-e on, Billy, let's go to the pool. Don't be b, - said Richard Carson, slightly flushed from the eventful day he had. Since 10:00 AM, he had walked the numerous streets, pyed pool, and had some drinks with tourists at the bar. They also went to the er to have some tacos, as reended by the bartender.

  The best day of his life! His wife only allows him to go out to watch soccer with his lifelong friend, Francis Patt, and on many occasions, he gets scolded when he es home smelling like beer. These ten days are his ce to go anywhere he wants, like a free bird.

  - Grandson, I have to work on a model guide, - said Billy.

  -Well, do it after the pool, son. The sun will set in an hour, and you do whatever you dinner. Apany your old man to the pool. I didn't have my sweet grandson with me this afternoon, - said Richard.

  His grandfather's smile is tagious, and at seventy years old, he makes it hard for Billy to refuse.

  -Well, let's go to the pool,-the young man responded. It's also good to get some fresh air after a day of non-stop drawing and painting. The water was cold, and the atmosphere leasant. The hotel had a characteristic luxury.

  -Grandpa, Grandpa, those aren't Larry Bird and Kevin McHale from the Bostoics, - Billy replied.

  -Ah, your old man only likes Ameri football, but go and ask. If they're well-known, you ask for an autograph, - said Richard.

  -Well, I don't have anything to write on, - Billy wondered.

  -Don't you have anything in your suitcase? Maybe some papers yht from the studio? - Richard asked.

  -Well, I could use those, - Billy replied. He got out of the pool with excitement. He was just a few meters away from the legend Larry Bird, one of the best shooters in history, along with the winner of numerous NBA three-point tests, known for his excellent teiques.

  -Well, I think I have my sketchbook, but ah, whatever, I use a bnk page I haven't used,- said Billy.

  He took out his special sketchbook, which sists of four notebooks featuring some of his creations or new designs for projects he's currently w on. Larry Bird, along with McHale, was having a versation at a table under an umbrel, and there was someoo their right whom Billy couldn't reize.

  -Excuse me, sir, could I have your autograph? - Billy asked.

  The sports star turo look at him and nodded.

  -Sure, little buddy, - said Larry Bird.

  -Great, sign right below this page,- Billy said.

  Mr. Bird signed just as instructed. He looked up at his panions and said, -Will you also sign? -knowing Billy's thoughts and wanting to finish signing and tiheir versation.

  -Pass that over here,- said the person Billy didn't reize.

  -You sign oher page at the bottom,- Billy interrupted.

  He didn't pay much attention and signed on to the e.

  -I guess oher page, - Kevin McHale responded, anticipating and adding a touch of humor, to which Billy nodded vigorously.

  He had three signatures from three basketball personalities, and although he had no idea who the sed one was, he would do some research. He could check the special magazines about the Bostoics pyers.

  -Thank you very much, -replied Billy, who ran to where his grandfather was sitting in a reing chair with his beer in hand.

  -Did you get them? -Richard asked.

  -Yes, it was worth it. It's the Celtics superstar, - Billy said, adjusting himself aing out a sigh of relief.

  -Let's grab something to eat. Your old man is hungry, and he 't eat ter. -

  He couldn't find any presence of the Bostoics. He looked at the dar, and they didn't have any games in California, let alone Los Angeles.

  The days passed in the blink of an eye. He colored the fifty-seven used acetates for the introductory chapter of the anime, created the sequence of the twelve frames per sed, and added a futuristic style.

  Through his friends, Gee Sydney obtained an expnation about the animation teiques the studios used to print their ah such detailed features without overspending. The drawings painted on celluloid paper were developed using twelve to thirteen frames per sed for animation. For more important moments, the number of frames would increase to thirteen, fourteen, or fifteen frames per sed.

  That's twelve frames per sed and thirteen. The work ged, and this information relieved Paul Higgs as the produ time was reduced by ohird. Later, they put the drawings in special animation cameras that guide the entire animation sequence or in a special ser that trahe drawings into a digital pne. Using an advanced program for the time, the images are anized and the animation is run. Billy was amazed by the multiple teiques used by Paul. The entire reel is adjusted using the animation camera and then through the digital program.

  The first opening was pleted, bining elements from the first and sed parts. The first part of the clouds was extended, and there was an i of the four main characters in static images. Then there was a transition of each of them, showing some of their special abilities, along with an image of Yusuke, the protagonist, perf his spirit gun.

  For ten days, they worked on the 45-sed animation, even fixing the details of the model guide, and they phe produ of the first episode. Each episode has a total of 30 minutes, which is different from the 22 minutes usually seen in ahe fifteen million dolrs for the first twenty-five episodes is entirely reasohis is a major produ. What Billy didn't know is that the butterfly effect would cause many of Warner's uping series to have morous produ, and Cartoowork would receive more love from the Warner work after the success of the designs created in Yu Yu Hakusho/Ghost Report.

  -What do you think of this design?- Paul Higgs asked Iwao Takamoto, Tony Be, and Eb Be, the leaders of Hanna-Barbera.

  -It's excellent work, - responded Iwao Takamoto in his cise and pronounced English.

  -And you, Tony and Ed, what do you think of the work? - Paul Higgs repeated.

  -It's good. It was Billy, the boy, who did the storyboard, characters, aings, - Tony questioned.

  -Yes, the young man has a special ability for development. Although we expected exceptional skills, what he has achieved is beyond reasonable. He's a genius in animation without a doubt. I worked closely with him, teag him all the skills I've been learning for the past ten years, and this is the result... nothing to envy. Even our visually stunning Batman series be overshadowed by young Billy, - said Paul.

  -How do you think we should proceed, Gee? - Tony asked.

  -Let's send the work to the Warner executives. After all, we're now a subsidiary pany, - Gee said.

  -Ohey see the caliber of this animated series, they might increase our budget for other series we're reviving, -Gee added.

  -Agreed, - they all said.

  -On another note, we colborate with young Billy again during the first week of January. The whole team o see the quality of his work. This time, Tony will participate and teach young Billy. This series could be the future of our Hanna-Barbera work, - Gee said.

  -Paul, talk to Miss Sullen and have her arrange Billy's visit to the studio, - Gee instructed.

  The meeting cluded, and the video reached the Warner Media executives two days ter, especially Betty , who rushed to wiwork's approval to unch Cartoowork. The executive thought to herself as she made her way in with the sound of her high heels, leaving the offi plete silence upoy's arrival.

  ..

  .

  the story is already taking a little bit of the dire I want to give it, although I feel it will be a little long, I keep writing, I'm 24 chapters up in my Patreon, and I keep writing, thanks for reading my dear readers.