We only appealed to the creative license whenever we encountered absolutely no reference from the archives or the internet, and in such cases, our thought process was, “Okay, how would they have designed this type of character back in the day?” which of course proved problematic for the character of “Pops Julian,” Donn’s loyal and most skilled bartender who was of Filipino origin. Co-directors Alex and Max really wanted to steer away from anything in his design that could be considered racist, which was particularly difficult because the time period for the animation (especially the 1930s and 40s) was filled with all kinds of negative depictions. In the end, I think we did a good job creating an appealing design without compromising the cheeky authenticity of the rubber-hose era.