Crossovers can be an odd lot. When done within the same setting, characters from two or more sources, typically series, meet and work out a way to solve a problem they have in common, whether the problem is medical, social, or villainous. Crossovers become events in comics and on TV; casts appearing outside their own title does draw an audience but the writing has to take into account the new personalities. Cross-corporate crossovers are an oddity. Normally found in the realm of fanfiction, where negotiations between companies about how their property appears isn’t a thing, the cross-corporate crossover does occur from time to time and is treated as an event by all companies involved. Examples of successful cross-corporate crossovers include JLA/Avengers, bringing DC and Marvel’s premier super teams together, and Who Framed Roger Rabbit?, bringing together cartoon characters from Disney and Warner Bros.
Archie Comics, though, tends to have the more interesting crossovers in the comic industry. Among the crossovers are The Punisher Meets Archie, Archie Meets KISS, Archie vs Predator and Archie vs Sharknado, the latter being an official crossover written by the Sharknado creators. Archie is the little black dress of comics; he goes with everything, no matter how odd the pairing seems on first glance.
DC, in the meantime, has been continuing some if the older TV series based on their characters, notable Batman ’66, based on the Adam West series, and Wonder Woman ’77, based on the Lynda Carter show. Both series aim to capture the feel of the original series. And this is where Archie comes in. Archie Comics has a timelessness thanks to being around since 1939. Their titles have reflected a wholesome image of teenagers ever since, with the characters remaining a constant despite changes in culture and society over time. The company’s digests have featured current and older stories, with the only real difference being art style and fashion. This makes dropping Archie and his friends into a specific era easy to do.
Archie Meets Batman ’66 is not an unusual crossover for Archie. The Adam West Batman series shows a more wholesome version of Gotham City, a Gotham terrorized by villains foul, that wouldn’t look out of place beside Riverdale. Archie fits into that setting without any need to shoehorn details.
The comic ran as a six issue mini-series in 2019, then later released as a trade paperback collection. It begins in Gotham City as Poison Ivy terrorizes the World’s Science Fair with her snapdragon, only to be thwarted by Batman, Robin, and Batgirl. But Ivy provides the distraction Bookworm needs for he and his henchwoman, Footnote, to steal an electronic book. Elsewhere, the United Underworld – Catwoman, Joker, Penguin, and Riddler – comment on Ivy’s efforts, The Riddler realizes that Gotham isn’t where the United Underworld should start its world domination. Batman is just too difficult to overcome. It would be easier to take over a city that doesn’t have a superhero. Riverdale has everything Gotham has – a chief of police, a rich millionaire – and no Batman. Very low crime rate, even. Perfect for striking.
Hiram Lodge is the first victim of United Underworld’s mind control scheme. However, the scheme only affects grown men. With coerced help from Riverdale technical genius Dilton Doiley, the villains manage to get all the adults, but teenagers are still a random element. Riddler finds a protege in Reggie Mantle, while the Joker needs effort to turn Jughead into a junior version. Catwoman’s alter ego Miss Kitka gets most of the teenaged boys on board, leaving Veronica, Betty, and the other teenaged girls, plus Kevin Keller, to figure out how to stop the United Underworld. Fortunately, Batman is on the case. It takes a combined effort from Batman, Robin, Batgirl with Archie and his friends to defeat the United Underworld and save Riverdale.
With crossovers, characters from both sources need to be equally active in the plot, at least to the point of believability. Having one set of characters be in the backseat of the plot, being dragged around from plot point to plot point, does them a disservice. The spotlight’s on all the characters, not just the ones from one of the sources. Archie Meets Batman ’66 does this. While Archie and his friends aren’t trained crime fighters, they do pitch in. They may not fight, but they are willing to be distractions. Likewise, Batman, Batgirl, and Robin don’t stand alone against the villains in Riverdale. They accept the help offered.
Details are also important. DC’s Batman ’66 is based on the Adam West Batman, not the regular continuity. A Batman that works only in black and really dark gray wouldn’t fit in. The colours are bright, suiting both the 1966 series and Archie Comics. Even the smaller details help. United Underworld is pulled straight from the movie, as is Miss Kitka. The Joker has Cesar Romero’s mustache under the whitepaint. The Batusi makes an appearance as does The Archies’ hit single, “Sugar Sugar“, albeit three years too early.
There are scenes, though, when the soundtrack starts playing in your head. Fight scenes have the appropriate written sound effects, none repeated in the run of the mini-series. The narrator, who in most comics serves to remind readers of past events, takes on the voice of the TV series’, with alliteration during the cliffhangers at the end of chapters 1-5.
Archie Meets Batman ’66 manages to meld the two sources, combining Archie Comics’ timelessness and wholesomeness with the 1966 Batman TV series’ sense of fun and camp. The two merge seemlessly, a crossover long overdue. Both sources come through shining.