drawing room.

  Disney's test project was nearing pletion, led by two individuals, Ros and John Musker, a dynamiimation duo that Disney had enjoyed w with for a long time, delivering fantastic work like "The Little Mermaid" in 1989 and the uping "Addin" in 1992.

  -Hehehehehe. - John Musker chuckled.

  -What's so funny, John? - Ros asked, adjusting his gsses. John had been ughing all m.

  -It's this new ic series, Sm Dunk. It's quite eaining and funny. What do you think? Maybe for our film, we should do a basketball-themed one. - John Musker suggested.

  -These are iing drawings. Let me read it a bit more. - Ros said, curiously examining the quality of the artwork.

  -There's no use reading that o's a long story, 66 volumes in total. The one es out on April 2nd, as it says in the programming dar. So, you have until April 2nd to catch up. - John Musker replied.

  -66 volumes? That must be quite the task! Is it by Rohis time or maybe the brothers? - Ros inquired.

  -Not at all. It's not from any well-known publisher; it's from a new one, Dark Horse ics. This particur one was created by Bill C. Y., and he hasn't shown his face, but he's produced some excellent works. Just look at these details. - John Musker said.

  He flipped through the pages, stopping at ohat dispyed the school backdrop in a sequeh Sakuragi/Wilt and his friends, different shots, meticulously c every part of the story.

  -Magnifit work. I doubt anyone could produething like this without putting in a lot of effort. - Ros remarked.

  -Oh, you could do it; it's just that you'd have to work hard. I retly talked to Jim Lee[1], aold me about a teical drawing workshop he's taking. Many artists are realizing that if they don't learn from these ics, they'll fall behind in the market. It's a small pany without much publicity, but they've ehe market to pete and have established their position in just three years, thanks to the quality of their artwork and fantastic stories. They're refreshing the idscape of this decade, and their fan base keeps growing day by day. - John Musker expined.

  -He's quite serious! -

  -Of course, even the best Marvel series are trying to give their animations a more realistic approaowadays. "Sin City," the masterpiece, was expected to premiere in April, but its release date has bee fust. It turns out that children prefer copies from this pany with better teical qualities. Frank Miller himself has mentiohat the studio uses ics to enhaheir teical drawing skills for their new series. - John Musker said.

  John couldn't help but be impressed by the quality of the artwork and the stunning storytelling. Renowned figures i world have found inspiration in this kid's drawings.

  -We should ask ma to allow us to make a movie based on this ic. - John Musker thought to himself.

  -I'll buy some; I'm curious about the book that has you reending it. You see the author's effort, and for someone as strict as you, it must have its charm. - Ron said aloud.

  -Well, you're in for a surprise. - John replied.

  -Why's that? -

  -There are more series, I'd say five others. I like the Samurai one, although "Samurai X" is set to premiere in April. Another samurai story, but there's no doubt the kid has talent. - John said.

  -Six series, we'll have to see the quality of eae. - Ron ented.

  -Oh, you'll be surprised. They're all fantastic, with many incredible elements, c entirely different themes. There's ition, and the most incredible thing is this. - John Musker said.

  He flipped the id turhe page, revealing the st images of the book, as well as the front cover.

  -I still don't uand what's so important about it. - Ron said.

  -her did I at first, but now that I realize it, it's hard to discover on my own. But my versation with Jim Lee, made me realize that there are no credits to different individuals. You know, by w, artists must be credited, even if they don't receive a penny for their work. It's important to give credit. So, if there are no credits to a's because this person works alone or two people who work alone and share credits as one. - John Musker expined.

  -That means it's likely that the creator of this entire series is a single person. - Ros said, quite impressed.

  -It is! That only leaves me even more intrigued by the creator of this ic series. - John Musker replied.

  -Hasn't he participated in the San Diego i? - Ron asked.

  -Not at all, my friend. It's all been uhe radar. The st time they sent the administrator to attend i, but they didn't win anything. Although it's quite unusual for a pany like this; awards should be as plentiful as Halloween dies. - John Musker said.

  -Well, I think our film could be about sports. - Ros said, now imagining the e between a girl who joins a boys' basketball team and ends up making many friends.

  -That's fantastic. - Ron excimed.

  -I know, although I doubt we'll have a ce with ma regarding anythied to this pany. I've sent two requests, and they've both beeed. - John said.

  -Why didn't you tell me? - Roioned, abruptly standing up from his seat. - We could both go. -

  -We were busy with the creation of Addin; we're still in the process, but our workload is mostly done. I fot about it amid all the work. - John expined.

  -e on, we go and ask Jeffrey. He's in his office right now. If we're lucky, we might have a chat with him. It's better than sending a letter to the requests department. - Ron suggested.

  -Wait a sed, I o finish sending some emails. We go at lunchtime before Jeffrey's lunch with aive probably begins. - John said.

  -Agreed. But let's not waste this opportunity. Have you reviewed the test ges in the produ? - Ron asked.

  -Of course, I have. - John said, drafting some letters to be sent by mail.

  Jeffrey Katzenberg is her than the CEO of The Walt Disney pany. His films have been accimed by the press. He is in charge of the pany's film divisions, particurly for animated movies.

  -Mr. Jeffrey, it's a pleasure to see you. - John Musker and Ros said at the office door.

  -John, Ron, what brings you here? It's good to see you. - Jeffrey replied.

  -We want to talk to you about a project that has been on our minds for some time. - John Musker said, showing the Sm Dunk ic.

  -Oh, I know this pany. Tell me, what questions do you have? - Jeffrey Katzenberg asked, more intrigued than usual.

  -Look at this; it's simply one of the best i the market. I've talked to some friends at Marvel, and they expressed a positive opinion that the artwork is top-notch. - John Musker said.

  Jeffrey looked at the images and reviewed the entire script of the book.

  -It's volume 66 of the series, and I have almost all the volumes. The quality never drops, and the artist pete with the best. - John Musker added.

  -I see! - Jeffrey Katzenberg said, realizing the trick they and Warner as a pany are pulling. The problem was that they hhly reviewed the artwork from Lux ics; they were solely focused on Pixar. Now he uands why Warner is capable of pying dirty with their partners. This is pure gold.

  -Sir, if we could request a lise, we could create a television series or, eveer, a movie based on one of these series. The artwork is fantastic. - John said.

  -Thank you; I'll make time to discuss it at the meeting. - Jeffrey said.

  The stakes have ged, and it's likely that now they'll have to reevaluate their strategies. This level of artwork, even with the various problems that have e to light, would be too valuable to ignore.

  Jeffrey Katzenberg bought all the books he could find from Lux id started reading the stories with dedication. Eveore clerk mentiohat some volumes were sold out. Later, his children asked him why he bought all the Informe Fantasma ics, which surprised him even more because of the fondness his kids had for the series. He would have to reevaluate his versation with the research geniuses.

  ...

  [1] A ic book artist who has worked on various ics, from DC series to creating characters in the Marvel universe.

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