Anne walked through the halls of Lux Animation, attending the only meeting of the year—the one that defined the projects set to launch in 1998, a year filled with several brilliant productions destined to shine across the animated world. Beside her were Jim, Anna Washington, and Rachel Sanders—the key players behind the entire television calendar. In 1997, the series they produced had become milestones for children across the United States and for every licensing partner involved.
A lot of hard work: SpongeBob, generational detectives, Shaman King, One Piece, Fairly OddParents, Danny Phantom, Dora the Explorer, The Franden Family, and BlazBlue. Among them, Shaman King was still unfinished, and One Piece only had the concept of the East Blue saga—the saga itself utterly wild.
The Franden Family was a short-form series with a single core concept told through various short stories for children—gentler and far softer than Experimental Lans. Beyblade was already becoming a genuine gold mine, because OLM Inc. had the entire graphic script prepared to bring the first season to life. All that mattered was creating an evergreen series that could release season after season, year after year. That was why Billy had invested a substantial amount of money to perfect every detail from day one.
-The Japanese consulting office reports that all contracts are being fulfilled to the letter. We completed an exhaustive audit of all fiscal assets, and the Japanese division now has three animation houses employing a total of two thousand people. —said Rachel.
-The numbers are interesting. The entire division costs a total of three million dollars a year. Low cost, high quality, and strict standards met—a solid foundation for expanding into new projects. —
Anne noted how the Japanese and Korean markets were, and always would be, a bold gamble. Many of their series were remarkably well designed, their culture offered permissive creative room, and Lux Animation's demand for large-scale productions fueled competition to deliver at least six or seven anime consecutively. A full pipeline ranging from adult to youth to philosophical storytelling. Billy's only rule was simple: do good work.
-Increase everything by twenty percent, and find affiliated countries with similar prestige that want to enter the animation industry.—said Anne, fully aware of the financial strain—salaries, taxes, and the weight of true labor obligations.
-Pixar is in Spain.—said Jim Gianopulos.
-We can start with Ireland as our headquarters for series… and leave Spain as a talent hub to develop short films, stories, and characters. —Jim concluded, finishing his thought. The Spanish economy was harsh—taxes rose relentlessly, nearing thirty-five percent for companies. It was almost unsustainable even for Billy, who now used Spain as a pilot site to build a university with CalArts in Valencia, attracting the talent-rich region of Europe, while choosing Ireland for its major incentives: a fixed five-percent tax rate for thirty-five years, with just one requirement—managing work and housing for the artists.
-Billy will have a headquarters in Ireland. Raimon negotiated with the Irish government to build a massive animation studio on the outskirts of Dublin. They remodeled the entire place—stone pathways, large wooden houses, two central buildings connecting all facilities. And everything was subsidized by the government. —sighed Anne.
Jim narrowed his eyes. The appetite Billy had for animation production was outrageous. He had recently held a private conversation with Michael Eisner and agreed to act as his informant.
-That is very relevant. —Jim sighed. -Why didn't I know? —
-Because only Billy knew. He's been playing with money, and well… he always does whatever he wants. If he wants to buy, he buys. If he wants to sell, he sells. That's not the real problem. The real issue is we don't have a director to manage operations in Ireland. I believe Anna is the most capable. —Anne sighed, handing over responsibility for a full animation house—2D, 3D, and animated series—for the next two years, while she herself looked to hire someone expertly trained for the job. Someone who would surely push themselves to meet Billy's projections—nineteen-hour workdays paired with generous year-end vacation pay, excellent health insurance, and enough money to wipe out their student loans, whether necessary or not.
Anna Washington was stunned at being reassigned so abruptly. She didn't know how to respond at first, but nodded with committed resolve. Doubt lingered.
—It will be in six months, while we search for your replacement and you focus on training her. Your network within children's programming is vital to us. —Anne said. She only needed a small cartoon sketch to end the meeting—perfectly fitting for the occasion.
-Well, for now, regarding animated series, we'll postpone the proposals from last semester so we can build a proper talent-scouting strategy. —Anne added.
Films followed—projects meant to be timeless, like all the rest.
Billy had finally completed his new comic series, focused on developing the arc of Miles Morales and outlining the plots for a new universe—one where any scene they imagined could be shaped into reality.
-It's a tailor-made illustration. —Stan Lee murmured, examining the second volume. From the special panels onward, every drawing carried the highest craftsmanship, no matter how much people tried to deny it. Every volume was pure magic in its own way.
-Today is the inauguration of the commercial district—a shopping center where artists will surely find their perfect space, a place designed for people to do whatever they desire. —Billy said, thinking of the plaza with three Box-brand restaurants—burgers, pizza, sushi—each delicious in its own style, along with two toy stores and a large bookstore. Who could object?
-I'm surprised too—two entire buildings now belong to Marvel. —Stan Lee whispered, amazed.
The luxurious store included countless themed spaces, small food courts, coffee islands, anime-inspired jewelry, and books—endless books of every kind, from school textbooks to science fiction, comics, novels, everything. There was also a movie-rental and purchase store that doubled as a convention hub, along with a full cinema complex occupying the entire east wing—premium screens, reclinable seating, table service, and themes inspired by Marvel and Lux Comics. One screening room held about thirty people, spread across three levels, with a massive concave screen stretching from end to end.
-You'll enjoy it. I made a reservation so people can have fun—good food at good prices, gifts, and prizes.—Billy said.
-Everyone's talking about your new mall. Right in the heart of Manhattan—nine hundred square meters per floor, four floors, two underground parking levels, plus a garage building with four hundred spaces. Several luxury brands begged for spots, but you only allowed youth-focused brands, modern fashion, music shops, bazaars, cafés, and cultural centers. —The old man said as he organized his desk.
-In fact, people don't like the aesthetic—but today, we have strong incentives that will enrich young people's lives. —Billy commented. He hadn't expected such a wide age range of visitors—twenty to thirty-five—many seeking cultural spaces where they could rest, while Marvel and Pixar New York operated on a standard 7-to-5 schedule.
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