How did the puppet styles of wayang Djawa, wayang Melayu, and wayang Siam differ in Malaysia?

In Malaysia, the three primary forms of shadow puppetry—wayang Djawa, wayang Melayu, and wayang Siam—are distinguished by their design, origins, and cultural influences.1

• Wayang Djawa: These puppets are identical to those found in Javanese wayang kulit, characterized by a highly stylized appearance, long noses, and two movable arms.1
• Wayang Melayu: These puppets feature only a single movable arm. They are considered less sophisticated in design than the Javanese form, suggesting they may either be a simplified, later development or a descendant of older Javanese puppets that predated the two-arm design.1
• Wayang Siam: Despite the name "Siamese," these puppets represent a Thai conception of characters from the Ramayana. Their costumes, headdresses, ornamentation, and facial features are modeled after the Thai khon tradition. While they are manipulated by a single seated puppeteer, the plays incorporate both Islamic and Thai elements, and the chief clown figure, Pak Dogol, is believed to be a distinct Malay creation that replaced the Javanese clown Semar.1

Performances may integrate these styles, accompanied by either gamelan or Thai musical instruments.1