#bruce straightman

[mamawasatesttube]

tired: the bats are so weird and creepy and everyone else is always so normal compared to them!

wired: impulse started fidgeting so hard he just started vibrating and clipped halfway through the floor and part of helen's foot before he realized what he was doing. this is just a normal tuesday

inspired: superman, superboy, and supergirl are sitting together in midair having a mild-mannered midwestern discussion as to which of their nonpowered combatant friends has the most fucked-up looking bones. several of said friends are in the room and really wish they wouldn't do this

[danothan]

my friend made an autism chart, so i went ahead and put my autistic blorbos on there to satisfy my autistic categorizing needs

fits like a charm <3

[starry-bi-sky]

*points at bruce and danny in 'late at night when the nightingale sings'* THESE TWO MFERS MEAN SO MUCH TO MEEEE

no thoughts head empty just these two socially inept fools finding family in one another. like yes you go you funky little death omens stole that one from a comment on the fic, so if you see this you know who you are, discover that family isn't only tied in blood.

bUT onto less mushy stuff: these two being shenaniganizers; tomfools. Bruce realized that Danny didn't actually know he was Bruce Wayne and instead of going "oh actually im bruce wayne" he went; "hrm... how long can i keep this going until he realizes...."

like. i think they deserve to be the sillies. just utter goobers the both of them. like, danny makes the wittiest side comments, dry quips, under his breath towards Bruce while they're out in public (Danny covering his face with a face mask) and Bruce is trying not to laugh. Meanwhile if Bruce makes one sly comment about someone to Danny, Danny's gonna collapse with laughter.

Bruce plays straightman in most of their bits, he has the best fucking poker face. But also I firmly believe he does actually enjoy Danny's puns. Look me in the eyes- look me in the eyes. Try and tell me that a man that willingly agrees to call a car "the batmobile" even after his eight year old ward grows up (thus negating the need to go along with his antics) doesn't enjoy a good, well-placed pun. Look me in the eyes and try to tell me that. That's right you can't.

He's gonna spit out a well-placed pun in the driest, most boring Batman Voice Ever one day while he's getting ready for patrol, and Danny's gonna fucking die of laughter. He's gonna lose his mind. Bruce is going to have a half-dead sickly teenager laughing his lungs out in the chair. That's a new core memory right there, every time Danny thinks about that he's gonna start giggling.

just!!! these two making each other laugh! That's so important to me. So so much. I nEED Danny to get Bruce to smile and laugh and I need Bruce to make Danny do the same. Danny's all snark and sass and Bruce is all deadpan and dry quips. Do you all see my vision.

[maxwell-grant]

I think it’s interesting, considering how most live-action superhero adaptations kill off the villains after their debut, that both The Batman and The Penguin end with the villains not just living, but set up to return and somehow cause Even Bigger Problems down the line. Is this just because it’s the first Batman film adaptation that’s a capital-F Franchise, so the writers need the villains to stick around long-term, or is something else going on?

Almost entirely comes down to the fact that The Batman was not meant to be Batman's origin story - by Reeves' own admission, it was the origin story of the Rogues Gallery. They got the Cloverfield and Dawn of the Planet of the Apes guy and he did a story about the boots-on-the-ground gritty perspective on larger-than-life terrors emerging from the ruins and failings of human civilization, taking the struggles and wars and laborious processes that others shy away from and putting them front in center. It's just this time, instead of kaijus and parasites attacking and destroying the city, instead of apes emerging as the Mad Max warlords rising from the ashes to fight over the world, we have Batman villains in that role instead.

To me, that was actually the conception - if we weren't going to do a Batman origin story, but we were going to do it in the early years, I thought well, in the comics, the rogues gallery characters often are creating their alter egos in response to the fact that a masked vigilante shows up in Gotham called the Batman.

And so I thought, oh well, what we could do is see all of the rogue's gallery characters in their origins, like Selina Kyle before she's Catwoman, and that we could go into, as we're looking for a suspect, we could go to a nightclub, a nightclub could be the Iceberg Lounge and we could see a pre-kingpin Oz, and we could see, you know, a Riddler who is declaring himself the Riddler sort of because there's a Batman. And so all of that was sort of built into the conception. - Matt Reeves

It's far from the first Batman film adaptation to be a capital-F Franchise, even if that aspect was there - Reeves initially pitched the movie as an HBO series, and throughout production pitched additional show ideas such as an Arkham show or a Gotham PD show, The Penguin being the only one that survived as far as we know. This pulls off an origin from the Rogues Gallery better than every other Batman media ever made, and there's a couple of reasons why it does so and why the villains get to take center stage here:

Part of the difference between the way Nolan tackled realistic Batman, and the way Reeves tackles realistic Batman, is that Nolan needs realism to explain Batman, and Reeves needs realism entirely in the service of making Batman weirder. Pattison Batman is the weirdest Bruce ever put on film almost entirely because he lives in our world while still being Batman in every way that counts - Keaton Bats slept upside down in a cave, but he lived in a Tim Burton world. Adam West Bats is weird, but everybody is like that or even weirder than he is, he is the comedic straightman to everyone else. And where as Nolan needs Batman to be the thing that makes sense, Reeves needs Batman to be the thing that doesn’t make sense.

Nolan wanted weird difficult irreducible villains opposite a logical pragmatically sensible Batman, and Reeves wants exactly the opposite. For Nolan, even besides the Joker who was defined entirely around the lack of a real explanation for him, you have his take on Two-Face, Bane, the Al Ghuls, characters that don't demand that much reasoning or explanation because they can act and exist in ways that defy logic, while Batman's the guy who has to hold the center of logic and reason. Where as here, Pattison Batman is the most interesting and complicated and larger-than-life figure this world is dealing with in much the same way that Ledger Joker was for his movie, and everyone else is in the position of starting out and having to deal with Batman and the paradigm shift he brings - nobody else in the movie is quite the character they were supposed to be, that's something they're all growing into in response to their nightmare city and what this titanic freak in armor represents to them.

Even The Riddler is ultimately explainable, human, reducible to his tantrums and vulnerabilities, even without you knowing in-depth his character and backstory that would be elaborated for Dano's Year One. Even The Penguin - he may be larger-than-life, he may be unexplainable on some level, but we know all too well all of his failings and feelings and life story and all the cracks in his persona that he killed Victor to try and bury. But Batman? Next to everyone else, he is still an anomaly, he is just Like That, even to his own detriment and that of the city, and he learns that he must apply being Like That to something better.

Reeves is not interested in doing "Batman vs [X]" movies, the movies are going to be focused on Batman's arc first and foremost, which means the villains will never really take them over the way they've usually done - this is a world where it's the villains who react to Batman, not the other way around. This frees them from the burden of having to exist in direct relation to how much they can directly menace Batman, and it makes it so that these are characters that can carry their own spin-offs, which is probably a lot easier for WB to work with because these are spin-offs that they don't really have to get Pattison to show up for, but they can construct in ways that don't even need Batman to be physically there. Even after The Penguin, they might not have to do that Smallville/Gotham song-and-dance of teasing a main character who'll never get to be here, there are a lot of other things happening in Reeves' Gotham besides the existence of Batman, even if the existence of Batman has changed all of them. So structurally speaking this series has a ton of room for reocurring villains, and building it has been one of their top priorities. In fact, this ONLY gets to do so because the movie already laid out the entire groundwork for them and how it all ties together.

See, the way Batman stories do the rise of a Rogues Gallery and how it affects the city and therefore Batman always follows a sort of a 7-step program:

Gotham City is ruled by crime, crime that takes away the Waynes (Falcone / Carl Grissom (89) / Falcone backed by the League (Nolan) / the Falcone-Hill-Wayne triumvirate (Telltale) / Gotham S1 and first-half of S2)

Crime begats Batman, who beats Crime

Crime + Batman = Weird Crime (Jack Napier becomes Joker after an encounter with Batman (89) / "we still haven't picked up Crane and those other Arkham inmates btw check out this weird card" (Nolan) / Black Mask and the international assassins + Joker's rise (Arkham) / Children of Arkham (Telltale) / the Indian Hill experiments and patients (Gotham)

Weird Crime Replaces Crime (The Long Halloween / Joker takes over the mob (89) / the mob is so impressed by the pencil trick they give Joker all the money (Nolan) / Joker literally replaces Black Mask in the process of becoming Batman's main enemy (Arkham) / Penguin assassinates Mayor Hill and the Children enter a war with Mayor Dent (Telltale) / Indian Hill breakout and Maniax cult and etc (Gotham)

Weird Crime is a Rogues Gallery now (Penguin and Catwoman and Max Shreck in the sequel (Burton) / Joker and Two-Face become separate problems, Bane + Talia + Crane + Catwoman in the sequel (Nolan) / after Origins a whole asylum full of them (Arkham) / Riddler + The Pact and John becoming Joker proper (Telltale) / Gotham S3 with Tetch and Riddler and the Legion of Horribles

The city is changed by the new paradigm

Batman responds / expands or retracts in response to this change

(4 and 5 don't necessarily always happen one before the other, mind you, frequently you do have a Weird Crime Rogues Gallery before Weird Crime replaces Crime at the head of the table)

And you can apply this to most other Batman stories that don't automatically start and stay at level 5. But where as all of these have to stretch the process across sequels and continuations, The Batman is the first Batman work that gets to do all 7 of them in one row. It gets 1 and 2 done offscreen before the opening act and shown to us how they happened throughout the movie's reveals, 3-4-5-6 comprise the Riddler's plot + the other United Underworld members roped into it, and it ends with 7. Even the Batmanless spin-offs follow the process: The Riddler: Year One covers Eddie's perspective on 1-2 as he enters stage 3 and prepares it for the movie, and The Penguin covers 4-5-6, leaving us waiting for Bruce's response back to stage 7 where The Batman ended.

And up until The Batman, the process behind the creation of a Rogues Gallery had never really been much of a process - comics that go into the transition like Long Halloween/Dark Victory just show the fall of Carmine Falcone -> the freaks waiting in the wings causing it or happening immediately after. Gotham tries to work that escalation gradually and it starts relatively "normal", but it's always dancing around the premise and the central black hole and the building blocks don't have anything to do with each other - the gang wars and Penguin have nothing to do with Bruce investigating a conspiracy, which has little to do with Gordon and Bullock investigating weird serial killers who keep escalating, and then eventually we get that Hugo Strange was building freaks in his basement at the orders of the Court/Ra's the whole time until they all just escape. You can piece together how Batman works that aren't about this transition ultimately touch on most of those 7 stages and have their own version of it as soon as they introduce Gotham City in a pre-Batman/pre-villain state, but the connections are always rather tenuous and not necessarily connected to each other (and it's fine, y'know, not everything in a story always has to come from the same source).

But everything in The Batman follows a long chain of dominos that had to happen for this system to become the way it needs to be for Batman villains to emerge. Everything started in that one night Thomas Waynes saved Carmine Falcone, everything started from that ensuing connection and Thomas' failures leading to a city ruled by mobsters for 20 years and the sheer level of rot and corruption and human misery that creates and justifies the existence of Batman, and thus The Riddler in his example. Everything we get in The Penguin is the result of this paradigm shift and total civic collapse, showing the destruction of Carmine's empire as well as his legacies torched and mutated by Sofia and Oz respectively. Everything is still connected. The United Underworld guys featured in the movie live and dwell in entirely separate spaces and represent entirely different things, and they're still all connected in the same chain of dominoes, which allows them to expand and cover entirely separate narrative real estate while still giving it all cohesion.

The movie never has to specifically establish a system full of supervillains or made for them, it has to establish a system so utterly fucked and dominated by Falcone, so utterly failed by every institution and body of government and system imaginable, that it creates Batman, and the minute Batman arrives and survives long enough to be a third power / a fifth state, people in his wake trying to respond to him or do the same things he does, as a response to the same afflictions he faced and to his example or influence, are the only logical thing. Without needing to literally show the other rogues waiting in the wings, The Batman established an entire world of possibility just by very smartly using the 4 big ones + Carmine and showing why and how this regular American city becomes a place where supervillains bombing city blocks and running for political office can become a facet of daily life. Joker, Penguin, Catwoman and Riddler - positioned as separate from each other as possible to show the ways in which this is, and maybe always has been, spreading fast out of Batman's control.

And now with The Penguin, reinforcing the chokehold of crime in the city in it's old ways as well as the corrupt mutated new ones brought on by our boy, as well as a new Batman Villain (possibly two, if Eve Karlo ever gets her hands on suspicious make-up) arriving from Penguin's side of things so that it's not just Batman who has a Rogues Gallery to deal with, not just Batman who has terrific enemies waiting in the wings for a chance to enact their own forms of justice and revenge, no, that's just what life is like in Gotham now, forever.

[msfcatlover]

The Public Personas I think each Wayne Kid would get in the Reverse Robins verse

Duke: The easy-going, down-to-earth, reasonable one. Or, perhaps more accurately, the straightman to Bruce’s comedian. Duke’s fond exasperation & surprisingly grown-up attitude as a child made for an excellent counter to Brucie’s bombastic antics, and had plenty of people joking that Duke was the actual parent between the two of them. Seeing the two of them at work is seeing a decade-perfected comedy tag-team in action, and it is a beautiful thing. As Duke grew up, his reputation shifted to being the Chillest Dude (gender neutral) in any given room, and he mastered the sort of subtle, charismatic warmth that makes everyone feel like they’re your best friend. Duke’s one of those celebrities you just want to crack a beer open with and chat about your day, because they seem like they’d be fun to hang out with, y’know? (Which also helps separate him from his hero identities. Duke Thomas? Dress up like a cross between a motorcycle racer & medieval knight in order to speed around downtown, jump off bridges & skyscrapers, and kick the Joker in the face on a biweekly basis? Are you fucking high?)

Damian: Starts out as the acerbic, hotheaded brat. Grows up into Gotham’s favorite Bad Boy With A Heart Of Gold, thanks to both his maintained public attitude & work with helping animals around the world, even after he mostly moves to Bludhaven. (Yes, he rides a motorcycle, wears mostly leather, and has just so many piercings. Most of the piercings are fake, so that they can’t be grabbed in fights; the real ones he almost exclusively wears small studs in. They all come out in preparation for patrol.)

Cassandra: The Ice Queen, so cool & confident that some people genuinely think the family is lying about her selective mutism and it’s just a front so she has an excuse to ignore people. (She is deeply offended by this.) Zero tolerance for bullshit, cutting edge fashionista, single handedly got ASL added as a language course to every school in Gotham, and got plenty of rich jerks to learn if only to know what she was gossiping about with her siblings when they kept glancing over and laughing at everyone else. Universally assumed to be the one who'll take over WE when Bruce retires, despite her complete lack of interest.

Steph: The Wild Child, the only one to follow in Brucie’s footsteps. This was not the persona she wanted but in her society debut gala, something came up and Duke needed a distraction so he could go deal with it. Steph set her shoulders, grabbed a bottle off the snack table behind them, and said, “You got it.” First impressions are everything, and she never could shake that one… not helped by the fact that sometimes, an empty-headed party girl was exactly what they needed to gather information, and Steph had both the reputation to play the part & clout to get wherever she wanted once Bruce fostered her. (After her death, people call it a “downward spiral.” Others counter this with a clip from an interview she gave earlier that year, where Stephanie Brown talked about her hard work in school & the community, and her frustration over her reputation. “Of course it bothers me,” she said, “It bothers me that what I’m wearing matters more than the causes I promote. It bothers me that a few sips of wine outweigh organizing an entire event. It bothers me that flirting with people my own age upsets people more than a fucking shooting in downtown Gotham!” She laughed bitterly. “Is it the hair? Should I dye it? Would that make people take me more seriously?” She turned to look directly into the camera, tears shining in her eyes. “I’m—I’m sixteen. What do you want from me?”)

Tim: Tim starts out as the resident Cool Nerd. He’s friendly, he’s chill, he likes skateboarding & computer games—and also, he GMs on the weekends, he likes to solve math puzzles & write his own algorithms, he knows more about the history of sci-fi than any human has right to. Tim’s the kind of nerd who makes his nerdy hobbies seem cool by association. (Still figuring the rest out, honestly. Since he’s Oracle in this verse, part of me feels like he’d stay out of the public eye more? But another part of me says Tim would make his public persona as loud as possible, so that people think of him beyond his injury. “Bruce Wayne’s Paraplegic Son” is not an identity Tim would ever be okay letting people define him by, I think. I know he does a lot of charity work, and is more open to talking about his challenges than Cass is, in a very “if I tell you upfront, you can’t use it against me (also, maybe someone else needs to hear this)” kinda way. I know he’s still involved in the business world to some degree. I’m just having trouble pinning down how Tim would characterize Timothy Drake-Wayne [post-injury] to the public.)

Jason: Jason is kinda the inverse of Damian, being soft-spoken & seemingly shy until you bring up a cause he cares passionately about. He's very protective of his siblings, and is responsible for about 80% of the "Wayne Kids Spotted! You Won't Believe These Adorable Pictures!" tabloid headlines (Cass & Damian dote on Jason, those candids being one of the only times people get pictures of their "soft sides." Jason also volunteers to help Duke & Tim out a lot, and is often seen trailing after them trying to look professional.) Every woman over 30 in Gotham just wants to pinch his pudgy little cheeks, at least until Jason hits his last growth spurt and comes back from a year abroad looking like an absolute hunk. But still just as humble, just as polite, and just as passionate about helping others. Isn't he just a Big Ol' Marshmallow? (Jason maintains this reputation mainly by biting his tongue & constantly reminding himself if he can't think of anything nice to say, don't say anything at all. After every single interview or public event, you can find him down in the cave, ranting to himself about everything that pissed him off and taking it out on the poor training dummies.)

Dick: Started out very surly & private, but all his siblings defended that the poor boy had gone through so much trauma in under a year (losing his parents, being taken from the family he grew up with, and then losing Bruce just a few months later,) that it was only to be expected. They worked hard to keep him protected from the public eye while he was grieving. When little Richie finally made his public debut, Gotham was delighted to discover an energetic Sunshine Child, who wasn't exactly a great listener & was more than a bit of a showoff, but gosh darn if he wasn't the cutest thing anyone had seen in years. (Dick keeps up the shallow-but-cheerful Sunshine act all the way into his adult life, coming the closest out of any of them to having a true Brucie persona as an adult.)

[fox76543219]

Family Guy

Family Guy is facing big major changes in late spring of 2024 as it will focus more on Family.

14 main characters of Family Guy

Stewie Griffin

Brian Griffin

Meg Griffin

Chris Griffin

Peter Griffin

Lois Griffin

Olivia Fuller

Jillian Russell

Cleveland Brown

Quagmire Glenn

Joe Swanson

Patty Patterson

Ruth Rutherford

Esther Esthederm

6 Major characters of Family Guy

Neil Goldman

Bonnie Swanson

Loretta Brown

Angela Everwood

Tom Tucker

Diane Simmons

4 minor characters include

Connie D'amico

Principal Shepherd

Carter Pewterschmidt

Babs Pewterschmidt

4 Recurring Characters include

Bruce Straightman

Dr. Hartman

Judge Blackman

Mort Goldman

Family Guy will have more laughs with the griffin family and their friends. Family Guy is about to be rewritten from Family Guy seasons 1-23 and beyond. Stewie and Olivia as a couple going on adventures with Brian and Jillian who are also a couple. Peter going on adventures with Joe, Quagmire and Cleveland and hanging out the clam. Lois having conversations with Loretta and Bonnie. Meg going on adventures with her friends Patty, Ruth and Esther. Chris being and outcast.

[fox76542]

Family Guy

Family Guy is facing big major changes in late spring of 2024 as it will focus more on Family.

14 main characters of Family Guy

Stewie Griffin

Brian Griffin

Meg Griffin

Chris Griffin

Peter Griffin

Lois Griffin

Olivia Fuller

Jillian Russell

Cleveland Brown

Quagmire Glenn

Joe Swanson

Patty Patterson

Ruth Rutherford

Esther Esthederm

8 minor characters include

Neil Goldman

Bonnie Swanson

Connie D'amico

Principal Shepherd

Tom Tucker

Diane Simmons

Carter Pewterschmidt

Babs Pewterschmidt

2 Recurring Characters include

Bruce Straightman

Dr. Hartman

Family Guy will have more laughs with the griffin family and their friends. Family Guy is about to be rewritten from Family Guy seasons 1-23 and beyond. Stewie and Olivia as a couple going on adventures with Brian and Jillian who are also a couple. Peter going on adventures with Joe, Quagmire and Cleveland and hanging out the clam. Meg going on adventures with her friends Patty, Ruth and Esther. Chris being and outcast.

[zzapzzaptasers-a]

what are you favorite ships in the mcu for darcy?

here we go

I used to really like Darcy/Loki but I’ve grown out of outside of my ship with @kneeltoyourking Over the years, I have liked (outside of RP, where I like almost anything if there’s enough chemistry):

Pepper (this is like my ultimate rarepair. I call it Pepcy) Natasha Carol Hope Jane Fandral Bruce and Hulk Tony Frank Triple Agent AU MCU Broc.k Rum.low (ONLY MCU, only in this popular AU) Logan (but only before I started shipping Darcy with...) Da.ken 616 Pi.etro Coul.son 616 Peter Bucky Venom (independent of any host because ya’ll know i love them fuckin monsters) Thor Doc Strange Doom Wade/Wanda Remy BET.A RA/Y B.ILL

In general, I like her most often with older men and women, and typically with grumpier people to play her “straightman” as it were (though not always). Also, if you rp any of these characters and like... don’t ship it, that’s cool too! Just because I’ve enjoyed fanfic or fanart or meta/headcanons doesn’t mean I’m secretly yearning for a ship ...unless, you know, you wanna :P

--I’m kidding.

mostly.

[mithrils-hanger]

Joker has never been the butt of a joke before. no one ever dared before. and Bruce didn’t have much of a sense of humor. Bruce was the ultimate straightman.

[oscaronthegloryroad]

The Avengers as a mid 90′s sitcom:

Nick Fury as the put upon father figure/straightman who owns the house they all live in and can’t kick them out because he made a promise (and also he loves them). Tony Stark is the relatable drunk uncle (drunkle) who is somehow rich, has now idea how to handle money or himself. tries to be helpful. Steve Rodgers and Bucky Barnes are the best friends/ambiguously-gay-couple that share a room and are almost never seen apart from each other. Steve is still a 20 something year old guy from the 1940′s and Bucky is still hyucking terrifying. Dr. Bruce Banner is the weird genius who lives in the basement and awkwardly fixes everything. Major plot point in at least one episode would be that he can’t drive and hasn’t actually been outside the house apart from the yard in like ten years. The Falcon is an ex-cop EMT that is the only one actually related to Nick Fury, strictly by the book, no frills, efficiency. Total stick in the mud. Natasha Romanoff is only there every once in a while, always has money, travel a lot, and nobody has any clue what her job is. Captain Marvel actually lives with her wife next door, but she is always over hanging out so she might as well be part of the family. Tony jokes that she is Nick’s favourite kid. Peter Parker and Miles Morales are supposed to be away at college, but they are home so often that it hardly seems like they are. they are practical jokers who look up to Steve and the Falcon. Always in trouble.

The agent’s of SHIELD occasionally pop in to cause trouble, but its just a normal hijinks sitcom.

[maneaterwithtail]

Fangbone from page to screen

I am hoping to start SOME discussion of this series that I think earns its place on Disney XD and should gain some in fans of work like Star vs. the Forces of Evil, Steven Universe, and other’s hearts.  At the least with their hiatusi between LOOOOOOOOOOOONG bouts of new episodes

I just hoped with all the artist and analyzers on Tumblr SOMEONE could share their assessment on the animation style and quality and changes from one medium to another.

Originally a small set of three comics Fangbone! Third Grade Barbarian has a... well 

Not sure what to call it.  Its effective but feels like something I associate with Captain Underpants, Diary of a Wimpy Kid or the comicstrip Gene Yang did for the new yorker.  I feels newspaper, to me.

Each character got a slight redesign AND some adaptations.  The most subtle and profound is to the title character.  Before he was ..calling him mature or stoic is wrong.  but it feels they switched things up.  

It’s the subtle things and mostly comes off in motion.  Animated Fangbone is more manic as to serious and then wacky.  He is, more often than not, the straightman and naive but in different way.  I can’t put it into words

And this isn’t a complaint.  I am more frustrated I can’t pick out what teeny things went into fleshing him out while making him alike yet different.

With the secondary cast this is much easier

I think the biggest surprise that made sense of the spliting and mixing of Axebear with (can’t remember his name and don’t have volume one with me) the “Smelliest” his design, kind of, got merged with comic Axebear, a more generic bearded old guy barbarian type.  his tendency to nonsequiters and grossness seems to have gone to the Wizard to make the Great Wizard Twinklestick who who wears the slain unicorn head and “devourer of the eternal dragon sausage.

Many had race-lifts and their one or two quirks pulled out or played with.  Almost always naked kid didn’t seem to ALWAYS be naked.  Dibby WAS robot imitator in comics AND cartoon but the glitter girl wasn’t asian and didn’t seem as friendly with the bully girl.  Who was originally black.  Miss G got a subtle redesign.. I don’t know made her seem, to me, less pleasant not unpleasant...

Principal Bruce went from looking like a football player or someone with a buzz cut to an overly gregarious poindexter ...just felt odd to change

So anyone inspired to help me pick apart the dark art of adaptation and design?

What additions or fleshing out in the presentation of magic and Skullbania worked most?  The Shadowsteppers or Twinklestick?