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Top ten best “Batman the Animated Series” episodes

While Batman has undergone numerous reiterations on its legendary 78-year run, few installations are as memorable or encapsulating as Batman the Animated Series. This episodic collection drew inspiration from previous stories, as well as reinvent several concepts for the lore. While many in production were hesitant to keep this series running, it proved to be one of the most iconic and valued additions to the Batman world. Out of all 85 episodes, there are a handful of gems that deserve high recognition for their ingenuity, originality, or ability to make Batman their own. Before we continue, I want to stress that these are heavily analytical reviews of each episode, and so we will be approaching spoilers. So SPOILER ALERT. Without further ado, let’s dive right in and see (in my personal opinion) the top ten best installments of Batman the Animated Series.

10) Over the Edge

“Over the Edge” proved to be an exemplary use of cliché. While many episodes of this series failed to get off the ground because they were clinging to recycled plots and chose safe plot points, this episode took the cliché of “it was all a dream” to the edge. After that, it jumped off of the edge without hesitation.

The episode opens with the unthinkable, the death of Batgirl. After defeating Scarecrow, the dastardly figure manages to escape, and Batgirl follows him to the roof. A struggle ensues, and she falls into an oncoming car…Commissioner Gordon’s car. Gordon rushes to help the fallen heroine, and discovers that it was his daughter all along. This makes Batman a public enemy and he is soon hunted by the same law enforcement officials he’s worked with for years.

Under normal circumstances, a premise like this would be answered with the phrase “this can’t be real.” Whether it’s a said in a state of unimpressed disbelief or profound shock, it holds true. But the ensuing events only make the payoff more effective, and it stands to reason why.

Jim Gordon hunts batman relentlessly, Nightwing is arrested, and Robin is told to turn himself in. These events stack right on top of one another, and leave no room for the audience to catch their breath. Yet for all the speed these events rush at the viewer, the plot never feels overstuffed. If anything, it acknowledges the fact that Batman lives a life that is being held together by a thin strand of self-righteousness and self-deception.

Since Jason Todd was never used in this series (given how horrific his death scene was), this was perhaps a necessary substitute. Batman’s adventures seem fun and exciting, but it’s important to realize that a mistake in the field could cost you your life, or the life of your friend. With Barbara dying, all barriers are broken and a lien of dominoes begins to fall. Yet as more continue to collapse, and more lives are ruined, it brings the truth of Batman’s world front and center. He may be a hero, but if the truth ever got out, his life would not be the only one that was demolished.

Barbara wakes up when the plot lines run their course, but the payoff of this cliché is substantial. We look at the collateral of Batman’s world, how thin the line is for disaster, and we also have a touching reminder of how integral Barbara is both to the Bat Family and the Gordon Family.

9) Baby Doll

In one of the more peculiar episodes, we see a young actress attempt to kidnap her old cast mates and have them reenact their glory days. While this seems to be the groundwork for a very forgettable episode, it is in fact one of the most memorable installments in the series.

Mary Dahl is an actress that has been off the radar for a long time. Yet with the only connection to the abductees being that they were actors on the same show, there is little need for Batman to investigate. He does however; remember her from a medical journal. It read that she was born with a condition called “systemic hyperplasia,” a condition that preventers her from growing older. This character seems to be ripped from a Silver Age comic book, given its murky science, and almost comedic nature. But instead of falling down the rabbit hole of cheap writing clichés, it capitalizes on this idea by showing the issue on all sides.

Meanwhile, the cast awakens to find that Baby Doll ahs recreated the set, and demands that each cast member play their roles from the old days. This seems like a desperate attempt to make the audience either laughs or cringes at how corny the situation is. But Baby Doll threatens to shoot them if they try to leave, the make-believe scenario become life threatening. This effect is intensified when Baby Doll recounts her profoundly lonely life after leaving the show. Since everyone else aged naturally, the had their whole lives ahead of them. Yet she was trapped in a life and a career where she was constantly defined by who she was, not who she could be.

This proves to be a brilliant utilization of both comedic and serious elements of the show. Most episodes of BTAS confine themselves to one of three types, each reminiscent with Batman’s many shifts in tone throughout the three ages of comic books. Golden Age short stories, which are quick, deliver on building a myth, and introduce new characters from time to time. Secondly, Silver age amusements with murky science and humorous and imaginative storytelling, and finally, Bronze Age self-analysis. Stories that look very closely at existing characters and ask the question of what made them the way they are. This episode manages to balance all three in tandem, with a massive payoff. The story is perfectly paced, is prone to laughing at itself, but can also make you feel sympathy for the one-shot villain.

Toward the end, Batman predictably defeats Baby Doll, and then chases her into a hall of mirrors. In one, Baby sees the grown-up version of herself, but is brought to tears at how she will never have this. After losing herself in a rage, she is in tears. Batman places a hand on her head, and the episode ends with Baby Doll crying.

For this character being a first-time appearance, it didn’t need all the intrigue of myth support that other villains did in order to succeed. So what makes this one succeed when most others who follow this path fail? As previously, mentioned, Baby Doll’s story is one that balances the three ages of Batman’s comic book history. It’s also humorous and serious, and few episodes can balance their aspects so well. It also comes closer than most episodes in solidifying what makes this series so special. It’s not meant to be campy Batman or brooding Batman, this is Batman. By understating the situation but keeping us grounded in the action, this episode excels with an original creation and makes for some of the most memorable moments in the series.

8) Harley’s Holiday

One of the series’ greatest achievements was creating Harley Quinn. At first riding on the coat tails of the infamous Joker, Harley Quinn soon took the series by storm, becoming a powerful presence in her own right. By virtue of her design, performance, and writing, she was a powerhouse in the series like no one else. Yet for all her successes, she was commonly overshadowed by her Mr. J whenever she cam eon the screen. Every episode Harley is involved in immediately rises in quality, but the influence of the Joker is always felt. Save for one episode where the Joker is never even mentioned and Harley is the focus, “Harley’s Holiday.”

After being released form Arkham on good behavior, Harley is determined to start fresh. Yet for all her efforts, her mannerisms and misconceptions of situations land her in constant trouble. Many of these moments are winning one-liners and are enough to make anyone laugh at the results. However, throughout the entire episode, Harley is constantly painted as a victim of circumstances, and rightfully so.

Harley isn’t trying to please the Joker, commit a crime, or even pester Batman. She’s attempt to live a normal life. This makes her shortcomings relatable, and even garners sympathy. Granted, she goes back to her criminal impulses later on, but she is frustrated that she doesn’t seem to be afforded a chance to be normal.

By the time that the episode concludes, we see her being carted back to Arkham, but not before Batman offers her the dress that she tried to pay for in the beginning. It serves as a touching moment between Batman and Harley, and reminds viewers just how amazing the world of Batman can be. An orphaned boy can become a hero, a troubled girl can start new, and enemies can put down their arms for one day and become friends.

7) Robin’s Reckoning

In this Emmy-winning two-part episode we see Robin as the focus as he tries to get revenge on the man who killed hi parents, Tony Zucco. It serves as an excellent insight into why Robin is so integral to Batman’s world. This episode serves to put their relationship in context, with fantastic results.

The episode opens on Batman and Robin preparing to catch a gang of criminals. A fight ensues on a scaffolding and they emerge victorious. However, most of the criminals get away, save one. At first, he refuses to talk as he’s about to fall to his death. Batman threatens to leave him, but at the last moment, he calls out that he works for a man named “Billy Marin.” After this, Batman says Robin is off the case. At first, it doesn’t make sense. But after some digging, Billy Marin is revealed to be an alias of Tony Zucco, the man who killed Robin’s parents. The sends Robin into overdrive, and his story is soon explored via flashback. The references to Batman’s involvement in Robin’s life have been limited to casually dropped details, and haven’t been explored in depth until now. A man was making Robin’s circus pay protection money, and when the ringmaster refused to pay in full, the man stormed off. Dick soon found that the same man was tampering with the trapeze equipment, and he quickly sneaked off. Despite his protestations, Dick’s parents continued and they died as a result of the sabotaged equipment. Robin was devastated and left without any blood relatives to turn to. Bruce takes him in, and the brief guardianship fills Dick with many questions. Who does Bruce go to see very night? Where does he go? And does he really have to go every night?

The mystery continues to build, and Dick soon overhears Bruce speaking with Commissioner Gordon. Apparently, Zucco is trying to skip town before Batman or the police get a hold of him. The last reported siting was in a shady section of Gotham. Resolved to get Zucco first, Robin takes the bus to this location. Dick does his own detective work and fights Zucco when he is spotted. Just when the fight seems to be lost, Dick is saved by Batman. In the end, a choice must be made of whether Batman will save Dick or apprehend Zucco. He chooses the former.

Dick is soon brought to the Batcave and Dick asks who Batman is. Everything becomes clear when Bruce unveils himself to his ward. This cements the history of the duo in stellar fashion, and also makes it clear that the stakes have never been higher. In teaching Robin how to fight, the Dark Knight may have put him in the same peril Batman has always feared. If Robin exacts revenge on Zucco, he may never be able to return to Batman or himself again.

As the episode enters its second half, and we see that Batman is hunting Zucco, the criminal underworld rejects him everywhere he goes. He has no options other than to try and leave town, or take down Batman himself. Zucco chooses the latter, and he is in on the brink of being captured by Batman or Robin. He is also becoming extremely anxious, and is making mistakes that leave a trail of breadcrumbs.

The race to catch Zucco is desperate, and shows how capable Robin is without his mentor. In addition, the flashback sequences that show Bruce and Dick interacting after the great reveal show how much they complement each other. This is especially touching when audiences reflect on how similar these two men are. The emotional roots of the episode take center stage, and show that more is at stake than losing a partner in crime fighting, this could end with a family being broken.

Soon, Batman confronts Zucco at the docks and suffers a side wound. And just when its almost too late, Robin saves Batman and has his hated enemy at his mercy. But Batman makes one final plea, asking for Robin to turn this man in to the police. Robin cries out that Batman can’t know the depth of his loss, and swiftly apologizes. With Zucco captured, justice is served and the duo returns home.

While this may strike some as a cop out, the episodes holds up. Largely because there was a strong middle section and a subdued ending. By acknowledging the importance of the conflict, the influence of the past, and the sense of family with the dynamic duo, the series gains an emotional tipping point it reaches only on rare occasions. At the end of the day, Batman developed the Bat Family to take in those who needed him, or suffered tragedies similar to his own. It exemplifies how human the Dark Knight can be, and how the life of Bruce Wayne is still important to the narrative.

Most works of Batman’s mythology focus on the Batman himself, as his life is filled with more exciting stories. But in this instance, it made Bruce Wayne not only interesting, but more engaging than Batman. We see that we’ve been missing half of the equation of the story for some time. Just as we see the story of Batman and Bruce Wayne, we’re here to learn the story of Robin and Dick Grayson. And in so doing, we learn that the masks makes them legends, but its what’s inside that makes them heroes.

6) Heart of Ice

In this acclaimed episode, we see the character of Mr. freeze become vastly more dynamic. Prior to this episode airing, Mr. Freeze was a typical villain with formulaic plots and was essentially a freeze gun-totting C-lister. But by the end of this episode, the concept of Mr. Freeze evolved from a throwaway villain to one of Batman’s most enduring and sympathetic characters.

Most renditions prior to this episode focused on Mr. Freeze’s theme rather than his personal history. The same could be said for many villains, such as the Joker or the Penguin. But now that the BTAS writers were reevaluating him, and character history was being given a massive amount of gravity (such examples include “Robin’s Reckoning” or “Mad Love”), he was given a story that elicited both heartwarming sympathy and brutal chills.

It’s revealed that Mr. Freeze is a man hell-bent on revenger after CEO Ferris Boyle tried to shut down the cryogenic preservation project that was keeping Nora Fries alive. Victor Fries did all he could to save his wife, but he ended up exposing himself to the chemicals, becoming immortal.

This changes the concept radically, but makes him vastly more human and multi-dimensional. Anyone else in this position would do anything to save his or her loved ones. In doing so, Batman elects to stop Mr. Freeze before he kills Boyle.

Batman confronts Freeze, and meets with some new challenges. But in the end, comes up with new tactics. He confronts Freeze just as he’s about to exact revenge on Boyle. The battle is intense, but Batman manages to win by pouring hot soup onto Mr. Freeze, and subduing him so the authorities can take him into Arkham. While this method of winning seems more humorous than effective, it’s the reevaluation of existing material that makes this episode one of the best.

In addition to changing the nature of a prominent villain, this episode changed the standard by which the series was seen. It skyrocketed the series into fame, and won an Emmy for Outstanding Writing in an Animated Program.

Having endured for decades and producing some of the most popular comic book characters of all time, Batman has had an immense legacy. But with this brilliant TV rendition, we see a character commonly neglected become one of the most prominent and perhaps the most human of Batman’s adversaries. It’s a story that has since been engrained in the lore, and left its mark on all mediums, a truly marvelous work.

5) Beware the Gray Ghost

While BTAS has proven to be an impressive addition to the existing franchise, few were episodes have been able to garner this level of acclaim. The story was engaging, the mystery is carefully crafted, but the casting is what really made this episode stand out. Batman enlists the help of a TV actor from his childhood in capturing a criminal before he commits more bombings on Gotham; Adam West, TV’s original Batman, plays this character.

If having the original Batman come to the set of the animated isn’t enough to strengthen your episode, then nothing will. But the episode itself is quite fascinating on its own. Batman is built on the foundation of loss and brooding. Therefore, it’s difficult to find moments of happiness, be it in his current life or in his childhood. All of it seems to be eclipsed by that terrible night he lost his parents. The animates series makes multiple mentions and even displays of that tragic evening, but this episode alone shows Bruce’s childhood as happy and inspiring.

Bruce has long been a fan of “The Gray Ghost,” a crime fighter on TV who bears a striking similarity to Batman. And the recent bombings on Gotham are exactly like an old episode of the series. However, young Bruce fell asleep the night this episode aired, and he cannot recall the ending.

Bruce tries to find a copy of the episode, but it turns out that there was a fire that destroyed the old copies. Pressed for options, Batman must find the actor who portrayed his childhood idol, a man by the name of Simon Trent.

Upon finding him, Batman learns that the aged Simon Trent is desperate for money and can’t find work due to his strong connection to the Gray Ghost. He even sold most of his remaining collection of Gray Ghost memorabilia just to pay rent.

Batman realizes that Simon won’t be easy to convince, and so he asks for a copy of the episode in question. Simon gives him the copy, and is left in a state of contemplation. Bruce watches the episode, and it’s revealed that a toy car was used to set off the bombs.

Batman soon encounters Simon again, only this time, he has resolved to be the hero he portrayed years ago, and he dons the mask and cape of the acclaimed hero one last time. Batman and the Ghost go to the Batcave, and he takes the time to show Simon a small shrine dedicated to the man who inspired him to be a crime fighter. It is an inspiration for Trent, and the two share a moment before continuing their investigation. It turns out that eh toy collector Simon sold his items to, a boy named Dymer, is responsible.

The two confront Dymer, and he reveals that he’s been bombing the buildings so he can sell the Gray Ghost materials at top dollar. They apprehend him, and the remaining bombs destroy Dymer’s store. Shortly after, the incident is reported and Simon becomes a hero. His Gray Ghost character experiences a resurgence in popularity, and Bruce visits him while he’s signing autographs. He says, “the Gray Ghost was my hero.”

This episode serves as one of the most engaging, by virtue of its casting, delving into Bruce’s history, and the overall solidarity of the episode’s significance in a larger body of work. While the villain of Dymer is rather weak on his own, the underplaying of his involvement in the plot made him a genuine surprise later. It’s also important to note that a look into Bruce’s past had never been done before, as it wasn’t needed. But with new information, Batman becomes extremely relatable. Just as Batman was a fan of the Gray Ghost, the audience adores him. It’s a brilliant work of mirroring to fans that has not been achieved with Batman, before or since.

4) Two Face

Toward the beginning of the animated series, there was a strong emphasis on building the formula for each episode and showing numerous villain origins. The creative license proved to be a double edged sword in that many possibilities were available, but the foundation of the show needed to be perfectly established. There were many episodes that were easily forgotten, while others made a shocking impact. Few episodes were as effective as Two Face.

Harvey Dent was a character that had already been present in previous episodes. He was a friend of Bruce Wayne’s, an upstanding District Attorney, and a man of the people. By all accounts, he was one of the few morally white characters among the cast.

Yet it all came to a boiling point when Rupert Thorne, a known crime figure had his men caught in a police raid. The arrest went smoothly with Batman and Gordon involved, and Harvey said he would not rest until justice was served. A disgruntled thug then splashes him, and Harvey goes wild. Everyone is shocked, and Harvey is extremely embarrassed. This marks the first time he’s made a public outburst, and the first time the audience has seen him act this way. Even if viewers were familiar with Two Face in the comics, the sheer intensity and laser focus of the scene is enough to make your skin crawl.

The situation intensifies when Harvey hears of Thorne’s men getting acquitted and he admits he’s not sure he can do this alone. Therefore, his fiancé tells Bruce in confidence that Harvey’s been seeing a psychiatrist. Bruce says he’s proud of him, and that he’ll keep his secret.

Soon, we see that Harvey is committed to getting to the bottom of this, and that Thorne is looking for any amount of dirt to blacken Harvey’s good name. Harvey makes some progress, and we learn that he’s struggled with his anger for some time. But in suppressing it for the greater good, he’s created a volatile personality, one that is coming to the surface even now.

But just when Harvey thinks he’s got it under control, Thorne tries blackmailing him when he learns about his “Big Bad Harv” personality. Harvey meets with Thorne in person, and when Thorne demands him to look the other way, this puts Harvey over the edge. He attacks Thorne and his men, and they intend to do him in. Batman saves Harvey, but not before he is exposed to a massive explosion. The result is horrific facial scarring and a rage that refuses to subside.

This marks the ending of the first half, and we see a great deal of turmoil coming form all sides. As Harvey’s world falls apart, we can’t help but sympathize, and it feels rushed in the course of one episode, and it’s precisely the speed at which its delivered that makes it so powerful.

Harvey was seen as early as the pilot, flipping a coin and conversing with law enforcement. Therefore, the reference is made the instant he appears, and is by no means milked over time. In fact, any reference to Harvey in the show is understated right up to this point. You can identify him by name or his coin from the comics. But his cool nature in all other occurrences make the shift as surprising to the viewers as it does to the characters on screen. By the end, he seems lost, and we can’t help but wonder how he got there.

As the second half begins, Harvey has embraced his fallen reputation and new resources. He uses all of his efforts to defeat Thorne, and relies entirely on his coin to make decisions. It’s no longer a prop or a gimmick; it’s the cornerstone of his world. Harvey managed to best Thorne and become the new kingpin in town. Batman tries to stop him in the name of his friendship as Bruce, and his partnership with him as Batman when he was District Attorney. But in the end, Harvey’s scarring, both physical and emotional, is too much to recover from. Batman manages to defeat Two Face by throwing mess of coins into the air, throwing Two Face’s world on its head. There should be a sense of victory, but the episode is concluded by a profound sense of defeat, the kind where a man loses a friend and gains an enemy.

This is a truly incredible episode because it utilizes the understating of several previous episodes, not just the action of this one. Even if you’re viewing this episode alone, the performance is enough to set it all in context, and to put you in Bruce’s position. An upstanding man is met with horribly unjust circumstances and must suffer as s result of trying to do well by him and others. And it reminds viewers that Batman’s struggle for justice is not just to avenge his parents, it’s to put right the wrongs of the present day. But even Batman is helpless to stop some tragedies. The episode is essential to the series because it captures the tormented nature of a secondary character and makes his struggle viewers can feel in excruciating detail. Whether you’re a die-hard fan of the Bat or a casual viewer, you still feel the pain of a man who tried to do right, but lost his way.

3) Mad Love

When Harley Quinn first appeared in “Joker’s Favor,” she was immediately acclaimed by fans and reused by writers. No one was expecting her to become so popular, and this made it all the more challenging ot develop an impressive backstory for her. After all, there were several facets that needed to be addressed. Who was she really? How did she get involved with the Joker? And who does she keep coming back to him? The series had already amassed a great collection of backstory arcs. But with so much on the line, and with few episodes left in the series, a great impact had to be made. And it blew everyone away when the truth was finally revealed.

After a botched attempt at dispatching Gordon, Joker and Harley retreat to their lair. Harley is rebuffed by her Mr. J, and she reflects on how her life got to this point.

She was a psychiatrist at Arkham that tried to learn the Joker’s secrets. But her sessions grew more personal, and even romantic. She would have done anything for him, and one night after Batman had returned Joker to Arkham, she was resolved to help him escape for good.

It’s a story that answers all of the audience’s questions, and puts the entire relationship in context. More impressive still is that the Joker’s mind warping capabilities surpass those of even his doctor. This makes the relationship a twisted one built on Harley’s good intentions, and shows just how skewed the foundation of it all is. However, Harley is never depicted as foolish. She’s shown to be intelligent, capable, and caring. It’s the Joker’s manipulation of Harley’s affections that make her so dedicated to him, and how he has such a hold on her despite all he puts her through.

As the episode continues, Harley believes that Batman is the key to her misery. With Batman gone, she’ll be free to settle down with her Mr. J. She therefore sets out a carefully laid out plan, and pleads through videotape that Batman protect her in exchange for turning state’s evidence. She manages to meet Batman on the docks, and tricks him into being sedated. When he wakes up, he’s suspended upside down above a piranha tank.

Harley tells Batman her motive, and the thought of Harley and thinking the Joker could love her makes him laugh. Batman reveals that the Joker has been manipulating him like this for his whole life, and that she’s just hired help to him. She refuses to accept this, and nearly lets Batman die. But he convinces her that Joker must witness the death to believe it occurred.

Harley calls the Joker, and he rushes to the scene. But on arriving, he’s not pleased, he’s furious. He claims that this can only end with Joker killing Batman. Harley insists that it’s still the Joker’s plan, and she explains why it works. But this angers the Sadistic Jester further. He exclaims that by explaining how this joke works, she’s ruined it. He follows up by pushing Harley out of a nearby window.

Batman and the Joker have a final battle atop a train and it ends with Joker falling to his supposed death.

Harley is soon returned to Arkham as a patient, where she resolves to never get involved with the Joker again. But before she can finalize her personal oath, she looks inside her cell and sees a small flower, and she knows two things for certain. Joker is still alive and that she loves him still.

This proves to be one of the saddest and most effective episodes of BTAS. With Harley appealing to so many viewers, she needed concrete backstory. This was worth the wait. The view of the Joker’s relationship with Harley is a take on abusive relationships in general, and makes us sympathize with her immensely. The episode does raise several questions as to what kind of message is being exposed to child viewers, but instead of acting as an informative PSA, it is a brutally honest take on a character who is imperfect and likeable. In the end, we can’t help but wonder why Harley is still hooked on Mr. J.

2) Trial

In one of the more self-analyzing episodes of BTAS, we see that Batman’s villains remain in Arkham and are on the brink of hatching a dastardly plot. But as to what that is, we are uncertain.

Janet Van Dorn, Gotham’s newest District Attorney has been taking the city by storm, and her take on crime and punishment differs greatly from the Dark Knight. She believes that Batman has no regard for the legal system and is not only deserving of jail time, but is single handedly responsible for creating these super criminals that plague Gotham’s streets.

This is a highly engaging episode, as it focuses on answering a long-held fan question: are Batman’s actions causing more crime than he is solving? This question has been probed several times over the course of the series, and is usually self-fulfilling. In “The Man Who Killed Batman” for example, Joker refuses to follow through on a jewelry heist because Batman doesn’t appear. This among other examples has drawn the motives of several villains into question, and viewers finally get to see their theories tested.

Batman is apprehended by thugs and taken to trial, and an intriguing challenge is posed. Joker is to be judge, Two Face the prosecution, and Batman is to be defended by the District Attorney that opposes his ideals. If he wins, then they’ll be let go. If not, Batman will be dealt with as the jury sees fit.

This launches a small series of cross-examinations of villains. Most of Batman’s rivals and enemies are present in the room, and this leads to a wide variety of examples you an choose from. The Mad Hatter, Poison Ivy, and Harley Quinn are among those chosen. When questioned, Mad Hatter claims that Batman took Alice away from him, and that he had no choice but to take criminal action. This proves to be a weak excuse, as he claims that instead of respecting Alice’s wishes “I would have killed her first.” With this shocking revelation, Janet Van Dorn begins to see a correlation.

She continues her interrogations, and this time questions Poison Ivy. The botanical beauty claims that Batman is a threat to her plants, and she makes him out to be single-handedly responsible for her actions. But instead, Janet begins plucking the petals from a flower in front of the witness. Poison Ivy demands she stop, but when Janet continues, a fight ensues. The more the criminal testimonies line up, the more Janet is convinced Batman is not the cause of their actions. So far, a madman refused to take the responsible course of action, and vile villainess cares more for plants than people.

And finally, there’s Harley Quinn. After an extended series of jokes and affections between her and Judge Joker, Janet insists that the Joker twisted Harley Quinn’s mind. Harley insists that Janet is jealous, but Janet reveals that the Joker ratted Harley out to get time off of his sentence. Harley inquires, and when the Joker doesn’t deny it, she goes wild.

The last testimony proves to be more humorous than relevant, but it shows that out of three statements, none of them can tie Batman directly to their actions. Instead, it seems that these super criminals project their shortcomings and motives onto Batman as an excuse. Therefore, Van Dorn comes to the conclusion that instead of Batman creating these criminals, these criminals have created Batman. This proves a shocking twist, and one that deserves special attention. There are other cases to consider, as there is only so much room for testimonies when the episode must run under thirty minutes, but it provides a unique insight into a complex issue.

By the end, the criminals declare that Batman is not guilty, but they proceed with their judgment on him. Just as they’re about to unmask the Caped Crusader, Van Dorn throws a stray batarang at the light fixture, and this gives Batman the chance he needs to escape. The fight ends, and Janet makes her peace with Batman just before dawn. They both hope that some day, despite their differences, they’ll achieve a world where Batman is no longer needed.

As this episode comes to a close, it offers a fascinating insight to an issue many fans have speculated over Batman’s extensive history. By reacting to criminal activity, it provides a motive on its own for Gotham’s Rogue’s Gallery. While some comic book writers have attempted to delve into the psychology of their villains (especially in the Bronze Age), Batman sets itself apart by making the psychology of each villain the dominating factor and drive that keeps readers coming back. However, with psychology acting as the primary focus, it’s easy to make judgments about psychology pertaining to the hero as well. Batman feels the need to fight crime because he failed to keep his family out of harm’s way that one night. It’s a simple solution, and one prone to over-simplicity.

By the same token, many of the villains have suffered numerous tragedies. The Riddler was swindled out of his earnings for a game franchise, the Penguin was treated like a monster, so he became one. And Clayface was morphed into a monstrosity, and Scarecrow’s obsession with fear morphed him into becoming a criminal. Yet for all these complex and varied backstories, one must wonder if criminals would bother taking to the streets if there was no challenge. Would Gotham be safer without Batman? Many are inclined to say yes.

However, Batman was born as a result of someone else’s criminal activity. Joe Chill (in the original and dominating storyline) killed Bruce’s parents and disappeared into the night. This left Batman in a state of psychological trauma that drives him even to this day. So perhaps it’s right to say that one man’s criminal activity caused Batman to be born, but can this be generalized to the entire Rogue’s Gallery?

Each criminal has a reason for starting out that is completely divorced from Batman. By not being able to cope with their grief, resentment, or trauma, they became an identity on their own. With such narcissistic and obsessive figures, it’s no surprise that they’re looking for someone to blame for their misfortunes. When Batman impedes their criminal progress, they immediately latch onto him, claiming that if it wasn’t for him, the game wouldn’t have the same appeal to them. But in the end, the roots of their damage go well before Batman. He just happens to be their current struggle. So therefore, it makes sense to say that they created Batman. In the same way that many of the Rogues became a monster they thought they were, Batman became the hero that he thought people needed. Any lingering resentments are built on soft foundations, and need to be redirected elsewhere. Thankfully, these villains focus on crime and give readers and viewers riveting stories that will last a lifetime.

If there’s anything to be learned from this episode it’s that snap judgments or projection of guilt never leads to a successful conclusion. Blaming others only renders someone unable to move on. Therefore, that pain should be used as a catalyst for the greater good, just like we see Batman do every night.

It appears that there are two kinds of people in Gotham, those who let their trauma define their lives, and those who let trauma drive their ambitions. So which will we be?

1) Almost Got’im

While there have been many stories that have captivated audiences throughout the course of this series, few are as recognizable and worth watching repeatedly as “Almost Got’im.” This serves as a laid-back, well written, and captivating story that balances five villains at once. Each tells the story of how they almost defeated Batman, and all of this is done amid the atmosphere of a poker game.

The episode begins with the villains gathering in underground club, each of them trying to hide from the Caped Crusader. The roster includes the Joker, Two Face, Penguin, Killer Croc, and Poison Ivy. The poker game begins, and the question is raised as to who has come the closest. In an attempt to answer this lingering question, each tells their story.

Poison Ivy recounts how she nearly defeated Batman with exploding pumpkins the previous Halloween. Two Face tells the story of how he apprehended Batman and how he flipped him on a gigantic coin. Penguin recalls his “Aviary of Doom” heist, and Croc recounts how he once threw a rock at Batman. Each story is confined to a short runtime, and is reacted to by the other villains in a casual, yet humorous fashion. Joker claims that he has the best story of all, and claims it was attempted just the previous evening.

Joker tried to electrocute Batman during a televised event called “Late Night Gotham Live.” He tied the Dark Knight to an electric chair activated by laughter. He then filled the studio audience with laughing gas, and he was nearly bested. But Catwoman saved Batman, and the Joker’s plan was foiled. The story seems to have ended, but Joker claims that the story isn’t over. As he tried to escape, Catwoman caught up to him, and Harley knocked Catwoman unconscious when she was distracted. Croc asks if that was the end of it, but Joker says the punch line is yet to come. He has Catwoman in a pet food factory. Harley is going to push the infatuated feline into the meat grinder, and will send a case of cat food to Batman.

Croc stands up, and says, “I don’t think so.” It’s revealed that Batman was really disguised as Croc all along. The Rogues presiding over the poker table say Batman is outgunned, but its revealed that all other patrons of the underground club are in fact police. Batman hurries to the factory, and stops Harley from disposing of Catwoman.

That night was a great victory, but Catwoman says that perhaps there’s a chance for her and Batman in the future where they won’t need masks. Batman smiles at the possibility, and Catwoman attempts to kiss him. She is distracted for a moment, and Batman flies off into the night. To which she responds “almost got’im.”

This episode is structurally and artistically sublime. While most episodes focus on one villain at a time, this venture had multiple villains all in one room. Yet the plot ever feels overstuffed or convoluted, because there are several short stories that are given enough time to react to. The insistence that everyone’s story be heard to judge its brilliance also keeps the plot (or multiple plots) moving. The episode is effortless in its pacing, and the chemistry between villains is not only rare, but supremely enjoyable. The ability for Joker to poke fun at Penguin, or Ivy to reference having dated Two Face makes for a laughable and enjoyable dynamic.

By the end of the episode, it turns out that all of these efforts to prove who was the best was leading to a satisfying conclusion. The addition of another twist isn’t convoluted or forced, but rather speaks to a profound sense of self-awareness. As great as it is to hear the villains shoot the breeze, each episode should be able to tell a comprehensive story with a rewarding takeaway. By having Batman present the entire time, a whole new plot develops in the course of a single line, and makes for an excellent payoff.

This episode is a joy to watch from start to finish. Plus the ability to use a plot twist and casual conversation to their fullest extent make for an incredible level of writing. This is BTAS at the peak of its powers, and this is the surest of itself that the series has ever been. With so many facets of the story working seamlessly, it makes us feel like we’re sitting at the table without favorite baddies. And what’s more is that we’re not afraid of them for an instant. They’re not demonized, overlooked, or undervalued, they’re not even acting like villains. They’re surprisingly human. Half of the power of Batman comes from him, and the other comes from whoever he happens to be facing in any given panel, episode, or film. With so many of these iconic villains gathered in one place, and with all of them at their most human, it’s one of the most cherished occurrences among fans to this day.

#batman #batman the animated series #top tens #critical reviews #tv show reviews #horizon reviews

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horizonreviews · 8 years

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“The Babadook” Film Review

The Babadook: A Redefinition of Horror

In recent years, horror films have taken a downward spiral. Several productions such as Krampus, The Ouija Experiment, and The Mummy Resurrected have left a great deal to be desired. The characters, production value, and overarching plots for these films among others these last ten years has been reduced to a film making formula that results in a handful of jump scares and no redeeming value. However, one film has proven itself to be paragon of horror films at the peak of their powers: The Babadook. With a gripping premise, intelligent storytelling, and impressive performances, the story of a young boy and his mother facing a monster breaks beyond the expectations of its genre and becomes a horror film that has redefined the standards of its failing genre.

Act I Summary

The film opens on a woman named Amelia Vanek. She is about to give birth, and her husband reassures her that everything is going to be all right as they drive to the hospital. But as he comforts her, he is distracted and they both get in a terrible car crash. It is revealed that Amelia survived the crash and gave birth to a son named Samuel, but her husband, Oskar, didn’t survive. Six years after the accident, Amelia’s life has been marked with anxiety and high levels of emotional distress. The situation isn’t helped as her son begins to exhibit strange and erratic behavior.

Samuel develops insomnia and believes that a monster follows him wherever he goes. In order to cope with the situation, Samuel develops crude weapons out of objects around the house. He has crafted a small catapult and a crossbow. His odd behavior is contained for a time, but it is drawn to his school principal’s attention when Samuel brings a crossbow to school with him. The mother is clearly distressed with Samuel’s behavior, and she doesn’t know how to cope with him without her husband for support.

One night, Sam finds a strange book waiting on his doorstep: Mister Babadook. He insists that his mother read it to him, and she reluctantly agrees. Immediately, the book is alarming as it depicts a monster that you can’t hope to rid yourself of. The Babadook is depicted as a pale-faced humanoid being in a top hat with fingers shaped like knives. Amelia doesn’t believe they should be reading this, but Samuel insists they continue. Amelia finishes with “if it’s in a word or in a look, you can’t get rid of the Babadook.” The book disturbs Amelia, but Sam is convinced that this creature is real. Samuel then proceeds to keep his mother awake with his anxieties, unable to relax.

Soon after this story takes its toll on Amelia and Samuel, supernatural occurrences being to take place around their house. Doors open and close on their own, strange sounds go off at night, and Amelia even finds broken glass in her food. Amelia believes that Samuel is responsible for these incidents, but Sam insists that it’s the Babadook. Unable to cope with Samuel’s obsession, Amelia rips up the Babadook storybook and throws it in the trash. She believes that she’s finally been rid of this poisonous influence on her and her son.

Amelia tries to regain some semblance of her life by attending her niece, Ruby’s birthday party, and she brings Samuel with her. Amelia becomes preoccupied with the other mothers attending, and Samuel is left alone. He is soon bullied by Ruby. She mocks Samuel, saying that not having a father is shameful. Samuel retaliates and breaks Ruby’s nose in two places. Ruby’s mother rushes to her daughter’s side and claims that Sam is unbearable. Amelia takes offence to this and storms off in her car with Samuel. On their way home, Samuel suffers a febrile seizure, so they stop to see a pediatrician. After extensive begging, the pediatrician writes a prescription for some sedatives.

Act II Summary

The next morning, Amelia finds the Mister Babadook book fixed and on her doorstep. The book holds a new message, and she is haunted by its contents. It taunts her and says that by avoiding the Babadook, it will only get stronger. The book displays an escalation of its influence on Amelia, showing her murdering the family dog (Bugsy), Samuel, and then herself. Amelia is horrified by the contents of the book and burns it, rushing to the police for help. She tells the officers what has happened, but without any evidence of stalking or the book, they are unable to help. Furthermore, Amelia sees the Babadook’s hat and coat hanging on a hook at the station, and she leaves.

Amelia becomes more withdrawn and impulsive over time. She also begins yelling at Samuel for no reason and her visions of the Babadook become more frequent. During one of her sleepless nights, Amelia sees an apparition of Oskar, who comforts her and makes her feel happy for the first time in years. She asks him to come back to her, and he says that he will if she gives him Samuel. Amelia is soon overcome with fear and retreats to her room. But the Babadook appears in her room and possesses her.

In her demented rage, Amelia breaks Bugsy’s neck, and tries to kill Sam with a kitchen knife. Sam manages to outsmart the Babadook by using his crude weapons and an array of traps. The fight concludes in the basement, where Amelia is knocked out. She wakes to find that Samuel has tied her up. He remains terrified, but hopeful. He tires to reach his mother, claiming, “You may not love me anymore mum. But I love you.” Amelia undergoes a seizure and vomits an inky black substance (the Babadook).

Amelia seems relieved at first, but Sam reminds her “you can’t get rid of the Babadook.” Sam is then dragged out of the basement and into Amelia’s bedroom. Amelia rushes to save her son, and she confronts the Babadook directly. The being never reveals its face, but forces Amelia to re-experience Oskar’s death. She gazes upon the vision, completely overcome by despair. The being continues to approach them, and Amelia says, “If you touch my son, I’ll kill you!” The creature retreats to the basement and Amelia locks the door behind it.

***

After some time, Amelia and Samuel have managed to move past the Babadook’s influence. Amelia has become more caring and considerate toward Samuel. She even becomes accepting of his weapon making and his magic tricks. One afternoon, Amelia and Samuel collect earthworms in the garden and put them in a small bowl. She approaches the basement door (now outfitted with several new locks), and she says that she won’t be long. She enters the basement and places the bowl on the floor. The Babadook approaches her, but she unaffected and comforts the creature. The bowl retreats to the corner, and the Babadook begins eating the worms. Amelia returns to the yard and celebrates Samuel’s birthday with him.

Film Reaction

While I was hesitant to watch The Babadook at first, it has proven to be a powerful cinematic experience. With a modest budget, few characters, and a modest runtime of 94 minutes, the Babadook manages to leave a powerful impression that most horror films with more resources struggle to replicate. By focusing on a scenario that elicits true horror instead of common jump scares, the simple story manages to transcend the expectations of its tired genre and gives vibrant life to a real issue: how to cope with loss.

There are many theories as to what the Babadook is, but all of them relate to a common theme of grief. This creature that torments a broken family is an archetype of bereavement: all consuming, dark, and an elicitor of people’s lowest instincts. It is by adopting these qualities that the Babadook becomes something more than just a garden-variety monster. He becomes a physical representation of how much it hurts to lose someone you love, and is proof that the pain of losing someone doesn’t end when they’re buried.

With this in mind, the effect of the Babadook becomes more palpable as well as realistic. People who refuse to process their grief tend to have it return in more intense and hurtful ways. As Amelia refuses to acknowledge Oskar’s death, she begins to separate herself from other people. She even begins to neglect her own son and loses touch with reality. All the while, the Babadook’s effect on her grows stronger.

One can practically see the Kubler-Ross Model of grief being drawn as the story progresses. From denial, anger, bargaining, depression, and finally, acceptance. At the beginning, Amelia refuses to let anyone speak Oskar’s name. She is denying the situation at its most basic level, and this only feeds her grief. And this is around the time the Babadook make sits first appearance. Later on, her violent and erratic behavior intensifies and we see the Babadook poisoning her perceptions on reality.

Soon, she grows desperate and begs the pediatrician for sedatives. This is a telltale sign of bargaining, showing that she wants to find some way to be rid of this grief. As the story comes to its climax, we see that Amelia is completely overcome with fear and depression. The Babadook makes an attempt to ruin the Vaneks, but when he is finally expelled, it’s only because Amelia confronted the Babadook (or confronted her grief).

The family seems to be happy again, but it’s the final part of the Grief Model that is truly fascinating. Amelia has entered the stage of acceptance, but that doesn’t mean she’s completely rid herself of the Babadook. This creature isn’t like Dracula, Frankenstein, or the Wolfman, it’s not a physical being that can be killed. Instead, it acts as a concept that Amelia has to come to peace with. She has accepted her grief, but the pain of losing Oskar will remain. This doesn’t mean that the story has ended on a sad note, it’s acknowledging the reality of the subject matter. People suffer terrible losses in their lifetimes, but winning once doesn’t mean that the fight is over. Instead, one will have to manage and process their emotions to ensure that their grief doesn’t overcome their lives.

In all, the Babadook is an impressive horror story that has broken the cycle of formulaic and brought horror to new heights. Jump scares, stock characters, and weak storylines are thrown out the window and make way for a story that will chill you to your bones. Babadook is story that’s not to be missed, as it leaves you pondering how you will respond in the face of grief. It’s a lesson in how you can’t hold on to your resentment and loss forever as it will let something manifest that you will be powerless to control. You may cling to the past, but it will only result in taking on a new and terrible form, the form of a Babadook.

#the babadook #film review #horizon reviews

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horizonreviews · 8 years

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“The Elephant Man” Film Review

The Elephant Man: A Film of Acceptance

In memory of John Hurt, whose performance changed my life

While the medium of film has attempted to capture the spirit of the outcast and ostracized, few exemplify the struggle greater than David Lynch’s The Elephant Man. Based on the real life of Joseph Merrick (renamed John Merrick for the script), the film follows the life of a Victorian circus freak dubbed “the Elephant Man.” When a traveling circus is seen by a local physician (Dr. Frederick Treves), the Elephant Man is removed from the street and thoroughly examined for the advancement of medicine. However, as Dr. Treves begins to analyze John’s situation and both of them become involved in a national sensation that goes beyond either of them.

Act I Summary

The film opens on London’s East Side, where a freak circus is exhibiting its wondrous and unusual attractions. All the while, the greedy and malicious ringmaster, Mr. Bytes, overlooks every freak in his circus, refusing to let anyone see them after the show. The headliner of his empire of oddities is the hideous Elephant Man, a creature whose deformities draw crowds from far and wide. However, one member of the crowd isn’t here to marvel at this man’s deformities, but instead, wishes to analyze them for science. This man is Dr. Frederick Treves.

He insists on seeing the Elephant Man privately, and after a hefty bribe, Bytes agrees. The ringmaster leads the good doctor to the back of the circus, where the Elephant Man is being held. A grandiose introduction is offered, claiming that the Elephant Man’s mother was beaten in the fourth month of her maternal tradition by an elephant. The result was the massive array of deformities that this man possesses behind the curtain. Afterwards, the curtain is drawn and it reveals a shrouded figure huddled next to a meager fire. Bytes soon barks orders at his main attraction, and the man withdraws his shroud and begins displaying his grotesque body. All the while, Dr. Treves can’t believe what he’s witnessing. He’s so astonished that he is moved to tears.

Refusing to go back now, Dr. Treves insists that the Elephant Man be brought in to the hospital for examinations. The doctor and his patient soon arrive, and they immediately go to the main office. Dr. Treves attempts to establish comfort and trust with the Elephant Man, but it seems as though he’s unable to speak. But nevertheless, Treves intends to understand this man further. After conducting several exams, the Elephant Man is scheduled to be displayed before the most exemplary doctors of London General Hospital.

Dr. Treves explains the extent of the Elephant Man’s deformities in detail, and also reveals some startling facts. The subject has a head five times larger than that of an ordinary human skull. This forces him to sleep with his head on his knees, as lying down would cause him to asphyxiate. Furthermore, he has tumors covering 70% of his body, and his right arm more resembles a claw than a human hand. However, despite all of his deformities, he is somehow able to continue living. Once the board is satisfied, Dr. Treves returns the Elephant Man to his ringmaster. Not long after this however, Treves if called back to the circus. It appears that the Elephant Man had sustained a series of injuries that were not present before. Treves is sure that this ringmaster is inflicting terrible wounds on the man, but he remains silent in the hopes that the next relocation to the hospital will be permanent.

For a time, the arrangement to keep the Elephant Man in the hospital works, despite its difficulties. Almost all of the nurses are afraid to approach the man. The only exception is Mrs. Mothershead, the matron. Furthermore, Mr. Carr-Gomm, the hospital’s governor, refuses to house him on the grounds that the Elephant Man is incurable. Determined as ever, Dr. Treves attempts to speak with the Elephant man. They manage to make progress by having the man speak his name: “John Merrick.” And to solidify his ability to form comprehensive speech, Dr. Treves teaches Mr. Merrick part of the 23rd Psalm.

When the time comes, Treves encourages John to speak to Mr. Carr-Gomm and recite what he has learned. But anxiety and fear prevent John from following through, making Carr-Gomm leave in a rage. However, John begins to recite the 23rd Psalm in its entirety (a feat that Dr. Treves was not aware he could do). The doctors ask how John could have recited it, and he says that he is capable of speech and reading, and goes on to say that the 23rd Psalm is his favorite. In light of these new developments, Carr-Gomm agrees to house John Merrick. Dr. Treves takes up responsibility for John, and continues speech therapy. John also begins construction of a model of a cathedral he sees partly through a window.

Act II Summary

After several weeks of practicing speech with John, Dr. Treves insists that he attend tea at his home, not far from the hospital. John agrees, and on arriving, his overwhelmed by the beauty of the doctor’s home. The conversation is slow at first, but attention is soon drawn to the “noble faces” of the doctor’s family on the mantelpiece. John wishes to see them more closely, and reveals tha the has a picture eof his own mother (much to the surprise of Dr. Treves). He shows the doctor and his wife the picture, saying “she had the face of an angel.” He also confesses the secret wish in his heart that his mother could still love him as he was, as he’s “tried so hard to be good.”

This dignified and sensitive behavior catches the attention of the hospital staff, and John begins to allow guests into his room. One surprising guest in particular, actress Madge Kendal, introduces him to Shakespeare. Their encounter is marked by civilized conversation, a fascination with high culture, and a profound sensitivity of both figures. In the end, Madge Kendal kisses John on the cheek saying “Oh, Mr. Merrick you’re not an Elephant Man at all. You’re Romeo.”

After this encounter, John Merrick becomes an object of obsession to high society, and Mrs. Mothershead wonders if John is still being treated as a freak, just with a different setting. Treves meditates on what he’s done, and wonders if he is a good man or not for taking John away from one freak show and putting him in another one. The staff’s worst fears are realized when a hospital employee named Jim begins to sell tickets to locals, who come at night to torment and gawk at John.

With the public fixing its eye on John, the hospital board calls a meeting and it seems that they’ll have no choice but to put John back on the street. However, Queen Victoria sends her daughter-in-law Alexandra to show that her intentions toward John are serious. With the crown endorsing John’s stay at London General Hospital, even the most hesitant of board members start allowing John to stay. The vote to keep John in the hospital soon becomes unanimous.

Act III Summary

Just when things start to take a turn for the better, Jim holds a massive showing of the Elephant Man. One of the men in the crowd is Bytes, and he uses the chaos to drag John back the circus. After this, the circus leaves England and John becomes a circus freak again. Treves hears what has happened, and he confronts Jim violently. After the atrocities that have been committed on hospital grounds, Treves and Mrs. Mothershead fire Jim.

In the first few days of John becoming a circus attraction again, he exhibits strange behavior. Suddenly, standing up and turning around become too difficult, and he slumps over in a heap, unable to do anything that would attract patrons to the circus. The other freakshow attractions recognize the severity of John’s situation, and they all agree to help him escape Byte’s cruelty. They help John book passage on a ship, providing him with a disguise that will help cover him from plain view (a massive cloak and mask to prevent anyone from seeing his afflictions).

All goes according to plan until John returns to London. He is harassed by several boys, and in his panic, accidently knocks over a young girl. This soon garners the attention of the entire station, and an angry mob tries to confront John. But when they corner him and remove his mask, they are all the more motivated to bring him in. John desperately tries to escape the crowd, but is caught in a dead end. Just before he’s apprehended, he cries out with all the fury he can muster: “I am not an elephant! I AM NOT AN ANIMAL!!! I…am…a human being!” He then begins to lose his strength and falls to the ground gasping: “I…am…a man…A MAN!!!”

The police take John in, and immediately refer him to London General Hospital, and Dr. Treves. Exams are conducted, and the news is tragic. John is dying of chronic obstructive pulmonary disease. The hospital is determined to make the most of what little time John has left, and they agree to take him to see on of Kendal’s performances. But before they go, John and Treves speak for the first time in a long while. John is still amazed at how much the doctor has done for him, and says “Dr. Treves. Why do you help me, my friend? I am happy every hour of the day. My life is full, because I know I’m loved. I’ve regained myself. I could not…say that. Were it not for you.”

John and Treves attend Kendal’s performance, and John is overwhelmed by the sheer beauty and romance the theater offers. At the conclusion, Kendal dedicates the performance to John, and he stands to receive a standing ovation from the audience. John soon returns to the hospital, and he thanks Treves for all he’s done for him. They look to each other and insist that they must go to the theatre again sometime soon. Treves closes the door and leaves John on his own, in his old rooms.

John completes his church model and looks up at the art on his walls. He is transfixed by a picture of a young boy lying peacefully in bed with a single pillow. John then looks to the mound of pillows on his own bed, which he needs so he doesn’t asphyxiate. He slowly begins taking the pillows off so that there’s only one left, and he lies down on it. He dies peacefully, and Merrick is consoled by a vision of his mother.

Film Reaction

It has been a long time since I’ve seen “The Elephant Man” in its entirety. I first saw it as a child, and it had a profound emotional effect on me. Mr. Merrick’s ascension from miserable circus performer to beloved Victorian figure always brings a tear to my eye. Whether it’s watching his struggle, his rapturous joy at achieving happiness, or the assurance he receives from Treves, it’s a story that pulls at the heartstrings like very few films are capable of.

Despite it’s controversial decisions on multiple fronts, “The Elephant Man” remains one of the most stylized and well-executed films in the last fifty years. For example, the film is shot in black and white; an enormous amount of makeup was used to perfect the guise of Joseph Merrick, and many modifications were made to the original memoir to make it approachable in film.

Yet for all the sharp decisions made in visual and writing, it is more than made up for in the power behind each performance. John Hurt makes a perfect Mr. Merrick, capturing the insecurities of the iconic figure as well as playing the role of the gentleman. Anthony Hopkins delivers a gripping Dr. Treves, taking command of every scene he’s in. The supporting cast is also superb, adding an incredibly realistic and specific set of responses to John and his overall situation.

While the film does have moments where the cruel treatment of John Merrick becomes extreme, it also finds the ability to display an incredible sensitivity to the character. For every strike that Bytes inflicts on John, there’s a moment where Treves is willing to fight for his friend. It’s a film that can be characterized as dark, yet uplifting. It knows how to control its tone so effectively; you can feel as though you were part of John’s transformation.

I decided to watch it again after so many years because of the profound effect John Hurt’s performance had on my life. When I heard that he had passed, I was devastated. In 124 minutes, one man’s performance changed my life and showed me that even John Merrick could be “happy every hour of the day” because he knew he was loved. I had aspired to meet Mr. Hurt at least once in my life, to shake his hand and thank him for providing me with so much hope in his compelling portrayal of Mr. John Merrick. But now that I’m left with only the words of my pen, I will have to make do.

Mr. John Hurt, thank you for blessing my life with one of the bravest and most captivating performances I’ve ever seen. Mr. Merrick has been a constant source of hope, inspiration, and beauty that I will never forget. Thank you for teaching me that it’s never too late to change your circumstances, that beauty is not limited to your appearance, and that even the worst of times will pass. I speak for millions when I say we will miss you terribly, and that we will never forget your contributions to the arts. Thank you for your bravery, thank you for your commitment to the craft, and thank you for sharing your gift in such a way that it helps us remember what is truly important in life.

Thank you.

#film review #the elephant man #john hurt #horizon reviews

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horizonreviews · 8 years

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“Sword Art Online” Review

Sword Art Online: An Anime of Transcendence

While the medium of anime has produced many popular epics, few are as transcending and beloved as Sword Art Online. At first glance, the program seemed to be another interpretation of role-playing games (RPGs) and the effects they have on young adults. However, the episodes that spanned from July 7 to December 12 of 2012 would comprise an anime independent of genre constraints. With it’s gripping premise, dynamic characters, and exploratory themes, Sword Art Online would become more than a great RPG anime. It would become a great anime, period.

Episode 1 Summary

The story begins in 2022, when a prolific gamer named Kirito purchases a virtual reality gaming system called Nerve Gear and immerses himself into the world of Sword Art Online (SAO). He rejoices at having returned to the game, pleased that nothing has changed since the beta-test. Kirito quickly advances to the best hunting grounds, and finds a novice player named Klein en route. He teaches Klein the basics of the game, which include fighting, navigation, and networking. After an extended period of enjoying the game, both of them agree to sign out. However, they find that there is no logout option. At first, they dismiss it as a bug and try to figure out what could be wrong. However, before they can come up with an answer, both of them are transported back to the first town. They look around and find that all the other players have been sent there as well. The game’s creator, Akihiko Kayaba makes an announcement.

He welcomes all of the ten thousand players and clarifies that the absence of a logout button is intentional. He goes on to say that any attempt to leave the game prematurely will result in the player’s death. Apparently, two hundred and thirteen deaths had already been caused by outsiders trying to take a Nerve Gear off a player. The outside world quickly learned of this deadly development, and had ceased outside intervention. Akihiko Kayaba then says the only way to safely remove the Nerve Gear is for one player to ascend to the one hundredth floor of the game and defeat the final boss. Finally, Akihiko says that he wishes them the best of luck and leaves. The remaining players begin to panic. Klein and Kirito soon try to discover a solution. Klein suggests that they take the helmet off, and that the entire Death Game idea is a hoax. Kirito soon rebuffs this, saying that there’s a microwave emitter in the helmet that may be able to kill someone. Also, their bodies are in a state similar to sleeping, where moving is impossible while the Nerve Gear is activated. Klein then suggests that unplugging the game could work. Kirito rejects this idea as well, claiming that if their friends or families try to do this, each helmet has an internal battery. The game will still continue like normal.

They conclude that the only way to be freed is to win the game. Resolved to do just that, Kirito begins running with Klein out of the first level, but Klein says he can’t follow. When asked why, Klein answers that he still has friends that need help in the town square. After a moment of hesitation, the two wish each other the best of luck and separate. The episode closes with Kirito taking his sword and advancing across the hazardous first level, chanting, “I will survive!”

Episode 1 Analysis

Right out of the gate, Sword Art Online immerses us into a world where virtual reality has become thoroughly engrained into the gaming world. This premise has been utilized in other anime (dot Hack, Overlord, and Log Horizon) but never has it been covered so extensively. According to Kirito’s discussion with Klein, SAO was developed so that it was a fully immersive experience. When someone enters himself or herself into the Nerve Gear, all of their senses are activated so it’s as though they really are part of that world. In the real world, a player is reduced to a dreamlike state where they are essentially sleeping while the Nerve Gear is activated. It’s as though you’ve been transported to a world where anything is possible. This serves to separate Sword Art Online from other RPG anime in that while a protagonist has a character and a personal identity, Kirito is his own character.

While this premise is gripping, there was a great deal of care in ensuring that there was no easy solution to the plot, thus rendering the Death Game useless. According to Kirito’s assessment, an emitter awaits each player like a loaded gun if they try to exit the game early, and any attempt to disable it is useless because each helmet is designed to run on its own power. With few options remaining, it is up to each person trapped inside this Death Game to try and free everyone else, or to die trying. These life-or-death stakes are found nowhere else in RPG anime, as they tend to limit the worst-case scenario to “game over.” But with the Death Game established, dying in the game means dying in real life.

All of these things considered, Sword Art Online covers its bases so that the idea of a Death Game is truly inescapable. It also allows for a captivating premise that would have been impossible anywhere else. Every swing of a character’s sword soon becomes as perilous as a real life weapon, and it’s for this reason that SAO transcends past what most RPG anime have produced.

Episode 2 Summary

Episode two begins one month after the events of episode one. Since Kayaba’s initiation of the Death Game, two thousand players have died and the first floor remains unbeaten. Throughout this time, Kirito has been utilizing the knowledge he garnered as a beta-tester to become as strong as possible. Having found the most gold, experience points, and safety zones, he has become a formidable player. However, with all his familiarity of the game, he alone can’t ascend to the second floor. It’s then that Kirito arrives at a meeting led by a spirited player named Diabel. He and a handful of others have ambitions of conquering the first floor dungeon as a single fighting unit.

At first, Diabel’s spirit and courage are so admired by newcomers that they agree to join his mission. However, there is discontent among some players present at the meeting. One of them, Kibaou, refuses to take part in the mission until all beta-testers make a full apology for the two thousand that have already died. Kirito remains silent, sure that he’ll be outcast if it’s revealed that he’s a beta-tester. Before Kibaou takes any further action, a kind figure named Agil emerges from the crowd. He informs everyone that beta-testers wrote guidebooks to help everyone. He goes on to claim that if the game is to be defeated, it must be done as one team. Most everyone that has died so far tried to defeat the boss on his or her own or in small groups. Everyone present soon realizes that if they don’t heed these words, they’ll meet the same fate as their fallen friends. They all soon begin to form parties (teams) with greater intensity, and Kirito feels compelled to join the party of a young girl next to him. She introduces herself as Asuna.

The next day, the newly formed groups confront the first floor’s boss. The boss is revealed to be impossible to overcome alone, but as a team, there is hope. Kirito saw the exact same thing in the beta-test, and so he guides the players through the fight. However, when the boss is revealed to have attack patterns different than the beta-test, Kirito is unable to protect the courageous Diabel. Rushing to Diabel’s side, Kirito offers to heal him. He is soon rebuffed and told to keep fighting. Diabel dies and the boss roars with triumph. Kirito fights alongside Asuna to avenge him, and the battle is won. At first, there is praise being rained upon Kirito, but Kibaou accuses him of being a beta-tester. He also blames Diabel’s death on him, since he would have known how to save him if he only spoke up. Kirito realizes that this team won’t accept him, so he goes off on his own. Asuna tries to bring him back, but he refuses. The two wish the best for each other and part ways.

Episode 2 Analysis

With such a large gap between the first two installments of the franchise, Sword Art Online is revealed to be a realistic interpretation, albeit a dark one. After a month of life-or-death stakes, two thousand have perished. This compels the surviving players to work together and to try and learn from past mistakes. This new behavior makes Kirito realize that if he is going to survive the game, he must make some exceptions to his reclusive approach to the game. This also makes it possible for new characters to be introduced, thus adding dimensions to the already-intriguing plot.

The first great extension of the cast occurs when Kirito goes to the meeting and finds a number of players that have approached the game differently than he has. Among them Diabel, a Guild Master that serves as the first example of leadership in the franchise. By initiating a movement to combat the first boss, he paves the way for other themes to be explored. Among them, the importance of teamwork, the need to see past differences, and the concept of networking (a major aspect of multiplayer online games) becomes prevalent. He serves to act as Kirito’s foil and remind viewers that even with prior knowledge, Kirito won’t be able to clear the game alone. With more players joining Kirito’s party, there are more experiences to be had, and the anime becomes vastly more dynamic.

In addition to Diabel’s appearance, the contributions of Kiboau and Agil proved to add many dimensions to the story in only a handful of lines. Kiboau represents the majority of players that live in fear of the beta-testers. From a psychological standpoint, Kiboau is an excellent representation of how prejudice can still exist in an online world. Meanwhile, Agil proves to mitigate this outburst by illustrating the fact that the guidebooks were made to share information equally. Both players go on to explain how there has been an unequal distribution of resources and how people can’t afford to be selfish anymore. This displays an economic and societal dimension to the game that few anime have been able to produce.

Lastly, there is the mysterious Asuna. Shortly after her appearance, Kirito feels compelled to form a party with her. This marks Kirito’s first step in trying to reach out for help in the game, and it reveals that there are limitations to what he can do on his own. Most anime of the RPG genre (Senyuu, Tower of Druaga, and Armored Dragon) depict a character that makes friends for the sole purpose of being able to take on more missions. However, Sword Art Online differs in this because an alliance in the game means you will trust an individual with your life. This makes every alliance carry more gravity than you would find in most other anime, and it serves to let us get to know each character that much more intensely. With so few characters making their presence known, a great deal of dimension had been built for Sword Art Online.

Episode 3 Summary

Episode three begins two weeks after the events of episode two. Celebration surrounds Kirito as a guild (The Moonlit Black Cats) praises his combat skill. Having saved the guild from certain death, Kirito is offered a partnership with them. After some hesitation, he accepts but keeps his identity as a beta-tester a secret. For a time, there is peace among the group and Kirito allows himself to become attached to many of the guild’s members, especially a young girl named Sachi. On June 12, 2023, the Guild Master proposes plans to buy a house and join the most powerful players on the front lines. In order to gain the funds necessary for this, the guild advances through a dungeon on a challenging floor. The operation goes smoothly until a treasure chest turns out to be a trap, and they’re unable to escape. Kirito watches as all his friends die one by one, and he fights in order to survive. He manages to win, but feels riddled with guilt. In the throes of his anguish, Kirito receives a message from Sachi. In this pre-recorded plea, Sachi tells Kirito to never give up, no matter how challenging the Death Game becomes.

Episode 3 Analysis

Having grown accustomed to time skips at this point, the average viewer of SAO may have learned that Kirito’s journey to floor one hundred is going to be an arduous one. Not only that, but with the continued insistence on Kirito joining a guild, this may not be a goal that he’ll be able to accomplish on his own. The intervention of this new guild (The Moonlit Black Cats) serves to remind the viewers that there is a strong sense of community among the players that are trapped inside the game.

Not only do we see these characters fighting together, but we also see them living together. The line between the game and life seems to have blurred completely, so that every day spent in SAO isn’t just a relentless race to the final boss, it’s also revealed to be a world where people can live together. Of course, with making such irreplaceable bonds, it makes the killing of players that much more terrible. The Moonlit Black Cats had shared a life with Kirito for a time, and to have them killed in front of him was almost more than he could bare. Had this been another RPG anime, these characters likely would have seen each other the next day after they logged off. But with the Death Game in play, the situation becomes all the more terrible. Had he only said he was a beta-tester, Kirito may have been able to save them, but now they will never come back. Be it in the game, or in real life.

Conclusion

After three episodes of high stakes and no sign of letting up, Sword Art Online continues to deliver. From the moment Kirito put on the Nerve Gear, an entire world had been opened up to him. Though he didn’t expect to be trapped inside, there was a strange opportunity that emerged for viewers. While most anime provide a skin-deep experience of what a virtual world contains, Sword Art Online allows the entire spectrum of the game to be offered in only a handful of episodes. Since all of the players participating are trapped, this forces them to modify their lives so that they are exclusively established there. The concept of character death takes on a whole new meaning when it’s revealed that they will be facing combat every day, and die if they don’t emerge victorious. The added twist of a game allows for many aspects of such a world to be simplified to their most basic levels. Alliances, transactions, and entire economies are determined by a handful of mouse clicks and this improves the pacing of the program rapidly. However, with all of this in mind, each character is being launched into a world where war is constant and retreat is not an option. A handful of heroes must stand above the rest of the crowd and fight, or none of them will ever go home. Is Kirito up to the task, or will he die trying?

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horizonreviews · 8 years

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“Fullmetal Alchemist: Brotherhood” Review

Fullmetal Alchemist: An Epic of Sacrifice

Out of all the anime series of the last decade, few are as consistently profound and epic as Fullmetal Alchemist: Brotherhood. Having been produced from a massively successful manga of the same name, the series had an extraordinary set of expectations to live up to. However, the episodes that spanned from February 13 of 2010 to September 24 of 2011 would not only defy expectations, but also prove to be one of the most popular and critically acclaimed anime ever produced.

Episode 1 Summary

The story begins with two brothers, Edward and Alphonse Elric. They are alchemists that are in service to the military of a nation called Amestris. Their latest assignment is to track down a rogue alchemist named Isaac McDougal, whom specializes in water manipulation, in a matter of days, they find their target inscribing runes across the city in preparation for an alchemy ritual with sinister intentions. The Elric brothers attempt to ambush this man, but he manages to escape and set his plan into motion. When his ritual is activated, it’s revealed to be a massive freezing spell that aims for the center of the city. Edward suspects that Issac is using an exceptionally powerful object called a Philosopher’s Stone, forcing the pursuit to new heights. Assisted by two more alchemists, Major Amrstrong and Colonel Mustang, Issac’s plan is stopped.

Episode 1 Analysis

Right out of the gate, Fullmetal Alchemist: Brotherhood immerses us into a world where the practice of magic has been transformed into a scientific pursuit called alchemy. In its most basic definition, alchemy is the art of constructing, reconstructing, and altering matter. However, in order to gain something, an element of equal value must be given. This chief law is called “equivalent exchange” and serves to govern the powers of many characters. When first introduced to the Elric brothers, we find that they both have an incredible affinity for this skill, yet they have suffered a terrible price in practicing it. Since Edward has a metallic arm and leg, it is indicated that he committed the one unforgivable sin of alchemy: Human Transmutation. The reason that this has become taboo among alchemists is that in order to bring someone back from the dead, you must give something else up of equal worth. So the question remains: what could equal the value of a human soul?

After establishing these basic rulings of alchemy, we see that the Elric brothers are also gifted in martial arts. They use of a wide variety of weapons, and they are well read in which criminals have also practiced alchemy. Their mission becomes clear, as they have dedicated their lives to stopping the unholy use of alchemy throughout the nation of Amestris. Their reason for fighting can be found just by looking at them, they have lost their very bodies and they wish to get them back no matter what the cost.

Episode 2 Summary

Episode two begins with the Elric brothers departing the city by train, and reminiscing about their childhood. In a flashback, we see that they learned the art of alchemy from their father’s library. Their prowess in the art of alchemy was something that made their mother smile, and this encouraged their study of the discipline to new heights. However, when their mother died of a sickness, the Elric brothers tried to bring their mother back by committing alchemy’s unforgivable sin: Human Transmutation. The ritual goes well at first, but a power from another realm snatches Edward and Alphonse. Edward sees a creature that calls itself Truth, and in exchange for his left leg, Edward learns some of the most elusive and darkest secrets of alchemy. Arriving back in his world, Edward curses his foolishness when he finds that Alphonse is no longer with him. In a last-ditch effort, Edward bonds Alphonse’s soul to a suit of armor by sacrificing his right arm. His brother is saved, but Alphonse’s body remains floating in another realm along with Edward’s arm and leg.

Shortly after this incident, the exploits of the Elric brothers reach the ears of the military. Yet, when they arrive, they’re surprised to see that a young boy had committed the taboo of Human Transmutation and survived. It was at this moment that Colonel Roy Mustang offered them an opportunity: join the military and continue studying the art of alchemy. Edward contemplates the ramifications behind this deal, and determined to recover what he and his brother have lost, he resolves to risk everything trying to get it back.

Episode 2 Analysis

Having established the powers that the Elric brothers wield, it became necessary in episode two for their backstory to be revealed. Yet instead of finding hardened warriors or conjurers in black magic, we find two boys that are content to make their mother smile by using alchemy. This innocent interpretation of the main protagonists serves to immediately grasp the attention of the audience and make us wonder how two innocent boys could commit a crime so awful, it forced them to give up their bodies. We find that after their mother died, Edward and Alphonse had undertaken the task of attempting Human Transmutation, the art of bringing life back into the world after it has been lost. Having only been eleven and ten years old when this was done, one realizes that their actions were in no way malicious. Instead, the most innocent of motivations was applied and the sympathy toward them grows.

This is even more prevalent as we realize that both brothers have been exposed to extremely dark forces during their brief stay “on the other side.” Edward, in a fit of rage, uses his alchemical knowledge to bring back his brother, no matter what the cost. He inscribes a rune on a suit of armor and in exchange for another one of his limbs; he binds Alphones’ soul to a suit of armor. This tale of self-sacrifice is one that is both profound and disturbing, and perfectly sets the stage for the rest of the franchise. Their motivations are simple, but all encompassing. If they gather the power of a Philosopher’s Stone, they believe that they can get their bodies back, and perhaps save their mother as well.

Episode 3 Summary

Episode three begins when the Elric brothers arrive in the nation of Liore. They see a man named Father Cornello performing miracles with alchemy, and he claims to the crowds that witness these miracles that this is because he commands the power of a Philosopher’s Stone. The Elric brothers soon arrange a meeting with Father Cornello and they are lured into a trap. A hideous hybrid creature attacks them (known as a Chimera), and Edward uses his metallic arm and leg in order to beat them back. The Elric brothers retreat and play on Father Cornello’s excessive pride, telling him that even with a Philosopher’s Stone, he’s a second rate alchemist. He retaliates by saying that his followers are “mere puppets,” and Edward broadcasts this insult to those loyal to Father Cornello. In a final battle, Father Cornello and Edward struggle using their alchemical powers, and Edward breaks the Stone like it’s glass, thus revealing that it’s a fake.

Edward and Alphonse head back to Amestris by train, and just before they leave, a loyal follower of Cornello says that she has no hope left. Edward responds by telling her to “walk on your own two feet,” looking at his metal leg, she realizes that Edward is telling her that strength is something you can’t rely on others for. It’s something you must find yourself. The Elric brothers enter the train and they leave Liore behind. Meanwhile, Father Cornello relocates to a clock tower. A woman named Lust and a man named Gluttony wait for him, and they kill him, saying that he’s outlived his usefulness.

Episode 3 Analysis

At the start of episode three, we are exposed to a new set of alchemical skills that are well outside the norm. And what’s more, there appears to be a Philosopher’s Stone in the clutches of a man who is on the brink of controlling an entire nation. The premise itself is captivating, but becomes all the more engaging when Edward and Alphonse stand up to this man.

A trap is laid out for them, and Father Cornello proclaims that by virtue of their alchemical sins, they are subject to the greatest dangers of all. This illustrates that while the Elric brothers gained power from their unholy transaction, they also have become targets of the very people they’re trying to hunt. After all, the ability to cross over to another world and learn the most elusive secrets of alchemy is something that any number of practitioers would kill to get their hands on. To become immortal (much like Alphonse), perform advanced skills (like Edward), or to even call forth the dark powers of another realm, the Elric brothers have made their world a vast times more perilous.

However, instead of simply using brute force, both Edward and Alphonse are shown to have sharp wit when facing their enemies. This is indicated by Edward’s use of the broadcasting station in Liore to reveal Father Cornello as a fraud, and how he was able to defeat him, even with Cornello’s power far exceeding his own. Yet the hunt for the Philosopher’s Stone continues. This indicates that while the Elric brothers do have a massive array of skills and powers, this doesn’t make them perfect. Quite the contrary, they are among some of the most vilified of alchemists, and yet they continue on their path, which makes them admirable figures, as they have good intentions behind their goals.

Conclusion

In all, Fullmetal Alchemist: Brotherhood is an excellent series with several dynamic elements blending harmoniously. With an epic premise, an intricate backstory, and an ever increasing use of tension and plot development, few anime can compare. On its face, it’s the story of magic users fighting for power, but on the individual level, it’s the story of two brothers that have lost everything, and they’re willing to risk whatever they have left to get it back. It is this fierce determination that binds viewers to these characters, and this is why it has become an immensely popular epic since its release.

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horizonreviews · 8 years

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“Cowboy Bebop” Review

Cowboy Bebop: A Noir of Epic Proportions

While several popular sagas have pushed their art form boundaries, few exemplify this better than the series Cowboy Bebop. While initially criticized for being a patchwork piece of several different genres (among them: sci-fi, noir, and comedy), its adventures of a ragtag band of bounty hunters proved to be one of the greatest hits of the last century. The episodes that spanned from April 3 to June 26, 1998, would not only make noir accessible to a wider audience, but also show that quantity doesn’t equal quality.

Episode 1 Summary

The story begins in a flashback, with the main protagonist, Spike Spiegel, waiting near a church. He holds a bouquet of flowers and hears the lonesome church bell ringing. Refusing to wait any longer, Spike walks away, leaving the bouquet in the throes of a rainstorm. As he departs, images of a gunfight appear. This gunfight declared Spike a dead man and allowed him to shed his identity as a gangster.

In the present, Spike is a bounty hunter, on his way to an asteroid colony. He is searching for a drug dealer named Asimov, who, according to local reports, stole a strain of drug called “Bloody Eye” from a crime syndicate that he used to run with. Now he’s trying to sell enough of it to start a new life. It’s also been reported that Asimov has partnered up with his girlfriend, Katerina. Resolved to collect his bounty before he disappears, Spike lands in the last town where Asimov was spotted, New Tijuana. Spike seeks advice from a medicine man, who says, “The red-eyed coyote will appear in the zone el norte at the far end of town.” Spike heads in that direction and finds both of his targets. Deciding to warm up to Katerina, Spike casually strikes up a conversation with her to try to make them come quietly. Spike soon reveals that he is a bounty hunter (Cowboy) looking for Asimov, when then starts strangling Spike, and only stops when Katerina begs him to spare Spike. Just before he loses consciousness, Spike pickpockets a sample of “Bloody Eye” from his attacker. By the time Spike wakes up, his partner Jet stands just above him, and the two come up with a plan to capture Asimov once and for all.

At Asimov’s next drug deal, Spike is waiting, disguised as the next fence. Asimov offers to sell twenty thousand woolongs (dollars) worth of the contraband, and Spike claims that he’s caught him. A fight ensues, and the commotion draws the attention of Asimov’s former band. Everyone joins in a car chase, and Asimov believes he can escape if he uses enough of the “Bloody Eye.” This proves futile, and he dies in a car crash. The episode ends with Spike and Jet cruising through space, looking for their next bounty target.

Episode 1 Analysis

Cowboy Bebop’s first episode has both a mysterious premise and an action-packed filming style reminiscent of the 1970s cop movies, with themes of bounty hunting, drug deals, and the criminal underworld running rampant, viewers have little time to catch their breath and adjust to the fast-paced style. However, that’s not to say Cowboy Bebop has pacing issues. It still manages to have moments of cool dialogue and character development in the midst of a story that would otherwise be a manic shoot-em-up.

For example, when the character Spike is introduced in the present, we see that he is not in a position of prestige. In fact, his shortcomings from his last few bounty-hunting exploits have left him with almost no money. This makes Spike’s motives easily noticeable, as he simply needs money to continue his business and put food on the table for him and his partner, Jet. After we see his motives, we also see that Spike has many talents.

In addition to being a bounty hunter, Spike is an excellent mechanic, pickpocket, and even philosopher. These qualities emerge as the series progresses, and all the while, he maintains a cool head in the face of everything from interrogations to shootouts. There is a simplicity to the characters of Cowboy Bebop, but they always seems to have something under the surface, and episode one displays this quality best. They may have had troubled pasts, but now the members of the bounty hunting ship Bebop are simply trying to make their way in the universe.

Episode 2 Summary

Episode two begins with Spike and Jet landing on Mars. Their next bounty is on a serial pet thief named Abdul Hakim. Several bounty hunters have attempted to catch him, but having utilized plastic surgery to alter his appearance, he proves difficult to apprehend. A friend messages Spike, claiming to have a photograph of Hakim’s face post plastic surgery and also mentions a briefcase that Hakim keeps on his person at all times. Without a doubt, Hakim plans to sell whatever it holds, so he’ll be a sitting duck as he tries to sell it. Spike and Jet soon begin their hunt.

Meanwhile, Hakim patiently awaits a deal to go down so that he can sell his latest prize. Little is said over the phone with his buyer, except that “this one is a sure fire winner.” With eight hours to spare, Hakim enters a bar, where he is momentarily distracted. A thief soon takes off with the briefcase, sure that he can sell whatever is inside to a local vendor. Spike soon tracks this thief down before he can sell the briefcase and holds him at gunpoint. Spike orders the briefcase to be opened, and it’s revealed to be a dog. The vendor appraises the dog (a Welsh corgi) to be worth no more than two woolongs (dollars), and so Spike walks away, sure that this thief isn’t Hakim. In a matter of minutes, Hakim appears at the vendor’s stand, and the dog runs away, prompting Hakim, Spike, and a group of scientists to chase after it. The chase is brief, and results in Spike with the dog and the other two parties unable to give chase.

It is after this fiasco that Jet suggests luring Hakim into the open. He proposes that Spike walk the dog until Hakim appears, and then to take him down and back to the Bebop for the cash reward. The plan goes well until the scientists from the previous chase activate a high-frequency whistle that gathers the attention of all dogs in the city. Spike and Hakim get in their respective vehicles and begin chasing the dog down, both knowing that their targets will soon be within their reach. In a shocking twist, the dog manipulates the controls of Hakim’s vehicle, and escapes by jumping off an overpass. Spike steers his ship to catch the dog before it gets hurt. This momentary distraction results in Hakim and the scientists in a car crash. From this point forward, the dog is named Ein and lives with Spike and Jet on the Bebop.

Episode 2 Analysis

Having founded the pilot on such gritty themes, the second installment of Cowboy Bebop proves to be a breath of fresh air. Instead of another grizzly episode depicting the realm of drugs, there is mischief, wanton rowdiness, and even good-natured humor throughout. This proves that while Cowboy Bebop is founded on the idea of catching criminals, its tone is not limited to the grim circumstances surrounding such figures.

The drastic change in tone can be attributing to revealing the more human aspects of the characters. For example, instead of being depicted as a cool-headed space cowboy, Spike experiences his fair share of shortcomings in this episode. His antics include catching the wrong man, losing a dog to a high-frequency whistle, and failing to collect his bounty for the second time. Displaying these drawbacks makes Spike become more approachable to viewers and vastly more dynamic.

Also, the additional screen time dedicated to the character Jet shows that Cowboy Bebop finds time to let its other cast members shine through. After taking a backseat as Spike attempts to bring back Hakim, Jet utilizes his cleverness to try and gain the upper hand in this manhunt. Realizing that Hakim wants this dog back, and that he has a score to settle with Spike, Jet suggests he and the dog both walk out in the open until he appears. This plan would have been unthinkable for Spike to do on his own, as he isn’t particularly fond of dogs and prefers to hunt down his targets on his own. However, Jet reveals himself to be even more cunning when he places a tracking device on the dog’s collar, and convinces Spike to go regardless. Not only does the scene illustrate Jet’s complex relationship with Spike, but it shows that the program is capable of controlling its pacing with merely two characters. Spike has shown himself to be the proverbial gas pedal of the franchise. Wherever he goes, Spike seems to draw trouble, fights, and shootouts. Meanwhile, Jet slows the story down by employing more subtle methods. His arsenal includes tracking devices, carefully laid-out plans, and his wits.

Finally, the addition of another cast member shows that the show is not only dynamic with two characters, but it is growing in dimensions. Most programs would be content to have a Welsh corgi as their mascot; Cowboy Bebop takes it a step further. Since this dog is revealed to have more than canine levels of intelligence, there seems to be an addition of another crew member. He has already shown himself capable of detecting danger, thinking on his feet, and even utilizing technology to get in and out of trouble. Since these are the qualities that make up a bounty hunter, no one seems more qualified than this inquisitive corgi to jet around the universe, catching bad guys.

Episode 3 Summary

Episode three begins with the members of Bebop taking a short vacation. Spike and Jet have elected to go to the local casino to try and bolster what’s left of their previous bounties. After a short discussion, Spike and Jet separate to try their luck at different games (blackjack and craps, respectively). All the while, there is a deal being made in the casino hotel’s penthouse. A gambling tycoon by the name of Gordon is striking a deal with a legendary figure that calls herself Faye Valentine (aka Poker Alice). If Faye acts as a blackjack dealer for the evening and collects a mysterious poker chip from a man in a blue leisure suit, all of her debts will disappear.

Spike tries his luck at the blackjack table, and becomes something of a local celebrity as he rakes in mountains of chips. This changes when the blackjack dealers change shifts, and Faye Valentine arrives at Spike’s table. It is at this moment that Faye receives a signal from Gordon, illustrating what her contact looks like. The footage is hazy, but it’s a man with wild hair and who wears a blue leisure suit. Since Spike is the only figure who fits this description at the moment, Faye is sure she has her man. Utilizing sleight of hand, Faye cheats Spike out of all his winnings. All that remains is a single poker chip. Faye expectantly holds out her hand for the chip, but Spike walks away. He bumps into a figure of a similar likeness to him (the real contact), and they both drop their singular chips. Spike searches the floor to find one, and the real contact frantically searches the floor to find another chip.

Faye confronts Spike, saying that he was supposed to hand over the chip as part of the deal. Spike claims that Faye cheated, and at the mention of this, security is onto them. Spike and Jet run back to the Bebop and they take Faye as a prisoner until they know for sure what’s going on. After extensive research of Faye and the poker chip Spike brought back, it turns out that both are worth a great deal of money. The poker chip contains a microchip capable of hacking into any system. Meanwhile, Faye has a bounty of over twenty million dollars. It is after these developments that Gordon contacts Bebop and proposes a deal. Trade the poker chip for fifty million woolongs (dollars). The Bebop accepts, but they’re prepared for anything.

At a nearby satellite, Spike meets Godron’s middlemen and the deal goes down. Spike is to throw the chip across to them, and the money is to be delivered at the same time. Spike agrees, but as he looses the chip, shots are fired. Spike quickly reacts and begins dodging the shots. He is able to stay ahead of them for a while, and the money is nearly within his grasp. But before either party can overcome each other, Faye escapes her confinement on an escape capsule. She doubles back and fires a shot into Gordon’s hull, and this causes an explosion. Both the chip and money are destroyed, but Spike and the Bebop are safe. After exchanging a smile, Faye flies into deep space, leaving the Bebop behind.

Episode 3 Analysis

After two heavily contrasting installments, episode three of Cowboy Bebop is revealed to have a pleasant middle ground. With scenes depicting glamorous casinos as well and exhilarating fight scenes, there appears to be a touch of James Bond in space-age saga. From the beginning of the episode, another figure is introduced named Faye Valentine.

Armed with an obscure past, headstrong attitude, and a nine-millimeter, she seems like another great addition to join the Bebop family. Yet we see that instead of taking part in chasing down a criminal, she is one of the criminals herself. Wherever Faye seems to go, trouble follows her like a shadow. She’s at the mercy of a gangster when we first meet her, and her debt is simply described as “colossal.” With that being said, we are immediately thrown into scenes where she is opposite Spike, whom is quite similar.

As an expert of slight of hand, it takes Spike little time to detect Faye’s cheating at the blackjack table. This illustrates that while Spike is an expert at catching criminals, there are those that are on his level of intelligence, thus enhancing the story to new levels. This concept of meeting one’s match is made evident throughout the episode, but it is most obvious when the final fight occurs between Gordon and the Bebop. As Spike proves a match for Gordon’s men, he proves to be a sitting duck when Gordon intends to kill him with the ship’s weapons. Up until now, it was Spike’s ability to keep a cool head under pressure and to be able to see one step ahead of his opponents that gave him an edge. But not even Spike is capable of being ahead of an attack he doesn’t see coming. Luckily for him, Faye knows Gordon much better, and manages to get her revenge on him before Spike can be killed. While both figures have managed to get away with their lives, one can’t help but wonder if Faye and Spike’s love interest will carry on in later episodes as they bid each other farewell.

Conclusion

In all, Cowboy Bebop is a noir that has transcended its original criticism. With balancing a wide variety of genres, characters, and tones, it has been able to go beyond what the typical noir has been capable of. Instead of following a two dimensional protagonist donning a fedora and trench coat, we find a rabble of bounty hunters with more layers than an onion. Everyone from the easy-going Spike to the rambunctious Faye displays a startling amount of character development in each episode. All the while, we enjoy witnessing their current adventures and simultaneously long to learn the secrets behind each of their pasts. In the world of Cowboy Bebop, it’s never been so exciting to start from square one.

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