Purple Jacket Productions

Light Warden Cast~

Creating this was more time-consuming so I was worried I’d leave it was a WIP, glad I didn’t :)

So I was originally going to draw a pic about middle school Clark being distracted by his super hearing during a game of kickball. But when I went into PS to make the colors more twilight. I really fell in love with this red background color, which had nothing to do with my setting. So I started with playing around with Clark’s pose which got me to this running one. Then I thought Clark’s face looked just like those panels in shonen manga’s where the protag thinks they won or are safe but then woosh in comes the rival / baddie. 

Original post by @morallygrayautisticscientist here, this post was so funny I decided to draw it lol.

Panel by panel below:

rescuing our brother from his workplace!*

It’s not until he’s heading towards Erid with Rocky, trying to remember more about himself instead of just his parts in the Project, where he starts piecing it together. His whiteboard is a mess of things about the “other me”, because he has no other way to describe it. He’s not a clone, that’d be absurd. But his brain is convinced these memories aren’t quite about him. People don’t see things in the third person, these memories are clearly him looking at another man who isn’t him but has his face. He’s looking at the Polaroid again, now pinned at eye level on the board, and suddenly it hits him that twins are a thing. A thing he had. He had a twin. He was a twin. That was his brother.

His brother, who had long hair the last time he saw him. His brother, who had countless little scars from his years of being a stuntman. His brother, who wore contacts instead of glasses because they got in the way of said stunts. “Makes me look nerdy, that’s your department.” And oh god, he can remember his voice now, so close to his own but so full of … life. He was so full of life and joy, and mischief.

And oh god, his brother, his twin, he was dead wasn’t he? He’d died the day before being put into the coma. He’d been framed for murder, because Ryland knew Colt could never actually murder someone, and had died in that boat explosion while on the run.

Colt. Colton Seavers Grace, though he was never known by their last name like Ryland was. Something about not dragging their mother’s name through the mud with him, since they’d changed to their mother’s maiden name after Court had put their father in the ground.

Courtland. For once, it was an appropriate time to say fuck. Maybe grief could happen twice because Court had been dead for years, ever since 2003, but remembering that felt like he was just learning about it now. Colt was his twin, Court was their older brother. He had had brothers, plural. Two of them.

They had told him he had no family. They told him this because they were all dead.

An important change is the decision to make the character of Nina, the elite student played by Leslie Grace, an Afro-Latina woman. She even refers to herself as a trigueña, which implies this was more than just a random casting choice.

HUDES One thing I’ve learned is if you want to make a nontraditional or strong casting choice, you actually have to write it into the dialogue or else it’s so easy for the production to get away from that. So a word like trigueña gets put in there for that reason. I wanted to consciously make Nina Afro-Latina in this version of “In the Heights.” Since we opened the show on Broadway, this national conversation has happened around microaggressions and really interesting stuff that I feel like would be applicable to Nina’s situation.

Was there a number that any of you felt was a deal-breaker and needed to stay?

HUDES At some point, for various artistic or budget reasons, many of the numbers were up for being potentially cut. You really had to make a strong argument for why the film needed them. Because the piragüero [who sells the Puerto Rican-style shaved-ice dessert] is a peripheral character, at one point the “Piragua” song was up for cutting. I tried to talk to Lin gently about this. He was really heartbroken and I was like, “I have one idea for how the studio would let us keep that song.” So I pitched him on playing [him]. That’s how that one stayed.

Lin, why did you feel that the piragüero was so significant to the story?

MIRANDA That song is maybe the fastest song I ever wrote. Although, I don’t know that I wrote it. I think I just caught it. The metaphor of the entire musical is inside that song. Piragüero is every character in this movie. They’re doing their best against impossible odds. They take a breath, then they keep scraping by. It’s a minute-and-45-second song, but somehow the DNA of the entire show is in that minute and 45 seconds. I was very proud that that kernel got to stay. My performance was a testament to my grandfather. He passed away the week after “In the Heights” opened on Broadway. He’s the one member of my family who did not get to see everything that came after that opening night. So I have his espejuelos [reading glasses] around my neck. I have his [Marcial Lafuente] Estefanía cowboy novels in my pocket. I’m wearing my socks up to my tabs and the same kind of shirt he had to wear. I’m really cosplaying as my abuelo.

Quiara, how did you come into the role of producer and why did you decide to take on that responsibility?

HUDES It was a lot of little things that happened organically. When we went to Warner Bros. and Jon came on board, they weren’t saying, “Where are the pages?” They were saying, “What do the pages mean?” I loved having those conversations and saying, “I don’t want to see stiletto heels on any of the salon workers. They’re women on their feet for eight or nine hours a day. Put them in tennis shoes.” Then Jon started asking me, “What would the food look like?” And I was like, “Can we also talk about the pots?” Then I started talking to the choreographer Chris Scott about the dance casting call. I don’t know much about dance, but I did know that at Abuela’s house and out on the street, you’re going to see elderly people dancing and they are going to be schooling the young’uns. At some point I said, “I want to be a producer on this. I’m not just writing words on a page.”

The choice of shooting on location is really compelling, especially when some locations would have been much easier to conceive on a soundstage. Tell me about shooting in Washington Heights and what that adds to the experience.

MIRANDA On paper it’s risky, right? It’s expensive to shoot in New York. It’s hard to shoot on location. It’s harder to shoot in Washington Heights in the summer when we all live outside for a few months a year. But the advantage is you get a million authenticity checks every day because your neighborhood is rolling up with folding chairs to watch this movie you’re going to make about them. Your characters better be dressed like the folks who are on the side, your food better be right. Everything you’re putting in the frame should be an honest reflection of the surrounding everything that’s outside of the frame. I give Jon so much credit for leaning in and listening and finding these corners of the neighborhood that have additional layers of meaning for those of us like Quiara and myself, who still live in the neighborhood.

The concept of the dream, or sueñito, is different for each character. The musical seems to say that you can attain your aspirations without losing who you are to assimilation. That’s a profound notion for immigrants and their children.