Batman: TAS, episode #49: I Am The Night

Right away, this is probably one of the best examples of storytelling in the entire series. Writer Michael Reaves, who authored no less than 18 episodes over the course of the series, including highlights like the introduction of Clayface in Feat of Clay, captured the very essence of The Batman as a human being in I Am The Night. You've seen me talk before about one of the elements that separates The Batman from much of the rest of DC's stable is his essential humanity. He's not just doing what he does as an example of justice for the wider society. It's also quite personal for him. It's about making up for the crime he wasn't able to prevent as a child. Accompanying that, of course, is some measure of vengeance against criminals for that isolated instance, which isn't the best driver for one's life ambitions but, again, we're talking about the base level of a flawed human being, no matter how much of a hero he is, otherwise. This episode starts out focusing on those flaws as it highlights his self-doubts about what he's doing and how effective it is; brooding on the Batcave's version of a throne. When he makes his annual pilgrimage to Crime Alley alongside the always welcome sight of Leslie Thompkins (Diana Muldaur), the two of them end up in a discussion about basic philosophy (How much is too much?), referencing opposing perspectives on Santayana, where Leslie offers a paraphrase of his most-remembered quote ("Those who forget the past are doomed to repeat it.") and The Batman responds with: "A fanatic is someone who redoubles his effort while losing sight of his goal." Of all the DC heroes, "fanatic" is a label most easily applied to this one.

That "essential question" element of the plot is well-supported by the otherwise basic elements of the action surrounding it. We're shown a plain, old gangster, The Jazzman (Brian George), who doesn't even reference jazz or its usual instruments in his constant musical references to what's happening around him. But he's busted by Commissioner Gordon, Harvey Bullock, and our hero and ends up seriously wounding the former, causing The Batman to question his motivations and actions even further, while Bullock piles on, accusing him of being one of the main causes behind Gordon's injury and crisis. Indeed, Bullock chases him away, yelling: "This ain't over yet, outlaw!", reminding everyone that our hero's actions aren't even legal, despite their generally positive results for society. It's all very 1920s noir, which is at the root of the style of the series, again highlighting the upper level of storytelling present here. There's even a reference to modern times, as The Batman swings by a souvenir shop, festooned with images of him and his famous chest emblem, while later bemoaning the fact that "I've become a cliché!" Given the long merchandising history behind DC's heroes that often outstripped the quality of the comics, this was quite the knife twist and not just to our main character. His highly unusual emotional response to the situation, by trashing the lab in the Batcave, is just another example of this story's will to push the limits of the character.

And, with that, this is one of the best examples of how the series was always playing to two (and possibly more) different audiences. Sure, the action and the cool costumes and the wacky events were there for the kids (and some of us adults) but there were also moments that spoke at a deeper level; an emotional level that perhaps many kids among the audience wouldn't quite grasp, but which were still an essential part of the story and the character and the driving force for the whole picture that is The Batman. That more sophisticated storytelling extended to some of the technical aspects, as while Dick Grayson attempted to convince The Batman that he was not only still needed but also "Only human!", we cut a couple times to watching Jazzman escape from prison in his single-minded focus to take vengeance(!) on Gordon. That switch of pace and progression of story is outside the realm of the usual linear approach that the series takes in almost every other episode (due credit to regular director, Kevin Altieri in that respect, too.) That awareness of pace carried into the main action scene, where our hero strives to prevent Gordon's death as he and Jazzman struggle on a window-washing platform and then inside a hospital room, with Barbara Gordon (Melissa Gilbert) assisting (e.g. only human, needs everyone in this struggle, etc.), producing some genuine tension. At the end, after saving his friend's life and reminding him that he, too, is a hero for the people of Gotham, we find The Batman watching the city from a rooftop, in the light of the moon.

Again, storytelling-wise, this is absolute top shelf, despite it having nothing to do with the "more interesting" characters of the overall milieu. It drills down to the essential notes that make up this heroic figure, examines them, is willing to question them, and then comes out the other side with at least a partial affirmation. There are no definitive answers to either this situation or The Batman's existence as a whole, but this story at least offers rebuttals to those questions, while leaving room for the viewer to make up their own mind. Great, great stuff. Next time, we're back to a classic villain and a classic writer from the old days of the comics.