Welcome to Adventure(s) Time's seventy-ninth installment, a look at animated heroes of the past. This week, we're returning to the world of Batman: The Animated Series. More specifically, to a tie-in to the series that I feel has been criminally overlooked.

Debuting on November 18, 1992 is the provocatively titled "If You're So Smart, Why Aren't You Rich?" The story comes from animation veteran David Wise, with direction from the show's co-creator, Eric Radomski. Radomski's the one who brought the heavy shadows to Batman, often having the characters interact with literal blackness. It's a defining feature of this world and this episode leans heavily into that look. Unfortunately, the highly unreliable Blue Pencil, S.I. is the overseas studio this time. The overall bland animation and character renditions actively work against the story.

The plot feels like a melding of Wise's more traditional Saturday Morning work with the more sophisticated approach writers were encouraged to bring to Batman. Software designer Edward Nygma finds himself fired from Competitron after suing his employer. Nygma created "Riddle of the Minotaur," their most popular game. And rather than receiving royalties, his boss Daniel Mockridge is exercising his contractual right to terminate the arrogant Nygma. The spurned Nygma creates the persona of the Riddler, waiting two years to execute his revenge on Mockridge.

All of this is in line with the world of Batmanevoking memories of episodes like "Heart of Ice" and "Feat of Clay." (Riddler even waits literal years before executing his revenge. Apparently a requirement for early Batman villains.) The corporate maggot callously destroying the life of an underling is arguably overdone by this point, but it does set Riddler up as a more sympathetic villain. He's not out to rob banks or hold Gotham hostage. He only wants Mockridge to suffer. To repay some of the hate thrown his way.

Interestingly, Riddler is fired thanks to an explicitly referenced "work for hire" clause. The term "work for hire" was all over the comics-related media in these days, largely due to Jack Kirby's ongoing battles with Marvel Comics. (And, at around the time of this episode, the original Image founders declaring they're walking away from the practice.) "Work for hire" means the creator is automatically giving up his claims to ownership of his works and characters. The corporation is signing the check, ergo they own the work.

The episode is firmly on the side of the creators, casting the executive evoking the term as scum. Why should he pay a dime to Nygma if he doesn't have to? Well, in the years since this episode aired, the shortsightedness of this thinking has been exposed. How many creators today are just handing away great ideas to Marvel and DC? How many new, lasting properties have emerged from work-for-hire contracts since the early '90s? (One of the few creators to gift a major comics company with lasting concepts is Rob Liefeld. And even a young Liefeld knew to arrange a better deal than Kirby received.)

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To be far, the major comics companies have made efforts to become more creator friendly. They're not offering full ownership of characters, but royalty payments are now common. Ironically, the world of television writing doesn't seem to have caught up. Paul Dini and Bruce Timm created Harley Quinn originally for the animated Batman. And, reportedly, haven't received the compensation they would've been owed, had she debuted in a DC comic instead.

So, clearly, there's an element to the animated Riddler's origin that speaks to deeper, more adult concerns. Unfortunately, the bulk of the episode consists of mediocre action sequences, and a set piece that wouldn't have been out of place on Teenage Mutant Ninja Turtles. 

Batman and Robin dutifully go through the Riddler's maze, exchange some quips, outsmart his puzzles, and save Mockridge. (Robin's a fan 0f the game, placing him more in the mentor role this time.)

It'd seem to be a forgettable episode...until the ending. Not only do the heroes fail to apprehend the villain, but his victim receives no happy ending. The final sequence details Mockridge's new nightly ritual. Locking five separate deadbolts on his door. Checking under his bed. Nervously taking a shotgun into the sheets with him. In a voiceover, a devastating closing line from Batman: "How much is a good night's sleep worth? Now that's a riddle for you."

From this point on, Riddler doesn't leave a noticeable impact on the DC Animated Universe. The producers have acknowledged his stories are difficult to crack, so his appearances tended to be rare. His other standout appearance is "Riddler's Reform," which features Nygma leaving Arkham and becoming a toy designer.

Writers Ty Templeton and Dan Slott didn't seem to share this apprehension about using the character, however. In fact, the Riddler's a key figure in their revived Batman Adventures tie-in series. Joined by artist Rick Burchett, Templeton pens the main story for the revamped Batman Adventures' second issue. (With Bruce Timm again along for the cover.)

"Free Man" follows a theme introduced in "Riddler's Reform." Given Nygma's intellect, why wouldn't a corporation seek him out to create new gadgets? As the story opens, we learn Omnicorp has adopted Nygma's technology to create an innovative new cellphone model.

NEXT PAGE: The Riddler Narrowly Avoids a 'Perfect' Death

Unfortunately for Nygma, his past has a way of catching up with him. His business meeting is interrupted by more Society of Shadows assassins. As established in the previous issue, they're carrying out hits on established members of Batman's rogues gallery, for mysterious reasons.

Riddler uses his advanced tech to interrupt Gotham's airwaves and demand Batman's help. But, because he is the Riddler, he can't do this like any other schmoe. Even his frantic request for help must be formed as riddles.

Bruce Wayne (accompanied by the mysteriously ailing Alfred) is on a date with Julie Madison, who makes her DCAU debut, when the message is broadcast during a basketball game. Templeton quickly establishes the ongoing continuity. Julie's charmed Bruce, as evidenced by this extremely rare third date. Penguin is the mayor, with seemingly growing public support. (Bruce's stunned Julie voted for him. Later, Julie's irritated their date's cut short.) And Batman risks his own safety rescuing Riddler, thanks to the GCPD's orders to take him in.

Ultimately, Batman and Riddler team up to stop the assassins. No answers to the mysteries are revealed, but the closing sequence offers a memorable insight into the Riddler's psychology. When a dummy wearing his suit jacket is "riddled with bullets," he recognizes this would've been the perfect way for him to die. His response? To attack Batman for saving him!

We discover Riddler's no "free man." Templeton often explores this idea in his work -- Nygma's refusal to accept his brilliance might also be inextricably linked to insanity. That he truly is no better than any other Arkham inmate.

THE WRAP -UP

DESIGN-Y

Although the animation quality in his debut isn't the best, Riddler's initial Batman design is an appropriately classy representation of the character. His later redesign for his cameo appearances in The New Batman Adventures with the shaved head and neon unitard...that one's less popular. In the relaunched Batman Adventures, we see Riddler with hair again (although his hairline's now receding) and a suit closer to his original outfit. I'd personally name it his best design. Unfortunately, it never made an animated appearance.

HEY, I KNOW THAT VOICE

Veteran character actor John Glover voices the Riddler. Previously, he was perhaps best known for playing a Donald Trump parody in Gremlins II. He'd later appear as Jason Woodrue in 1997's Batman & Robin and as Lex Luthor's father on Smallville.

The Riddler

WHY IS A RAVEN LIKE A WRITING DESK?

It's a true shame the Riddler doesn't have more "official" appearances in the DCAU. Not only does John Glover deliver a believably arrogant, yet at times vulnerable, performance, but the show's take on the character is great. Ego motivates him more than anything, so a simple bank robbery isn't something he cares that much about. Proving he's smarter than Batman, however, gives him a reason to live.

While "If You're..." is visually lacking, and the middle drags, it remains a standout episode. For one, it's perhaps the most memorable title of the show's run. Thenthe script closes out with what could be Batman's greatest exit line.

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All told, Riddler ends up with only a handful of credible animated appearances. (And the less said about his generic New Adventures cameos, the better.) But if you're a fan of the character, you owe it to yourself to check out his Adventures stories. Especially this relaunched volume, where he plays a pivotal role in many events. Too hard to write? Well, the tie-in guys just kept proving that wrong.

So that’s all for now. If you have any suggestions for the future, just leave a comment or contact me on Twitter. You can also check out some of my fiction writing for free over at Smashwords.