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Vanya survives, but she suffers brain damage. The moon still shatters, but Klaus uses telekinesis to stop the pieces from hitting the Earth. Klaus pretends to be their father and belittles Vanya, and while she’s distracted, Five shoots Vanya in the back of the head, saying he never liked her. Allison’s throat is slashed at Icarus Theater, so her and Luther leave the scene. The original ending is pretty heartless, actually. Appearing only in volume two, they never take off their masks, and turn only on the organization when they realize sanctioned kills don’t satisfy their need for carnage. They don’t have workplace malaise or a longing for romance instead, they’re bloodthirsty and unhinged. The two time-traveling assassins in the comics are not even remotely as likable as their show counterparts. ( The Incredibles’ Syndrome-esque Leonard, who insinuates himself into Vanya’s life, is entirely a show invention.) She’s also sexualized more in the comics and as White Violin, her body itself becomes the weapon, and she lacks the agency found in the show. In the comics she turns on her family almost on a whim, and is dissected and remade by an evil orchestra led by a creature named The Conductor. Vanya’s transformation in the show is heartbreaking, a build-up from a lifetime of resentment. Vanya is the biggest departure from the comic book, and as the bringer of the apocalypse, thankfully so. There’s also sadly no hint of how he died, other than Allison saying that some of the siblings blame Luther for what happened. Ben (The Horror)ĭescribed as naive and approval-seeking, he never appears in the comics as an adult the way he does alongside Klaus in the show. Five (The Boy)įive in the show is surprisingly as cranky, detached, and ruthless as his comics counterpart. Unlike the comics, the show is also very clear that Klaus is not straight, and his love is integral to his growth.
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He overcomes his drug addiction to finally harness a portion of his powers in the finale in the comics his arc is sadly reversed. Klaus is much more broken in the show, but his arc is a positive one. He’s overpowered to the point of being a deus ex machina, with the ability to fly, control objects, and summon the dead. In the source material, he’s unapologetically gothic and snarky. One can only hope season two will paint her as a more complex person. She’s remorseful about ever using her powers, and her love for Vanya feels more sincere. In the show, Allison is softer and sadder. It’s hard to read her relationship with Vanya, but it’s hinted at as catty and contentious, with both seeing each other as competition for the limelight. She’s unashamed about her manipulation powers, and even uses them to get a kiss from Luther (which is strangely portrayed as romantic rather than violating).
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She’s described as vain, the sort of femme fatale of the group when her vocal chords are slashed, Grace assures her she’s still pretty. Allison (The Rumor)Īllison is less character-developed than her siblings in the show, but is even more thinly drawn in the comics. His tough guy act from the comics is complicated when it’s revealed he also struggles with a stutter and a fear of needles. In the show, Diego’s love for the women in his life is more crucial to his character (though frustratingly, Diego’s journey towards realizing vengeance is folly involves not one but two fridgings).
#UMBRELLA ACADEMY COMIC PATCH#
His character is toxically masculine: he treats Vanya cruelly despite being in love with her, and at Hargreeves’ funeral he tears off Grace’s clothes to reveal their father “left them with a piece of plastic for a mother.” Detective Patch doesn’t exist to positively influence him instead it’s Inspector Lupo, a cranky old man who Diego is most definitely not in love with. In the comics, Diego’s main power is that he can hold his breath for a long time underwater. In the show, Luther’s body is a point of deep shame that he keeps meticulously covered, and he appears uncomfortable-hilariously inept, even-in his role as team leader.