Only a small portion of fans and loyal viewers of 'Words of Celebrities' truly recognized Kamiyā Yuu's appearance. Of course, that did not diminish the fans' enthusiasm in the slightest. For those who genuinely liked 'Magical Girl Nanoha' and 'RWBY,' obtaining an autograph personally signed by the director was already a worthwhile collectible.
By the time Kamiyā Yuu finished watching the 'RWBY' animated film, it was already past three in the afternoon. At first, there were only around a dozen fans asking for autographs after he came out.
However, Kamiyā Yuu soon realized that although his signing hand was growing sore, the number of people around him was not decreasing—instead, it was increasing.
After struggling through two whole hours, he finally found an opening and quickly escaped with Kamiyā Sora in tow.
Many viewers who had just arrived from elsewhere, hoping to get an autograph, were filled with disappointment upon learning that Kamiyā Yuu had already left.
After officially entering global theaters, 'RWBY's influence and popularity surged dramatically, especially within China and Japan.
The former was less deeply influenced because Japanese anime culture was not very developed there. Many Chinese people grew up watching domestically produced animation instead.
Adaptations of classics such as 'Journey to the West,' 'Romance of the Three Kingdoms,' 'The Beacon Fires and the Feudal Lords,' and 'Water Margin' were everywhere.
Just as in the history of Kamiyā Yuu's previous world, China's animation technology in earlier years had once rivaled Japan's.
Unfortunately, the industry had never been taken seriously by the government, causing more than a decade of stagnation. A mature industrial chain failed to form, and many small but technically capable animation studios became outsourced subcontractors for Japanese animation companies instead.
Only in recent years has China finally begun recognizing the cultural influence of the animation industry. However, although a series of generous government subsidies had been introduced, they failed to establish a healthy production ecosystem.
Instead, they attracted countless half-baked animation companies that legally exploited the subsidies for profit.
An industry system rotten from its very foundation naturally could not produce excellent works.
At the same time, Japanese animation itself was also struggling.
As a result, Chinese animation enthusiasts became as rare as giant pandas in a zoo.
When most people hear terms like "animation" or "anime," the first thing they think of is Hollywood's polished 3D productions. Their impressions generally involved fairy tale adaptations, anthropomorphic animals, and lighthearted stories suitable for all ages.
'RWBY's theatrical release in China gave Chinese audiences a refreshing shock.
Animation was not merely for children.
Not merely fairy tales.
It could also become this kind of "action blockbuster" suitable for teenagers and young adults.
By its fifth week in theaters, 'RWBY's global popularity rivaled that of first-tier Hollywood animated blockbusters. Even after paying enormous taxes, the latter box office revenue still made Kamiyā Yuu's hands ache from counting money.
Unsurprisingly, the second half of the year became the year of 'RWBY' in the animation world.
Discussions about the work could be heard everywhere.
Furthermore, the latter half of the year was also the season for mainstream Western film and television awards. Almost every half month, news emerged of 'RWBY' winning yet another award.
Kamiyā Yuu entrusted Robert with arranging international air delivery of all the prize money, trophies, and certificates to Japan, where they were stored inside the warehouse of Yosuganosora Animation Studio.
Pitifully, those trophies—objects envied by countless animation directors and filmmakers—could only gather dust in a dark warehouse.
...
Kamiyā Yuu busied himself handling the company's countless affairs.
During this period, the busiest people at Yosuganosora Animation Studio were Kamiyā Yuu, Morishita Aoi, and Uehara Etsuki.
Kamiyā Yuu and Morishita Aoi were specifically responsible for drafting the company's development plans and officially implementing them.
Their work ranged from planning the company's future direction and contacting numerous enterprises for cooperation proposals, to recruiting talent, conducting skill evaluations, assigning positions, improving departments, hiring professional companies to renovate the new office building, and even purchasing water dispensers and computer equipment.
Meanwhile, Uehara Etsuki served part-time as the chief supervisor of outsourced projects. She personally handled all major and minor issues that arose during animation production. For areas outside her expertise—such as music—she directly consulted with Shindō Tsukasa.
Overall, outsourced animation work was relatively easy and very suitable for Yosuganosora Animation Studio's current stage of development and training.
With the quality guarantees provided by 'RWBY' and 'Magical Girl Nanoha,' combined with Morishita Aoi's impressive network connections, many Japanese animation studios competed to outsource music, background art, 3D effects, and other production work to Yosuganosora Animation Studio.
While Kamiyā Yuu reviewed the latest reports Robert had sent regarding 'RWBY's box office revenue, Morishita Aoi slowly approached from behind him and leaned close.
A faint orchid-like fragrance drifted over, along with her soft and elegant voice.
"Yuu, there's a guest from China who wishes to meet you."
—A guest? And from China?
Kamiyā Yuu looked up from the contract in his hand, somewhat puzzled.
Until now, Yosuganosora Animation Studio had not cooperated with any Chinese companies.
In this world, China's development was extremely rapid. Economically and militarily, it was no weaker than the world's strongest nation, the United States.
However, its lax internet management policies had allowed piracy to become rampant online. Cases of piracy crushing legitimate products were countless.
Perhaps realizing this issue, the Chinese government had finally begun shifting its attention toward cultural development now that the economy had matured.
The current period was precisely the beginning of this ideological transition.
Once China establishes widespread awareness of supporting legitimate content, the explosive growth of culture would create a chain economic effect, driving numerous entertainment industries.
Film, animation, novels, games, and other forms of entertainment culture would become the first beneficiaries.
A superpower with over a billion people would become an enormous market coveted by the entire world.
Yet at present, foreign countries still viewed China as a nation dominated by piracy. Few foreign companies aggressively pursued piracy cases there, much less sought deeper collaborative projects.
Regardless of the reason, Kamiyā Yuu remained highly interested in this "fellow countryman" from China.
He immediately set aside the contract in his hand and instructed:
"Arrange for him to wait in the conference room. Also, help me prepare two cups of tea."
Morishita Aoi nodded.
Just as she turned to leave, she heard Kamiyā Yuu ask in surprise:
"By the way, Aoi, when did you start wearing perfume?"
Morishita Aoi's high-heeled footsteps paused.
Turning back toward Kamiyā Yuu, she hesitated before asking:
"Is it strange?"
Kamiyā Yuu smiled and looked her over for a while.
This naturally elegant career woman finally seemed to have started exploring the feminine charm unique to herself.
"No, it suits you very well. And I also like this kind of lighter fragrance."
A naturally elegant office beauty and one who carefully styled herself gave completely different impressions.
If Kamiyā Yuu had to choose, he would choose the latter.
The so-called beauty of untouched natural elegance did not suit every woman.
"I see. Thank you for the compliment."
Morishita Aoi revealed a faint smile, her voice gentle and soft.