Creator Backlash: Despite the series acclaim and legacy, there were several episodes that were either promising misfires, or outright duds, and were regarded as such by the shows team. They gave their thoughts on several of these episodes in an issue of Animato Magazine;
"I think that if we hadn't gotten Alan Burnett to come over, we would have had a lot more shows like this one," noted director Frank Paur of the producer who stepped in to take control of the show's script process first season. Paur also disliked arming Batman with a screwdriver, but had his hands full wrestling with an as yet unsatisfying storyboard crew. "I had to get rid of most of these boards and start from scratch," he said. "It was very time-consuming. Our schedule was so tight, that small things got by." Noted producer Bruce Timm, "I can't even watch that show. It's the epitome of what we don't want to do with Batman. Strangely enough kids like it. The script came in and it was terrible. Normally, I tell the director to do what he can to make it interesting, and nobody could figure out a way to make it interesting. The storyboard artists didn't care, and it shows."
- While the episode was based on a good story from the comics and having decent animation, "The Cape and Cowl Conspiracy" was considered a misfire, namely for its lackluster gimmick villain, and Batman having no real motive to play mind games with him.
"I tried to kill this show, but they didn't let me," said director Frank Paur. "We had a lot of storyboard artists who wanted to rebel on this one. The best metaphor is kicking a dead horse. It arrived dead and no matter how hard you kick it, it ain't going to give you a ride."
- "The Underdwellers" was likewise considered a dud, namely for censorship problems, bad story elements and very Off Model animation.
"It was my first episode as director, and there are still things in it that I cringe at," said director Frank Paur. Usually when we get an episode, we get to use a lot of discretion and change things. I wish I had been able to spend more time on that script. Another problem at the time, was that we had storyboard people who made things difficult. I found myself going back two or three times to fix scenes. They didn't quite understand we were shooting for a higher standard. So there was always a constant drain on my time. That whole opening sequence of the kids playing chicken with the train should have been cut. That was what we had to contend with at the beginning of the season. We had these little public service announcements worked into the scripts, a concept we nixed real quick." "It's Junio's weakest episode," said producer Bruce Timm. "We almost didn't use them after that. It was the first one that came back that really looked totally unlike our show. It was very Japanese. But I'm glad we did use them again, they've done great work. BS&P took a lot out of this show. Originally, the kids were to be victimized by the Sewer-King, but he was not allowed to be mean or tortorous to any of them. The impact is watered down. If we were doing it today, we probably would have decided not to do the show."
- "Lock-Up" was also considered a failure, due to its awful script, blatant plot holes and bloopers (Batman changing into his costume out in the open, not letting us figure out how he escaped), and slow, aimless scenes.
- "Prophecy of Doom" was already considered a very average episode, but its criticism was mainly singled out for its terrible animation by Akom.
"If that whole end sequence with the spinning worlds in the observatory had gone to Junio or any other studio, it might have come off, but it went to AKOM," said Bruce Timm. "They just weren't able to pull off that level of animation." "That broke my heart," said director Frank Paur. "I designed those planets using a circle template. How hard is it to animate circles? It was done by hand, and if we had done it now, it would have been done on computer and would have looked spectacular. When I knew the show was going to AKOM, a studio I'd had a long history with, I knew they weren't going to be able to pull it off. Admittedly, it was a tough sequence, but they should have been able to do it."
- While not considered a "bad" episode, Bruce Timm was not satisfied with the episode "What Is Reality?", although he ironically complimented Akoms work on it.
"Virtual reality is too science fictiony for our show. While it may be conceivable that it will work in four or five years, Batman transforming himself into a black knight and flying around on a chessboard is unfathomable to me. Strangely enough, it's one of AKOM's better shows. They pulled off all the special effects really well."
- "The Mechanic" was also considered dissatisfying, save for some nice action and some of Akoms better animation.
"This was one of those stories in development hell for a long time," said producer Bruce Timm. "We needed scripts. I think it's a stinker, but it has some of AKOM's better animation in it." Noted director Kevin Altieri, "It was the first show that AKOM laid out itself. It's not as good as their 'The Last Laugh,' but had far fewer retakes (almost 80% of 'The Last Laugh' needed retakes.) I think they were threatened that they might lose the work, so they put their A-Team on it. It actually is a script that is similar to the '60s series, but when you do do something like this comedy, you must remember that even thought the script may be goofy, you have to show that the characters are living it. When Earl drops the tires on Penguin's henchmen, he thinks Batman's dead and he's crying."
- "Nothing to Fear", despite having some of the series best moments and nice animation work by Dong Yang (whose only glitch was straightening the Scarecrow's crooked posture), was considered to have bad pacing, a cliche way of beating Scarecrow, and an all around mediocre script.
"It was written by Henry Gilroy, who had never written cartoons before," said producer Bruce Timm. "He was a film editor here and always wanted to get into writing. At the time we didn't have a story editor, so we gave it a go. When he turned in his first draft, which wasn't bad, we had hired our first story editor, Sean Derek. We immediately came to loggerheads over this show. Some of the dialogue she changed wasn't changed for the better."
- "The Forgotten" was another misfire, mainly for being a message show put forth by the original story editors.
"I didn't want to do this show from the very beginning," said producer Bruce Timm. "Sean Derek was big on doing shows with social messages. And my big problem with message shows, is that you can't solve the world's problems in a half hour cartoon. If you raise the issue of homelessness, what can you do? It makes the episode look very exploitive, because you're just using the problem as an exotic background. You can't discuss the problem on any meaningful level in a 22-minute action cartoon. So I put in the dream sequence with Bruce in the barracks where these multitudes of people are looking to Bruce for a handout, and he doesn't have enough money for them all, and they're surrounding him and suffocating him. It's not enough for him to put a band-aid on the problem at the end, by offering the two guys a job. It just doesn't work." BS&P undercut the script's essential message, as director Boyd Kirkland explained: "There was a sequence at the beginning where Batman is wandering around the city, trying to find out why people were disappearing. It was staged with homeless people hanging around on sidewalks: families, mothers and kids. They made us take all that out of the boards. They said it was too much for kids to see that maybe a woman or a family can be out on the streets. They specifically asked that we only show men as homeless."
- "The Cat and the Claw, part 2" was considered a dud, namely for it's many plot holes, a lame villain and downright abysmal animation by Akom.
"The whole end sequence was geared around the explosions, and they were some of the worst you'll ever see," said producer Bruce Timm. "We retook all of them two or three times. They were still awful, but we ran out of time and had to air them."
- Bruce Timm really came to regret the Jokers redesign in the New Batman Adventures revamp; it looked good in concept, but he felt it was followed on too literally, and it robbed the Joker of a lot of his fearsome personality.