"The comic company that dethroned the giants," read Stan Lee in his workspace. The early downfall of Marvel began with a published ad and Ronald Perleman's upcoming strategy to invest in toys and new comic series.
It wasn't just him; many people present began to read the front page of The New York Times, with a photo of all the animated series from Lux Animation. The poster was simply a creative marvel that continued to cause a stir in the entertainment world.
"The comic company that dethroned the giants,"
"Since 1900, no comic companies have caused such a sensation. The wonderful new series is cementing themselves in the hearts of Americans. Why did we never make a basketball series? Because only superheroes. Since 1989, when Lux Comics was founded, it marks the beginning of a new era of comics, the Renaissance era. A different graphic culture has been generated, with beloved characters, impressive stories, struggles, sadness, tears... I'm still reeling from all the ideas and comings and goings of Lux Animation's comics. Its creator is none other than a young man from the city of San Jose. At just 10 years old, his more childish publications are starting to redefine his personal growth. Take a look at the images, from the best drawings to the animated quality, the American spirit of embarking on a new image that was forgotten.
From the birth of Superman, the Golden Age of comics, the founding of Hanna-Barbera, and the great Disney films, they all have one important thing in common: they are pioneers of their creation. Impressive, isn't it? Are we witnessing a new animated era that will call to the faculties of art? Children are dreaming of comics again, adults are reading the issues again, and sales are only growing for the blessed comic company. Our records in collaboration with the parent company Lux Animation (owner of companies like Pixar, the sensation of 3D animation) have far surpassed the reports presented by Marvel and DC Comics, by 13% and 15% respectively. Since the 70s, the tough blow to animation companies has caused a reassessment. These problems have been a prominent burden for the companies, which have suffered two bubbles in less than 20 years... Was it an economic problem? No. It has been shown that it was a change in forms. We've been seeing the same thing for a century; people were eager for new stories, not just more heroes. Stories that bring us the love we forgot, deep, challenging, and captivating stories.
The new era of comics.
The reading was unpredictable for many; the connections only point to something changing. Even now, the smiles of many Lux Animation employees could give a toast to the air, like Phillip H. Knight, who, in his chair, realizes that the upcoming contracts for the Slam Dunk series could generate even more income for the company.
Such is the case for a forgotten Paul Higs, who was the first person to guide young Billy into the world of animation in 1990, when the Yu Yu Hakusho series was in the process of creation, like Tony Benedict, Ed Benedict; they can say that the sense of achievement is immeasurable when they see the future with their own eyes. Even before, Billy advanced time, at least in drawing by 15 years, and in animation by five years and still rising due to investments.
A James Cameron who continues to insist that Billy should be an animator, while he discusses everything with a new agent John Laduo, about Billy's artistic talent. Billy Gates reviews the article again with early morning delight, even more so because, according to the data, a small company surpassing old companies in quality is just a slap in the face.
Known actors now see Billy Carson in a different light; the measure of a multi-billion-dollar company cannot be joked about. How Mili Avital observes everything, how Kurt stands ahead of six months of gossip in two, like some members of the dubbing process; some continue to see the meticulous advancement of an animated world.
Producers, directors, entrepreneurs, schoolmates, everyone is peeking in to see.
Being part of The New York Times is a great accolade for anyone.
-I can't believe it, - Julie Delpy commented.
Upon seeing the cover of The New York Times, and as he flipped through pages four to six, seeing photos of Billy drawing, including one taken by Anne five days ago that she said was for the company, surprised him.
-Well, it's a surprise to me too, - Billy commented, still somewhat incredulous about Jim and Anne's trip behind his back.
-Now I'm eager to see your comics. 'The Comic Renaissance, Promoted by One Man: Billy Carson' is a fantastic headline. Being part of The New York Times is almost... a statement that your company is part of pop culture, American culture; you're part of American history, - Julie commented as they both sipped coffee at the Vienna International Festival. Amidst the bustling day, with people once again seeking to classify the best films from their repertoire, young artists and some adventurers were guided by cinema, and there were fabulous movies, each containing an almost paradoxical taste.
-Well, I think I would have gotten there sooner or later. You can see that in future occasions, I'll take the path of animation ahead. Don't you think there's a world where both kids and adults can dream? - Billy remarked.
Julie's eyes sparkled. -Without a doubt, there are many places where we can express ourselves in such elegant ways. That's why you have an animated cartoon channel, Lux Toons. It's one of the channels, with a market share of 3%, meaning nearly 2 million people watch your channel in the United States, - Julie commented.
-That's true. You can take dubbing jobs in my company; we have payment rates for all newcomers, actors, and dubbing specialists. It's always good to find polyglots for dubbing, - Billy said.
Actors earned $500,000 due to their experience while dubbing specialists earned a little less but signed long-term contracts with the company. Newcomers received anywhere from $100,000 to $300,000, which applied mostly to films and primarily to lead roles with long lines. The only exception was Tom Hanks, hired for $1 million and a sequel for $4 million, but even that was only on rare occasions.
-You know I don't like being the center of attention, you know, because of my adventures. But— - Billy started.
Julie preferred to distance herself from the entertainment industry rather than let the media control her life, so her appearances in films sometimes leaned toward independent films from other countries like Canada, Spain, and France. She spoke three languages and excelled in French cinema, even frequently traveling to Spain. She was simply a forgotten talent.
-I might participate someday, - Julie said thoughtfully.