The New Yorker agreed with this perception, noting that this adaptation of the comic was "sure-footed, full of nifty gadgets and ridiculous costumes, and with at least a couple of lines that could pass for wit on a foggy night" (November, 12, 1966).
The Adam West series -- the ultimate in 1960s pop art -- was a sensation with viewers too. “Batmania" swept the youth culture. In Detroit, a hairdresser invented the “Bat-cut,” and at a nightclub called Wayne Manor, youths danced "the Batusi" with the Joker as the Maitre’d, while Wonder Woman served drinks.
It is dynamic, bold, and exaggerates the larger-than-life, action-packed comic-book qualities of Batman's world. In short, the name of the game is...color.
The importance of color comes from two important contexts.
First, Batman arrived at the dawn of the age of color television, and series like it (Star Trek, for example) sought to capitalize on the technological advance, attempting to draw-in viewers with the promise of something they had never seen before: bright, bold coloring.
Secondly, as a living, breathing comic book, Batman was intended to mirror, in dimension, shape and form, the colors of the printed page. Hence, lots of color; lots of action.
The montage opens with a call to adventure, a spinning image of what I believe is the Batmobile's wheel, to draw us into the action.
From there, we see "moving" comic-book depictions of Batman and Robin as they charge, literally, towards the viewer to the unforgettable soundtrack of Neal Hefti's theme song. Behind them, the backdrop is a bright green.
Below, a repeat of the same kind of frame, but now in blue, with Robin delivering the punch. POW! Once more, the values of motion and color are stressed.
Next up, we meet our two leads, Adam West and Burt Ward.
Down the villains go in a blaze of all-caps, exclamation-pointed impact balloons...
As the final acting and producing cards roll, we get a look at the series' backdrop, Gotham City, and the Batmobile approaches us.