December 21, 1996.
Anne, along with Jim Gianopulos, decided their best strategy was to strike fast and hit hard. How would they do it? By leveraging the appeal of a company that stood above the competition. First, they published several articles and promoted the idea of collective vacations for employees, aiming to showcase unity and a positive work environment.
A newspaper closely linked to MGM had previously criticized their salaries as "not very competitive." Still, Lux Animation countered with its economic approach to providing social security, offering a solid pension fund, comprehensive health insurance covering immediate family, access to education, open workspaces, year-end bonuses, and now, collective vacations.
What defines Lux Animation's corporate identity? A commitment to service, corporate unity, and the development of its workforce.
These companies constantly battle to outmaneuver each other through strategic positioning, minor plans, alliances, favors, ambitions, or sheer chaos. Perhaps it's all a coincidence, but it should never be taken personally.
When Apple laid off 800 employees, many were absorbed by Billy's various companies, either through new jobs or generous severance packages with job placement assistance. Yet, he was harshly criticized, labeled a shark, a cynical businessman, and a liar.
The media was relentless, spreading headlines about corporate quality and efficiency, as well as restructuring a company through high-level hires and strict selection processes. No one saw it coming. It wasn't until December 22 that some began to understand what "We Are a Great Company" truly meant.
In America, corporate image couldn't simply be brushed aside. He was seen as a madman—The Good Wild.
The headlines spoke for themselves:
Lux Animation Acquires Marvel
Recent sources indicate that Lux Animation is in the process of acquiring Marvel, with the deal estimated at around $120 million—a staggering sum, considering Billy Carson's acquisitions in recent years. This move signals not just a seismic shift in the comic book industry but also Lux's continued expansion into the entertainment sector.
— The Washington Post
A Dynasty in New Hands
What can a young man do with just a pencil and paper? Billy Carson has revolutionized the comic book world; his methodical drawings, filled with structure, talent, and technical precision, serve as a benchmark for future innovations. Now, as Marvel's new owner, what can we expect in the coming months? Could this be the rebirth of the beloved franchises we grew up with? Fans dream of seeing groundbreaking new series that go beyond the repetitive stories we already know by heart.
— The New York Times
Marvel Changes Ownership
For years, many have questioned Marvel's administrative decisions. Now, with a fresh slate, the company seems poised for reinvention. Fans long for fantastic stories—mutant academies, friendly neighborhood heroes, and narratives that truly capture the essence of their legendary characters. When a superhero company is known more for its boardroom drama than for its comics, disappointment is inevitable. But now? The golden age of superheroes is set for a triumphant return.
— Comics Magazine
-This means that in the coming years, we'll have a true marketing war on our hands, - remarked Jenette Kahn, President and Editor of DC Comics. She had played a key role in keeping up with Lux Comics, pushing for the modernization of production lines, shipping logistics, and overall print quality.
-He might not have the time, - replied Paul Levitz. - Right now, he has too many series to manage. It's no secret that, for years, he's been running a one-man show in comic book publishing. -
-We should just let him buy us out, - joked Mike Carlin, DC's creative director.
Jenette Kahn shot him a sharp look, but she could see Paul and Mike exchanging glances like two mischievous schoolboys.
-We need to find better ways to develop our stories, - she said firmly. - And when I say stories, I mean creating narratives that outshine anything Marvel produces. I'll talk to Warner's executives and secure additional funding for our projects. -
She was determined to revamp DC's talent acquisition strategy, ensuring that promising creators joined them before Marvel could lure them away. With new acquisitions in sight, it was thrilling to compete in Marvel's playground.
-Warner Bros. has made its stance on DC clear," Diana Nelson added. "1996 wasn't a great year for us, and we've been knocked down hard. Our animated series has been our saving grace, keeping us relevant. -
-My goal, she continued, is to reorganize our franchises—Vertigo Comics, our mainline series, and expand into broader markets for kids, teens, and adults alike. -
-But we could use more resources, - Jenette admitted.
***
-I could arrange some meetings, - suggested Mike Richardson, an old associate of Billy's. Their relationship was less about business transactions and more about talent scouting and strategic partnerships, spanning franchises like Hellboy, Star Wars, Resident Evil, and Terminator.
-Well, now that we have Marvel under our belt, we can use it to launch new series, - replied Mike Mignola. - I have a lot of friends eager to see the changes Billy promised. -
Alex Ross, one of the key figures in both Marvel and DC projects, chimed in. He had already begun working on new ideas for Dark Horse Comics, which controlled Captain Atom—a character with the potential to be repositioned for specific narratives.
-He'll pay, as he always does, - Ross added. - What surprises me is how seamlessly Billy pulled this off. No one saw such a clean acquisition coming -
-So if everyone knew… why did no one say anything? - Mike Richardson asked.
-Two simple reasons, - Alex Ross replied. - No one messes with the comic book market. No one takes over a company and walks away unscathed. -
-When people try to shake up the industry, there's always backlash, - Richardson murmured. "So what happens now with DC? -
-That's a different story, - Alex said with a smirk. - No one's dared to mess with Superman like that… yet. -
...