Jibbix
Balloon Traveler
After much Spongebob observing, I decided to observe the styles of each writer and storyboard director on the show. I've started by analyzing each storyboard director. Hope you guys like it! 
It took a lot of effort.
Storyboard Director Analyzation
Luke Brookshier- A fan of very light and visual comedy. In his episodes, he is at his best when the plot is simple and allows for a lot of jokes (Krusty Towers, That Sinking Feeling), but when it gets complex, his episodes suffer a bit (Funny Pants, etc.). In his episodes, Spongebob is very in-character, although his relation with Squidward can sometimes come off as irritating. His relationship with Patrick in Brookshier’s eps is usually played for laughs and sometimes sentimentality, and Patrick in his episodes is usually portrayed as a complete moron or simply a jerk. Brookshier is probably the most Pre-Movie esque writer behind Aaron Springer. His writing style makes him pretty much the Post Movie equivalent of Paul Tibbitt. He frequently uses continuity in his newer episodes. In his tenure on the show, he has paired with the storyboard directors Tom King (Seasons 4-5),
Nate Cash (Season 5-8) and Marc Ceccarelli (Season 8-present).
Nate Cash- He’s gone from the show now, but it’s nice to talk about him anyway. Cash is a big fan of bleaker comedy, with more a more somber tone to his episodes. Paired with Tuck Tucker at first, he was responsible for a few mediocre episodes (Best Day Ever, Waiting) but once he was paired with Luke Brookshier, he became one of the shows best storyboard directors, writing some of the best episodes of the show (Gone, Truth Or Square, To Squarepants Or Not To Squarepants, That Sinking Feeling). Like Brookshier, he generally works better with simple plots. His characters are handled the same way Luke’s are handled, except he exaggerates Spongebob a little more. He left the show during Season 8 to become Adventure Time’s Creative Director.
Marc Ceccarelli- New guy, very new. Fresh off of writing for Phineas And Ferb, the guy was picked up on SB. He replaced Nate Cash after he left, and is Luke Brookshier’s storyboard directing partner. He focuses on silly but light humor, and he uses pain comedy a lot in his episodes. He is very prone for elongated scenes (the Spicy Bubble Scene in Bubble Troubles) and is a big reason why Patrick has regained a bit of intelligence (“Even I knew that was dumb.”-Patrick). He is honestly a big reason as to how the show returned to a more Season 4 esque style.
Casey Alexander and Zeus Cervas/Casey Alexander and Chris Mitchell/Zeus Cervas and Erik Wiese- Doing all these guys in one entry because they are very similar. Honestly, Casey and Zeus wrote better episodes before they were paired with each other. Mitchell and Alexander (Seasons 4-5) used emotions in their episodes (Patrick SmartPants is a great example) and used odd comedy. Randomness was a big feature in their episodes and the pacing was consistently off. Wiese and Cervas were a very good team. They wrote episodes in a very Pre-Movie style (Dunces And Dragons, etc) although they had a few stinkers (All That Glitters). They used a lot of elongated jokes in their episodes (Spongebob’s crying and the “No” gag in “All That Glitters” for example). After Mitchell and Wiese left the show, Cervas and Alexander were paired together.
This resulted in one of the iffiest directing teams in the show’s history. Cervas and Alexander’s first episode was Friend Or Foe, which was an effective mix of their styles. However, from then on, their quality fluxuates drastically with each episode. Despite the fact that, on the surface, they seem to be a light, comedy oriented team, scratch a bit beneath the surface, and the two are actually a bit sadistic and realistic in their writing/direction. There’s not a lot that makes them feel distinct, but sometimes, they are very good directors. Home Sweet Rubble and Bucket Sweet Bucket are perfect examples of their best works. They use gross-out a lot in their episodes. Cervas and Alexander are also frequent users of meta-jokes, wordplay, and they also change Spongebob’s shape in many of their episodes. Mr. Krabs is at his cheapest in many of their episodes, Squidward is at his most irritable, and Spongebob and Patrick are at their dumbest most of the time. They exaggerate a lot. In some cases, it works (No Hat For Pat) and sometimes it doesn’t (The Cent Of Money). They rarely use emotion in their episodes.
Aaron Springer- Hoo boy. Aaron Springer is the only storyboard director to have written/directed an episode in every season since the beginning. He evolved in style from the first season to the third, and became one of the show’s best writers. He storyboarded some parts in the movie, and those were good. After the movie, Aaron’s Season 4 work was pretty good; He wrote one of the series’ best episodes- Where’s Gary. For the rest of his time through Seasons 4-5, as the show began to take a nosedive, Aaron’s episodes stayed fresh among the stinkers. After that, Aaron Springer’s work itself took a giant nosedive.
Before Season 6, Aaron Springer wasn’t very distinctive, aside from the fact that he always had hilarious parts of randomness in his episodes (PatBack, etc). He was also a fan of wordplay (“But the success of the Krusty Krab didn’t just pop overnight! Because the restaurant closes at 8.”, etc.). His directing habits were nowhere near as distinctive as they are now. However, come Season 6, Aaron Springer began to use gross-out comedy in his episodes, include pointless, overlong, and unfunny sequences in them, and he would employ incredibly odd sketches of the characters.
He would draw Spongebob with cheeks when the cheeks were not supposed to be there, as shown in this picture:
)
Springer would also give him incredibly feminine and close together legs as shown in this picture.
)
Springer also overall made Spongebob look a little weirder. He has toned these elements down In his more recent episodes, however. Aaron is at his best when he writes episodes that are montages (Krusty Krab Training Video) or ones that involve character development (Pourous Pockets, Have You Seen This Snail, Something Smells, etc). He has proven to be a good writer, but there is a lot wrong with his style. I’d say that Penny Foolish is where his odd habits came to a head. Spongebob in his episodes is prone to act more feminine or even homosexual at points (“Wow, Squidward, you look beautiful.”). Patrick isn’t stupid as much as he is oblivious in Springer’s episodes. Mr. Krabs is annoyingly cheap in his episodes,, although he can sometimes resemble the old father figure he is supposed to be. He handles Gary episodes rather well. He uses the scientist Sandy a bit too often, but aside from that, he handles her very well. He is also notable for being one of the only storyboard directors to not have a permanent partner.
I am currently analyzing the staff writers and hope to have my thoughts up on them in the coming week. Your thoughts?
It took a lot of effort.Storyboard Director Analyzation
Luke Brookshier- A fan of very light and visual comedy. In his episodes, he is at his best when the plot is simple and allows for a lot of jokes (Krusty Towers, That Sinking Feeling), but when it gets complex, his episodes suffer a bit (Funny Pants, etc.). In his episodes, Spongebob is very in-character, although his relation with Squidward can sometimes come off as irritating. His relationship with Patrick in Brookshier’s eps is usually played for laughs and sometimes sentimentality, and Patrick in his episodes is usually portrayed as a complete moron or simply a jerk. Brookshier is probably the most Pre-Movie esque writer behind Aaron Springer. His writing style makes him pretty much the Post Movie equivalent of Paul Tibbitt. He frequently uses continuity in his newer episodes. In his tenure on the show, he has paired with the storyboard directors Tom King (Seasons 4-5),
Nate Cash (Season 5-8) and Marc Ceccarelli (Season 8-present).
Nate Cash- He’s gone from the show now, but it’s nice to talk about him anyway. Cash is a big fan of bleaker comedy, with more a more somber tone to his episodes. Paired with Tuck Tucker at first, he was responsible for a few mediocre episodes (Best Day Ever, Waiting) but once he was paired with Luke Brookshier, he became one of the shows best storyboard directors, writing some of the best episodes of the show (Gone, Truth Or Square, To Squarepants Or Not To Squarepants, That Sinking Feeling). Like Brookshier, he generally works better with simple plots. His characters are handled the same way Luke’s are handled, except he exaggerates Spongebob a little more. He left the show during Season 8 to become Adventure Time’s Creative Director.
Marc Ceccarelli- New guy, very new. Fresh off of writing for Phineas And Ferb, the guy was picked up on SB. He replaced Nate Cash after he left, and is Luke Brookshier’s storyboard directing partner. He focuses on silly but light humor, and he uses pain comedy a lot in his episodes. He is very prone for elongated scenes (the Spicy Bubble Scene in Bubble Troubles) and is a big reason why Patrick has regained a bit of intelligence (“Even I knew that was dumb.”-Patrick). He is honestly a big reason as to how the show returned to a more Season 4 esque style.
Casey Alexander and Zeus Cervas/Casey Alexander and Chris Mitchell/Zeus Cervas and Erik Wiese- Doing all these guys in one entry because they are very similar. Honestly, Casey and Zeus wrote better episodes before they were paired with each other. Mitchell and Alexander (Seasons 4-5) used emotions in their episodes (Patrick SmartPants is a great example) and used odd comedy. Randomness was a big feature in their episodes and the pacing was consistently off. Wiese and Cervas were a very good team. They wrote episodes in a very Pre-Movie style (Dunces And Dragons, etc) although they had a few stinkers (All That Glitters). They used a lot of elongated jokes in their episodes (Spongebob’s crying and the “No” gag in “All That Glitters” for example). After Mitchell and Wiese left the show, Cervas and Alexander were paired together.
This resulted in one of the iffiest directing teams in the show’s history. Cervas and Alexander’s first episode was Friend Or Foe, which was an effective mix of their styles. However, from then on, their quality fluxuates drastically with each episode. Despite the fact that, on the surface, they seem to be a light, comedy oriented team, scratch a bit beneath the surface, and the two are actually a bit sadistic and realistic in their writing/direction. There’s not a lot that makes them feel distinct, but sometimes, they are very good directors. Home Sweet Rubble and Bucket Sweet Bucket are perfect examples of their best works. They use gross-out a lot in their episodes. Cervas and Alexander are also frequent users of meta-jokes, wordplay, and they also change Spongebob’s shape in many of their episodes. Mr. Krabs is at his cheapest in many of their episodes, Squidward is at his most irritable, and Spongebob and Patrick are at their dumbest most of the time. They exaggerate a lot. In some cases, it works (No Hat For Pat) and sometimes it doesn’t (The Cent Of Money). They rarely use emotion in their episodes.
Aaron Springer- Hoo boy. Aaron Springer is the only storyboard director to have written/directed an episode in every season since the beginning. He evolved in style from the first season to the third, and became one of the show’s best writers. He storyboarded some parts in the movie, and those were good. After the movie, Aaron’s Season 4 work was pretty good; He wrote one of the series’ best episodes- Where’s Gary. For the rest of his time through Seasons 4-5, as the show began to take a nosedive, Aaron’s episodes stayed fresh among the stinkers. After that, Aaron Springer’s work itself took a giant nosedive.
Before Season 6, Aaron Springer wasn’t very distinctive, aside from the fact that he always had hilarious parts of randomness in his episodes (PatBack, etc). He was also a fan of wordplay (“But the success of the Krusty Krab didn’t just pop overnight! Because the restaurant closes at 8.”, etc.). His directing habits were nowhere near as distinctive as they are now. However, come Season 6, Aaron Springer began to use gross-out comedy in his episodes, include pointless, overlong, and unfunny sequences in them, and he would employ incredibly odd sketches of the characters.
He would draw Spongebob with cheeks when the cheeks were not supposed to be there, as shown in this picture:
)
Springer would also give him incredibly feminine and close together legs as shown in this picture.
)
Springer also overall made Spongebob look a little weirder. He has toned these elements down In his more recent episodes, however. Aaron is at his best when he writes episodes that are montages (Krusty Krab Training Video) or ones that involve character development (Pourous Pockets, Have You Seen This Snail, Something Smells, etc). He has proven to be a good writer, but there is a lot wrong with his style. I’d say that Penny Foolish is where his odd habits came to a head. Spongebob in his episodes is prone to act more feminine or even homosexual at points (“Wow, Squidward, you look beautiful.”). Patrick isn’t stupid as much as he is oblivious in Springer’s episodes. Mr. Krabs is annoyingly cheap in his episodes,, although he can sometimes resemble the old father figure he is supposed to be. He handles Gary episodes rather well. He uses the scientist Sandy a bit too often, but aside from that, he handles her very well. He is also notable for being one of the only storyboard directors to not have a permanent partner.
I am currently analyzing the staff writers and hope to have my thoughts up on them in the coming week. Your thoughts?
