those who remain.

December 29.

While many employees decided to go on vacation and head to their places, the whole place focused on two essential details. The first detail was that many of them wanted to develop as animators and create their own series. The second detail was that Lux Animation's payment method was somewhat different from other animation companies: fixed salaries with bonuses at the end, plus extra performance bonuses. Though it might seem somewhat unfair, the bonuses were enough to catch the eye of some people. Moreover, rudimentary creative freedom was allowed since animation was mainly directed towards a young audience, and works for adults or an older audience were not yet firmly established, only in expectations.

Such was the case for Greff Lomz, Jozz Stokman, and David Jill. Each had a series to work on and strive for publication, a series created from their ideas, to have a working group, a team that would allow them to join the company's series creators. At this point, very few were in a hurry, and they were all surpassed in experience in many ways by Billy's cartoons.

Greff Lomz created the series "Astronauts," adventures in space with a cartoonish style but based on a more particular idea, a bit more mature about a family traversing space in search of their civilization after falling into a black hole and being lost without any way out.

Jozz Stokman worked on the idea of a garage band seeking fame and becoming big rock stars. The problem was that he couldn't come up with solid arguments to fill all the spaces, and for now, his idea, approved on paper, needed numerous ideas and developments. The rich anima and the different proposed scenarios of a teen show different facets like fear, loneliness, happiness, love, anger... His challenge is crafting a script for at least ten episodes, promoting a series with a high-quality linear story.

Meanwhile, David Jill wants to propose the American idea of superpowers, a period ranging from the 1700s when people still fought in the Indian wars, an idea of shamanism, the occult, naval battles, and warfare tactics. Billy suggested creating a graphic script, which he did, but the complexity implies a task that has taken him at least two months. From the 100 characters he has as potential to the battles he wants to portray, everything has an idea of culturalizing his story.

-You're still working on your graphic novel activities, - replied Jozz Stokman.

-Always. I like being part of this new project. I'm basing it on the ideas of Dragon Ball, but I want to add some myths and legends I found on the internet, - commented David Jill.

-I heard they'll be approving some for the 1995 season in the next few days. We have to produce at least 7 series a year, - murmured Jozz Stokman.

-Don't remind me. My work seems tailored to a vain idea of fear. I don't think I'm enough for my series. I just hope to continue supporting the production teams, - replied David Jill.

-I'll prepare some coffee in the office. Do you want to join me? - asked Jozz Stokman, with large black bags under his eyes, exhausted from the many efforts.

-Thanks, coffee, - responded David Jill, fitting his series on the American Civil War. The principles mentioned by Billy were to choose a path between dark and light, hero or antihero. Different attack powers, big bosses, mini-bosses, people with their interests, nationalists, religious, mercenaries, Africans, British, Islamic, Indians... everyone must be represented.

´'How difficult' he thought.

***

-We desire to be part of the production of the series 'Her' and 'Friends,' which is still in production. From investments and logistical support, our wishes are outlined in the contract page, distribution after three years, - replied Jim Waiit. They only wanted a non-exclusive permanent distribution of both series for their future television channels. However, it imposed a quick assignment clause to test the waters. Many entities did this to sell; if the series became very successful, they would sell the rights paid for a price. Payment only occurred for valued series, but a portion of non-exclusive broadcasting rights was sufficient for Billy.

Under the NBC program, better known as the production part, as NBC made multiple series, they usually relied on different companies for their realization. All of this helped provide a logical guarantee in case of failure.

-We'll sign, but you must be aware that you'll have to share 35% of the production costs, -commented Richard Allen, the general manager in charge of NBC, now under General Electric's hands. The calculations for purchasing 94% of NBC's shares are currently around 3 billion and some, with the price increasing.

-We'll do it. You can send me the promissory note, - replied Jim Gianpulus.

-We promise. I just hope that by the end of the first season, you can recoup the costs of the first season and the payment for the second. Our 35% is rising to $120,000, - Richard Allen replied somewhat casually.

-Gentlemen, it's a good day. We'll talk about future negotiations, - Jim responded.

As if it were another common negotiation, the series was a necessity for purchase.

Continuing on their path, the two series were a good idea to expand the catalog, but not enough to set up a television channel. For a television channel to succeed in programming, you need a library of at least 13 TV series and 50 movies. It cannot be denied that this is the minimum expected of a television channel. Depending on preferences, this difference can be overcome. However, I must produce at least 10 new films every year to maintain the channel's freshness or at least ten great films that bring in a regular audience.

Jim Wait took a traffic-filled route for his next program, the practice of 'Who Wants to Be a Millionaire,' a quick exit that lasts between six to nine months. It appears that the availability of new reality shows will be seen for the next few months, which seems to be profitable due to recurrent computer use. It's a plain quick exit.

He took the route to speak with some members of the NBC network. It was such a large company that they made at least 20 series a year. Each of the series was only a big bet that greased the wheels for its sale, distribution, or channel positioning. Often, networks as large as CBS, NBC, and ABC had so many productions that the six or eight television channels were not enough for all their television programs.

On the positive side, traffic always creates a connection for some fans about certain series. Lesser-known companies fought for some of their programs, resulting in great collaborations with a solidified group, different media, different national, international, and foreign channels, coordination, and social standing.

-Matilda, everything has been settled in an agreement. We'll share the 35% production costs and most likely have some relevance in advertising. We may also vie for rights as a preferred party, - replied Jim Waiit to Matilda, the entertainment director's advisor, close contact between animated projects, except for movies, recently hired. Her secondary job was logistics for the channel and programming. She was an expert in this field with four years of experience.

...