• Airdate: September 6, 1992
• Director: Kevin Altieri
• Writer: Mitch Brian

     A mysterious bat-like creature flies across the skies of Gotham City before making its way into a building, attacking a security guard. The attack is blamed on Batman, which angers Commissioner Gordon, since it was a statement given to the papers by Detective Harvey Bullock behind his back. Bullock promises to bring Batman in.
     Batman's just hanging out in the Batcave reading a newspaper, reading up on chemicals that have been stolen from various pharmaceutical places. He makes his way to Phoenix Labs, unfortunately interrupting two scientists who snuck away to have some 'alone' time. Noticing the Caped Crusader, they call the police, which Bullock is radioed for. He calls in back up and a task force make their way into the laboratory to capture Batman, who is finishing up collecting samples left behind by the intruder, including hair and an audio recording.
     As Batman fends for himself, Gordon arrives and bursts Bullock's happy bubble by telling him the he had just received a call about another pharmaceutical company across town having been broken into or robbed, meaning that Batman isn't at fault. Being reckless, the task force accidentally blow a portion of the lab up, Batman being able to escape whilst also saving a member of the task force from the explosion.
     Bruce Wayne takes the samples to the Gotham Zoo to be looked at by Dr. March, an expert in bats, under the pretense that he might have a bat problem at home and wishes to know more about it. While there, he meets Dr. March's daughter, Dr. Francine Langstrom, and her husband, Kirk.
     Dr. March follows up on the samples, telling Bruce it is merely a common brown bat, but the Batcomputer proves this to be false when it cannot match the sounds on the recording to any known species. Batman heads back to the zoo laboratory, only to find Kirk. Kirk has created, and become addicted to, a formula using his father-in-law's theories; a formula that turns him into a giant man-bat. Unfortunately, the addiction has caused Kirk to see the creature as its own independent being and is working towards acquiring chemicals that would make the change permanent.
     Kirk transforms and attacks, tossing Batman around with ease. Francine arrives and the creature decides to leave in shame, but Batman is able to rope onto his leg, being pulled around the skies of Gotham as the two fight. They pass a police blimp, which in turn allows Gordon and Bullock to see that the Batman and the flying creature from before are two separate individuals. Batman manages to subdue the creature and takes him back to the Batcave, administering an antidote. Returning a cured, but unconscious, Kirk home to his wife, Batman tells her that he should be fine, and the two have nothing to worry in regards to Kirk and his alter-ego.

     The first (ish) episode of B:TAS hits the ground running in showcasing what the series would be and become to be known for. With the intro, we are treated to the beautiful art used to portray Gotham before we are introduced to the style that would make the show such a success. When I speak of 'style', I don't simply mean in terms of the look of the show. We see something flying around, though it is clad in shadows and mystery. The way the unknown creature flying around the skyline and coming into contact with a police blimp is masterfully directed, suspense and intrigue immediately being established. The series has always had a very cinematic feel to it, and it's made very evident from the first few seconds of the episode.
     What has always struck me, and came to mind re-watching On Leather Wings, is how simple it all seems. Yes, the designs and layouts are simple and effective (the mayor's office where we first meet Gordon and Bullock being a perfect showcase for that), but the skill in the direction comes off incredibly simple, too, in the sense that the episode feels as though it's one that is already a handful of episodes into the show's run. It doesn't feel like the creators are working towards finding their footing and getting comfortable knowing what they would like to do. They know what they want to do and pull it off so easily that there isn't a single hiccup to be found in its production.
     What goes even further to prove this is the end sequence battle between Batman and Man-Bat. It is exciting, wonderfully paced, edited and directed. Action is hard to time and, I can only imagine, harder to properly choreograph when it comes to animation. Yet we are treated to this moment in the very first piece the crew worked on, and it succeeds brilliantly. It almost feels as though they made sure to have it simply to prove to the studio that they can do it.

     Which makes perfect sense. It has been said that Warner Bros. was nervous about the series, with Bruce Timm and Eric Radomski at the head of it. The only thing that made sure this initial episode would be fully produced was the fact that the Burton film had made them hand-over-fist amounts of money. They were getting a lot of studio notes and under prying eyes. Timm has stated that this episode "got a lot of people off our backs". I don't blame them. While the series would, of course, hit episodes that were even higher and better all-around than this one, it shouldn't be forgotten just how great, and important, this episode is in regards to the series' history.
     They had made the conscious choice to use Man-Bat, as casual fans would not be as familiar with the character, and portrayed him well in the small amount of time they had. Not only were they able to use the character effectively, but they were also able to introduce us to a lot of things in these 22 minutes. Gordon and Bullock's relationship, the fact Gordon already trusts Batman, Bruce and Alfred's relationship, how Bruce handles himself as "Bruce Wayne" to the public, Harvey Dent (who I forgot completely makes a small appearance here) and more. To also be able to add a set-piece revolving around Batman escaping a task force is almost too much to ask for. There is a lot going on, yet the episode still has its quiet moments. It breathes and has a life of its own.

    

There are a few small things added into this episode that I enjoyed seeing a lot, especially this early. I like that they had already made an emphasis on the fact that Batman is, you know, a detective. As much as I enjoy a lot of Batman live-action films, it always seems as though his detecting is pushed to the side. He does it, but it feels as though it may be an afterthought. Here we see what he does to get as far as he can, even going so far as to taking samples to an expert just to be able to double-check and cross examine things. While Batman is awesome in his "showing-up-from-the-shadows-and-laying-down-a-whooping" ways, I find myself giddily excited whenever he does actual detective work. Not only is it important to his character, and an easy way to prove the intelligence he has, but there's also the added benefit of, let's be honest, it being delightfully surreal seeing a man dressed as a bat squatting over things and taking samples so casually and calm.
     Another small detail I adored seeing here is a simple one. Dr. March calls Bruce to tell him about his findings with what he brought in. Bruce is, of course, in the Batcave dressed as Batman, and has the full conversation in his Bruce Wayne voice before automatically reverting back to Batman without missing a beat. It goes far to show the underlying topic when it comes to the character, that Batman is the real individual while Bruce Wayne is more of the alter-ego to the man, but it's also smile inducing to see something so simple used any time. I will be writing about the cast separately as we go on, but I cannot stress how fantastic Kevin Conroy's work has always been as both characters. Bruce Wayne and Batman constantly feel as though they are their own separate personality, and he conveys this with such ease.

     What I always loved about the series as well was their use of "horror" and how they never really strayed away from presenting certain things as horrific and haunting as it needed to be. Here, we see it in Kirk's transformation into the Man-Bat, full of horror film-esque terrifying-ness.

     The last thing I will touch on is the humour. While lots have been said about the series as a whole, it should also be noted that it was always legitimately very funny. There's a lot of dry humour presented in the show, and when it feels as though it's a groan-inducing joke it's usually meant to be. Bruce and Alfred's relationship in the series, in particular, has always been one of the highlights. The level of sass that butler constantly gives Bruce is incredible.

     This is definitely an episode worth watching, especially if you keep in mind that it was the first one they had produced. It showcases so much of what would make the series one of the greatest of all time, and as successful as it is. It is the absolute perfect way to get the show off the ground and it isn't a surprise in the least that it got Warner Bros. to back off of constantly hovering over the creators.

Great Lines and Moments
* I can't believe I forgot Harvey Dent makes a small appearance here. I'll write more about why this is as significant as it is later on, but having him appear as early as episode one is a fantastic choice and treat. *
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* I find it so, so funny that the first thing we see Batman doing in the series (in production order) is chilling in the Batcave reading a newspaper. Truly the vigilante criminals fear. *
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Batman: "Someone's setting me up."
Alfred: "You mean it wasn't you tossing security guards around last night?"
Batman: "I only toss butlers, Alfred."
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(Bullock attempts to get on a police chopper to go after Batman)
Pilot: "I can't let you on without the Commissioner."
Bullock: "Who told you that?!"
Pilot: "The commissioner."