Lux Animation tried to bring a complementary order to its animated series, but it was simply chaos. The new animated series was set to premiere at 4:00 PM San Jose time, and children were eagerly anticipating Lux Animation’s latest show. It perfectly complemented the fact that trailers for  and  were airing—both films subtly enhanced by Billy in small yet significant touches, with intense focus and refined script adjustments. The result was nearly identical films with slight changes that improved the flow of dialogues and responses. Sёar?h the N?vel?ire.net website on Google to access chapters of novels early and in the highest quality.

    Each film’s structure was developed from different angles. But creative freedom had given rise to many series before, each a massive undertaking in its own right. For Billy, seeing all the archived records in the company was a true source of pride.

    The animators anxiously awaited the moment of the joint premiere.

    Raimon was there, holding a jar of gummy candies, whispering a few words about the new  series. But now, he could only steal glances at his muse, Anna—designed to be the muse of all men.

    1991 to 1993

    1994

    (Production)

    (2D, 10-minute shorts)

    —A studio was contracted to produce the series. $8 million was paid for 50 episodes, with an additional $2 million added to complement  and another potential original series.

    Other productions:

    Saban:  (1991–1994).

    Structured by Saban, Billy’s acquired licenses allowed all these series to continue beyond 50 episodes. Marvel’s animated series progressed alongside , which had three seasons, each with a unique aesthetic. These were produced by Saban and distributed by Lux Animation under its brand.

    In early 1995, they acquired , based on some of Billy’s scripts, and developed it with great care.

    1995

    (Completed)

    (Gainax production)

    (KMO Productions)

    (KMO Productions)

    – Jay Ward

    (OLM Inc. production)

    Expansions of  and , as well as new series for  and , were developed by Saban Entertainment.

    Their competition was significant, but it could still be shaken by Ronald Perelman’s reckless ventures. He had engaged in numerous initiatives from different angles, yet had completely failed to compete with the original series. Instead, he had become an unnecessary financial drain on Marvel. With Lux Comics shutting down, comic book sales had plummeted.

    Producing these series remained a difficult endeavor.

    1996

    (Produced by Pixar)

    (OLM Inc. – In production)

    (Gainax)

    (Madhouse)

    (Lux Nation / Gainax & Madhouse – In production)

    (OLM Inc. – In production)

    (Production started in October 1996)

    A  series was also in the works, reimagining the monster as an undercover agent in a supernatural world, maintaining order through various missions. The show featured a loosely linear storyline incorporating urban legends and a touch of Lovecraftian mysticism. It was developed by Butch Hartman, Joe Murray, Shem Cohen, and Craig McCraig.

    Midday Orchidsfollowsd the story of gardeners and a mother struggling to provide for her children while coping with family solitude, financial struggles, and an emerging war in society.

    Meanwhile, Astronauts was a family-oriented series about a household tasked with colonizing one of Jupiter’s moons. However, an unexpected twist led them astray, forcing them to wander across the universe. The show was both an adventure and a challenge, as they encountered the wonders of space. It included astronomers and scientists who provided real-world insights into space exploration. The series was created by Greff Lomz.

    -I think it’s an incredible piece of work, Greff, - Craig commented, still slightly envious of how magnificently everything had come together. The animators agreed—the landscapes evoked  and , with more humanized spacecraft designs. Beneath it all was a gripping survival chase, viewed through the lens of a five-member family, each with unique skills and logical reasoning shaped by their knowledge of the cosmos.

    -It took us seven months to complete 15 episodes, but we still have space for another 45 that we can release gradually,- Greff added, examining the designs, which had also been partially crafted by a small group of DreamWorks animators.

    The pilot episode, , told the story of how a family of five fought for a place in space. One scene depicted a child working on mechanical repairs with his mother, while his older brother strategized flight maneuvers and conducted various scientific experiments—none of which had been seen before.

    -Then it’s a great success,- Craig said, his eyes narrowing. However, Greff’s triumph was overshadowed by three key factors that cast doubt on his achievement.

    Everyone watched as various short-form projects were developed. Each was a learning experience, an opportunity to refine their craft. The animation style echoed  in subtle ways.

    Jozz Stockton, the creator of , was utterly astonished. He felt an overwhelming sense of withdrawal, realizing how incredible it was that each individual could push their creative limits. The competition for the best series was fierce, and Greff was emerging as a formidable contender. However, Billy remained outside the debate—after all,  was one of the greatest series of all time.

    -I think we need to keep going with our series, - James Linkes muttered, slightly resentful of how masterfully everything had come together.

    The  of the industry had reached a new peak.

    Everyone took a deep breath before returning to their work. Thousands of original series, and countless resources—now requiring time, dedication, and motivation. Seeing masterpieces they could never create on their own left them both awed and frustrated. Their ambition, their desire to be recognized as future creators, kept them striving forward.

    ...