idea that there’s someone, someone dressed like a flying rodent no less, with a higher IQ score. And how else can the Riddler prove his mental superiority but by committing crimes and daring Batman to stop them? It’s not as if he can challenge Batman to a public chess match. And there’s another telling moment during one of the Riddler’s conversations with his henchmen. When the goon suggests that taunting Batman and risking another stay at Arkham is kind of crazy, the Riddler responds, “Don’t you ever call me that! I fooled the police, the doctor, the parole board, all of them. There’s only one person who’s ever been able to challenge me. Batman!” The show’s portrayal of the Riddler who isn’t all there, yet isn’t “crazy” in a traditional sense, is genuinely impressive. Compare this to, say, the Riddler of Batman Forever just one year after this episode aired.
Eventually, the Riddler pushes his luck too far, forgetting one detail that enables Batman to escape his deathtrap, and accidentally allowing his confession to be audio-recorded by the hero. (Robin, meanwhile, is injured early on in the episode and mostly disappears. The producers weren’t thrilled with the network’s edict that Robin had to appear in each story, so sorry showings like this could’ve been a quiet protest.)
The episode closes with the normally cool Riddler ranting like a madman inside Arkham Asylum, screaming to the heavens, questioning how Batman escaped his trap. Not exactly the most graceful farewell for the villain (who later makes cameo appearances but never headlines another episode), but luckily writer Ty Templeton took a liking to the Riddler during his days writing the tie-in comic. Fans of the Riddler who have never followed the Adventures era are missing out on some incredible stories.
Gotham Adventures #11 (April 1999) has the classic creative team of Ty Templeton and Rick Burchett present the first “new look” Riddler adventure, following the New Adventures revamp of the series. Aside from advancing the continuity, giving Batman new sidekicks in the form of a kid Robin, Batgirl, and the adult Dick Grayson as Nightwing, every character was redesigned for the revamped episodes. The Riddler received one of the least popular makeovers, with the producers ignoring his sophisticated suit jacket and tie for the more comical, neon green unitard look. It’s a terrible choice for an allegedly cerebral villain who prides himself on not being a typical member of Batman’s rogues gallery, which might be a reason why this issue largely ignores that design in favor of an even more sophisticated green and black plaid suit.
“The Oldest One in the Book!” opens with the Riddler looming over the sleeping form of Charles Baxter. Thought he was forgotten after his brief appearance in “Riddler’s Reform”? Nope, not in a Ty Templeton comic. Templeton was great about using the animated series’ continuity as springboards for new stories. Rick Burchett, it should be noted, also did an amazing job giving these characters from the initial run of the show their own “new look” makeovers.
Within the opening pages, we discover that Baxter wasn’t exactly the innocent owner of a toy company, he was cheating stockholders and embezzling large sums of money, a fact the Riddler discovered by hacking into Wacko Toys’ digital records. On the run from Arkham, the Riddler blackmails Baxter into allowing him to stay at Baxter’s nicest property, his penthouse apartment at the Cleopatra, Baxter’s new luxury hotel.
Learning his lesson from his last encounter with Batman, Riddler declares he won’t be caught committing another crime because he won’t be planning any more of them. Instead, he’s using his own detective skills to unravel ongoing crimes in Gotham, then sending clues to Batman through the GCPD, still attempting to outsmart his nemesis. The Riddler believes he’s developed the perfect plan; he’s not putting himself in a position of being caught committing a crime, yet he’s still matching wits with Batman.
Riddler even shows himself to be quite adept at Batman-style interrogations during his criminal investigations. One scene even features the return of another forgotten figure from the show’s past, Harley Quinn’s least favorite mobster, Boxy Bennett!
It turns out the Riddler was too smart for his own good, however. Batman has discerned a pattern in the Riddler’s clues, and eventually deduces that the Riddler is staying at Baxter’s Egyptian themed hotel. During their confrontation, Batman reveals how each clue was building to the riddle of the Sphinx, the oldest recorded riddle, all along.
The story closes with a devastated Riddler having to face the harsh reality that maybe he actually needs to be in Arkham after all. It’s very possible that, in spite of his vast intellect, he’s just as crazy as everyone says he is.
The Wrap-Up
Design-y
This episode features one of the final appearances of a black and white television, one of the series’ attempts to set the show in a sort of “non-time.” (Tim Burton’s movies also used a similar idea, drawing heavily on styles from the 1930s and 1940s.) The New Adventures episodes drop this theme, allowing the show to mesh with the more futuristic Superman series.
Continuity Notes
The idea of the Riddler maintaining his desire to outwit Batman, but also go straight, is continued years later in Paul Dini’s Detective Comics and Gotham City Sirens comic book runs. And the Riddler’s battle to prove his own sanity, and knack for exploiting his intellect to make money legitimately, reappears in the final run of Batman Adventures, written by Ty Templeton and Dan Slott.
Hey, I Know that Voice
Actor Peter Mark Richman isn’t only the voice of toy magnate Charles Baxter, he’s also the father-in-law of Loren Lester, the voice of Robin the (College-Age) Wonder!
Approved By Broadcast Standards & Practices
The “Boing!” sound effect that accompanies the Riddler’s shocked reaction to an attractive woman at a party was a surprisingly blunt sexual innuendo for a Saturday morning series.
Battle of the Question-Mark Ties
“Riddler’s Reform” tends to be viewed as the series’ strongest Riddler episode, and there’s plenty of evidence in its favor. It aired during a period where the producers and overseas animators were working like a finely tuned machine, arriving just as fans were wondering if the Riddler would ever appear again, with a plot that not only features classic Riddler beats but also introduces a new psychological wrinkle for the character. Turning the Riddler’s game with Batman into an addiction, dramatized in the scene that has the Riddler staring out of a window, questioning just when Batman will inevitably solve the mystery and arrive to arrest him, is one of the series’ greatest moves. Even though the Riddler has built a legitimate life for himself, he finds himself unable to abandon his obsession, symbolic of (and very consistent with) the actions of an actual person suffering from addiction or compulsive behavior.
The highest compliment I could pay “The Oldest One in the Book!” is that it truly feels like a lost episode of the animated series. Ideally, the New Adventures episodes would’ve featured a story in this vein, which works as a perfect follow-up to “Riddler’s Reform.” While both stories do a fantastic job of fleshing out the villain, “The Oldest One in the Book!” might even surpass the animated episode when it comes to making Edward Nygma a real character and not just a gimmick everyone remembers from the ’60s TV show.
The conundrum Templeton presents to Riddler, what could be the greatest puzzle he’ll ever solve, has less to do with Batman than it does his own sanity. The Riddler views himself as the epitome of cold intellect, and the thought of being “crazy” is a stark contradiction of that self-image. The conflict between how you view yourself, and not only with how others see you, but with what you might actually be, is a classic literary trope. Applying it to the Riddler might seem ridiculous if you only remember him from his more manic appearances in film and TV, but for the character that’s evolved in the canon over the years, it’s very possibly the essential question of his existence.
That’s all for now. If you have any episodes of an animated series you’d like to see paired with its tie-in comic, just leave a comment or contact me on Twitter.
Batman: The Animated Series – When the Riddler Reformed (?)
Welcome to the thirty-third edition of Adventure(s) Time, where we examine a classic animated series and an issue of its tie-in comic that follows a similar theme. In this week’s edition, we look back on a Batman: The Animated Series episode that features one of the Riddler’s rare animated appearances, and another direct sequel from the Gotham Adventures comic book series.
Debuting on September 24, 1994, “Riddler’s Reform” features a story by Alan Burnett, Paul Dini & Randy Rogel and direction from Dan Riba, and is one of the better installments from a run of consistently strong episodes. The Riddler, voiced with equal parts wit, charm, and menace by John Glover, tends to be a beloved villain from this series, even though he only made a few appearances over the course of over a hundred episodes.
The writers have cited a difficulty conceiving of mystery plots that not only challenged Batman, but were also visually compelling, for the villain’s lack of appearances. “Riddler’s Reform” doesn’t necessarily present incredible mental puzzles (although the bit where the Riddler’s real clue is revealed by flipping his chalkboard over is brilliant), but it is an engaging look into the Riddler’s psychology, in addition to offering Batman and Robin some cool action scenes.
The episode begins with the Riddler being granted parole, and quickly accepting an offer from Charles Baxter, president of Wacko Toys. Baxter wants to exploit the Riddler’s reputation for a new series of puzzle toys, a premise that might’ve seemed slightly absurd over twenty years ago, but seems more plausible every day. Is there even a line between fame and infamy now? Of course someone could make a mint exploiting the Riddler’s legendary intelligence.
Batman, however, is dubious about the Riddler’s motives, and soon enough, he catches the Riddler leaving clues to a series of robberies on his Wacko Toys commercials and TV appearances. Even though this canon’s version of the Riddler began as a commercial video game designer, and should easily be able to make a living off his intellect, his private conversations make it clear that the Riddler has no desire to change his ways.
Yet the Riddler’s motivations aren’t steeped in revenge, violent desires, or greed. He absolutely cannot accept the idea that there’s someone, someone dressed like a flying rodent no less, with a higher IQ score. And how else can the Riddler prove his mental superiority but by committing crimes and daring Batman to stop them? It’s not as if he can challenge Batman to a public chess match. And there’s another telling moment during one of the Riddler’s conversations with his henchmen. When the goon suggests that taunting Batman and risking another stay at Arkham is kind of crazy, the Riddler responds, “Don’t you ever call me that! I fooled the police, the doctor, the parole board, all of them. There’s only one person who’s ever been able to challenge me. Batman!” The show’s portrayal of the Riddler who isn’t all there, yet isn’t “crazy” in a traditional sense, is genuinely impressive. Compare this to, say, the Riddler of Batman Forever just one year after this episode aired.
Eventually, the Riddler pushes his luck too far, forgetting one detail that enables Batman to escape his deathtrap, and accidentally allowing his confession to be audio-recorded by the hero. (Robin, meanwhile, is injured early on in the episode and mostly disappears. The producers weren’t thrilled with the network’s edict that Robin had to appear in each story, so sorry showings like this could’ve been a quiet protest.)
The episode closes with the normally cool Riddler ranting like a madman inside Arkham Asylum, screaming to the heavens, questioning how Batman escaped his trap. Not exactly the most graceful farewell for the villain (who later makes cameo appearances but never headlines another episode), but luckily writer Ty Templeton took a liking to the Riddler during his days writing the tie-in comic. Fans of the Riddler who have never followed the Adventures era are missing out on some incredible stories.
Gotham Adventures #11 (April 1999) has the classic creative team of Ty Templeton and Rick Burchett present the first “new look” Riddler adventure, following the New Adventures revamp of the series. Aside from advancing the continuity, giving Batman new sidekicks in the form of a kid Robin, Batgirl, and the adult Dick Grayson as Nightwing, every character was redesigned for the revamped episodes. The Riddler received one of the least popular makeovers, with the producers ignoring his sophisticated suit jacket and tie for the more comical, neon green unitard look. It’s a terrible choice for an allegedly cerebral villain who prides himself on not being a typical member of Batman’s rogues gallery, which might be a reason why this issue largely ignores that design in favor of an even more sophisticated green and black plaid suit.
“The Oldest One in the Book!” opens with the Riddler looming over the sleeping form of Charles Baxter. Thought he was forgotten after his brief appearance in “Riddler’s Reform”? Nope, not in a Ty Templeton comic. Templeton was great about using the animated series’ continuity as springboards for new stories. Rick Burchett, it should be noted, also did an amazing job giving these characters from the initial run of the show their own “new look” makeovers.
Within the opening pages, we discover that Baxter wasn’t exactly the innocent owner of a toy company, he was cheating stockholders and embezzling large sums of money, a fact the Riddler discovered by hacking into Wacko Toys’ digital records. On the run from Arkham, the Riddler blackmails Baxter into allowing him to stay at Baxter’s nicest property, his penthouse apartment at the Cleopatra, Baxter’s new luxury hotel.
Learning his lesson from his last encounter with Batman, Riddler declares he won’t be caught committing another crime because he won’t be planning any more of them. Instead, he’s using his own detective skills to unravel ongoing crimes in Gotham, then sending clues to Batman through the GCPD, still attempting to outsmart his nemesis. The Riddler believes he’s developed the perfect plan; he’s not putting himself in a position of being caught committing a crime, yet he’s still matching wits with Batman.
Riddler even shows himself to be quite adept at Batman-style interrogations during his criminal investigations. One scene even features the return of another forgotten figure from the show’s past, Harley Quinn’s least favorite mobster, Boxy Bennett!
It turns out the Riddler was too smart for his own good, however. Batman has discerned a pattern in the Riddler’s clues, and eventually deduces that the Riddler is staying at Baxter’s Egyptian themed hotel. During their confrontation, Batman reveals how each clue was building to the riddle of the Sphinx, the oldest recorded riddle, all along.
The story closes with a devastated Riddler having to face the harsh reality that maybe he actually needs to be in Arkham after all. It’s very possible that, in spite of his vast intellect, he’s just as crazy as everyone says he is.
The Wrap-Up
Design-y
This episode features one of the final appearances of a black and white television, one of the series’ attempts to set the show in a sort of “non-time.” (Tim Burton’s movies also used a similar idea, drawing heavily on styles from the 1930s and 1940s.) The New Adventures episodes drop this theme, allowing the show to mesh with the more futuristic Superman series.
Continuity Notes
The idea of the Riddler maintaining his desire to outwit Batman, but also go straight, is continued years later in Paul Dini’s Detective Comics and Gotham City Sirens comic book runs. And the Riddler’s battle to prove his own sanity, and knack for exploiting his intellect to make money legitimately, reappears in the final run of Batman Adventures, written by Ty Templeton and Dan Slott.
Hey, I Know that Voice
Actor Peter Mark Richman isn’t only the voice of toy magnate Charles Baxter, he’s also the father-in-law of Loren Lester, the voice of Robin the (College-Age) Wonder!
Approved By Broadcast Standards & Practices
The “Boing!” sound effect that accompanies the Riddler’s shocked reaction to an attractive woman at a party was a surprisingly blunt sexual innuendo for a Saturday morning series.
Battle of the Question-Mark Ties
“Riddler’s Reform” tends to be viewed as the series’ strongest Riddler episode, and there’s plenty of evidence in its favor. It aired during a period where the producers and overseas animators were working like a finely tuned machine, arriving just as fans were wondering if the Riddler would ever appear again, with a plot that not only features classic Riddler beats but also introduces a new psychological wrinkle for the character. Turning the Riddler’s game with Batman into an addiction, dramatized in the scene that has the Riddler staring out of a window, questioning just when Batman will inevitably solve the mystery and arrive to arrest him, is one of the series’ greatest moves. Even though the Riddler has built a legitimate life for himself, he finds himself unable to abandon his obsession, symbolic of (and very consistent with) the actions of an actual person suffering from addiction or compulsive behavior.
The highest compliment I could pay “The Oldest One in the Book!” is that it truly feels like a lost episode of the animated series. Ideally, the New Adventures episodes would’ve featured a story in this vein, which works as a perfect follow-up to “Riddler’s Reform.” While both stories do a fantastic job of fleshing out the villain, “The Oldest One in the Book!” might even surpass the animated episode when it comes to making Edward Nygma a real character and not just a gimmick everyone remembers from the ’60s TV show.
The conundrum Templeton presents to Riddler, what could be the greatest puzzle he’ll ever solve, has less to do with Batman than it does his own sanity. The Riddler views himself as the epitome of cold intellect, and the thought of being “crazy” is a stark contradiction of that self-image. The conflict between how you view yourself, and not only with how others see you, but with what you might actually be, is a classic literary trope. Applying it to the Riddler might seem ridiculous if you only remember him from his more manic appearances in film and TV, but for the character that’s evolved in the canon over the years, it’s very possibly the essential question of his existence.
That’s all for now. If you have any episodes of an animated series you’d like to see paired with its tie-in comic, just leave a comment or contact me on Twitter.