Screenplay by Steve Melching.
A Druff is Enough can only be described as being like the Star Trek episode The Trouble with Tribbles, only with Hulk and the Agents of S.M.A.S.H.. The one who brings the Druff aboard is A-Bomb, and honestly, he can’t be blamed for that. A Druff is animated in just the right way that everything that makes it appealing within the show comes across perfectly, and creating that realism is an artistic achievement. The Druff’s purpose in the story, if the audience are to invest, requires it to be animated in a very technical and precise way, in order to trigger the same reaction for anyone. But animating itself can easily fail to do that, which is why the Druff appeals to the most common emotion points for all people: the big eyes, the perfectly-trimmed fur and the the cooing sound it makes. It’s like an owl, but awake in the daytime and with the kind of intelligent not immediately apparent in an owl. The plot’s driven by the Druffs’ presence on the ship, and that means the audience has to feel as if they’d have also brought it along. While I can’t speak for anyone else, I know I did.
Hulk and the Agents of S.M.A.S.H. airs on Disney XD, but there’s a misconception that says audience is determined by channel, whereas broadcasters really know that all they have to do is broadcast quality and anyone will watch. Target audiences are actually detrimental to art, and this episode proves why: it shows that art is able to appeal to a kind of person within people, rather than a group-focused demographic. Plus, they’re Hulks. So that contrasts with it enough to balance out the tone.
Hulk and the Agents of S.M.A.S.H.: a Druff is Enough — artistic potential through common appeal 7/10.