Production
It was not uncommon to see cardboard cut-outs and wall decorations of the Beetleborgs characters on the walls of Zoom Comics where the three kids worked. Other decorations used included the costume heads of King Sphinx of Mighty Morphin Power Rangers and the original head from the monster costume Kappa from Ninja Sentai Kakuranger (The monster was used as "Parrot Top" in MMPR) which was used to create the costume Malavex. Toys from the Bandai Beetleborgs toyline could also be seen in various displays. Including the Special Edition Deluxe Shadowborg figure, in an episode which preceded Shadowborg's character ever appearing on the show.
Like other adaptations, some of the original source footage was altered for Beetleborgs. The Input Magnums, the original B-Fighter's guns, looked very realistic due to the black-and-silver coloring. In Beetleborgs, the gun's colors were changed to bright red and purple, and all Japanese footage of the Input Magnum's keypad being used was replaced with American footage using the red and purple gun. However, the colors of the guns changed from time to time due to the blending in of the B-Fighter footage. Similarly, the American version of the toy was done in red and purple colors instead of the Input Magnum's black and silver coloring. In Metallix, the Input Cardgun colors remained unchanged (grey and black), but the toy line changed the weapons to a white-and-blue color scheme. More violent scenes from B-Fighter were either covered up with large, Batman-esque sound effects or were cut out through comic-book-panel transitions.
Big Bad Beetleborgs and Beetleborgs Metallix ultimately ended because the Saban crew were left with no more Juukou B-Fighter and B-Fighter Kabuto footage to adapt, the show was left on a cliffhanger. Their predecessor, VR Troopers also ended for the same reason.
Read more about this topic: Big Bad Beetleborgs
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“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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