https://www.imdb.com/title/tt7451284/?ref_=nv_sr_1

     Sungguh tak bisa dimengerti, DC Comics nyaris selalu gagal secara kritik film live-action-nya, khususnya DC Extended Universe (DCEU), namun begitu kontras dengan pencapaian divisi animasi home video-nya. Beberapa film animasi panjangnya, amat brilian serta jauh berkualitas, sebut saja The Dark Knight Return Part 1 & 2, Justice League Dark, hingga baru lalu Lego DC Comics Superhero: The Flash. Melalui medium animasi ini, para kreatornya mampu mengeksplorasi tema, kisah, bahkan pendekatan estetiknya ke level baru yang belum pernah tersentuh sebelumnya. Satu contoh terbaru, Batman: Gotham the Gaslight yang membawa setting kota Gotham ke era Victoria dan mengkombinasi plotnya dengan kisah Jack the Ripper. Kali ini, Batman Ninja membawa lebih jauh lagi melalui pendekatan estetik unik serta plot brilian, dengan banyak tribute lokalnya. Batman Ninja digarap oleh sineas asal Jepang, Junpei Mizusaki serta desain karakter animasinya oleh Takasho Okazaki yang juga menggarap komik manga Afro Samurai.

     Sekalipun setting kisah berada jauh di era silam, namun penjelasan logis kisahnya bukannya tak terabaikan begitu saja. Alkisah, Batman tengah mencegah rencana jahat Gorilla Grodd di Arkham Asylum Gotham, namun satu kecelakaan besar terjadi hingga mesin waktu Grodd membawa mereka ke era feodal di Jepang. Tanpa diduga Batman, mesin tersebut ternyata juga membawa seluruh musuh bebuyutannya, yakni Joker, Harley Quinn, Two Face, Penguin, Poison Ivy, hingga Death Stroke yang kini telah menguasai wilayah Jepang. Batman berusaha mencegah rencana jahat Joker dan kembali ke masa depan dengan dibantu rekan-rekannya yang ternyata ikut pula terbawa dalam perjalanan waktu ini.

     Kisah Batman versus Joker tentu tak asing bagi kita, namun kini setting kisahnya yang membuat plotnya menjadi lebih bergairah. Dengan sentuhan estetik sineasnya yang berdarah lokal membawa nuansa era feodalisme begitu pas berpadu dengan plotnya. Di era silam ini, Joker tetaplah Joker yang gemar bermain-main dengan sang jagoan. Batman tetaplah Batman yang selalu menjaga kode etiknya yang tak bisa membunuh musuhnya. Intrik demi intrik cerita berlangsung walau ending-nya tak sulit untuk kita tebak. Aksi pertarungan pun layaknya seri anime yang selalu tak ada habisnya, jatuh, bangkit, jatuh dan bangkit lagi. Sedikit mengesalkan juga karena seolah mereka selalu punya senjata andalan yang mereka simpan, yang tak ada habisnya. Kisahnya juga mengkombinasi subgenre kaiju (monster/robot raksasa) walau tak masuk akal, namun bolehlah jika dimaksudkan sebagai tribute. Setidaknya sebuah upaya yang memang unik dan segar untuk genrenya.

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     Membawa superhero dan supervillain ikoniknya, Batman Ninja merupakan sebuah terobosan brilian genrenya yang mengkombinasi variasi subgenre serta latar cerita dan setting yang eksotis dengan pendekatan estetik yang khas. Walau tak bisa dibilang istimewa, namun Batman Ninja adalah sebuah pencapaian yang rasanya tak akan berani dilakukan oleh film live-action-nya. Batman adalah satu sosok superhero ikonik yang sudah terlampau sering difilmkan dalam medium ini. Tim Burton sudah melakukan dengan pendekatan estetiknya yang khas. Nolan sudah mengangkat jauh Batman melalui pendekatan yang lebih realistik. Sementara DCEU mencoba bermain aman dan hasilnya sudah kita lihat sama-sama. Mungkin saja, sedikit masukan dari para kreator divisi home video-nya yang brilian, bisa membuat sosok ini menjadi berbeda dan unik.

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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