271-275

Chapter 271: The Jimmy Feather Show

“It’s exactly as you say,” Allen replied with a serious expression, his tone calm, as laughter erupted from the live audience of The Jimmy Feather Show. He was responding to host Jimmy Kimmel’s playful question.

“I found a broken camcorder at the scene of that superhero battle in New York. I extracted the footage from it, and that’s how this ‘documentary’ came to be.”

Without a doubt, the studio audience broke into laughter again, amused by Allen’s straight-faced delivery of such blatant nonsense.

Jimmy Kimmel, the host, pulled a mock-annoyed face, playing along. “You’re always this ‘lucky,’ Allen.”

“I think so too,” Allen responded, maintaining his composure.

Shaking his head at Allen’s refusal to admit otherwise, Jimmy turned dramatically to the camera. “There’s a long-standing Hollywood rumor about just how many undisclosed videotapes Allen keeps hidden in his house. He always manages to produce one just when we’ve forgotten about him. To uncover the truth, The Jimmy Feather Show secretly infiltrated his home without his permission. We’re here to reveal the secrets behind his mysterious tapes...”

“That’s a crime, Jimmy!” Allen interjected, feigning alarm. He leaned forward on the couch, his exaggerated reaction implying there really might be some unspeakable secret.

“It’s too late, Allen. We’ve already uncovered your secrets. Even if you want to sue us, you’ll have to wait until after the footage airs,” Jimmy said with a smirk, signaling with his hand. “Now, let’s take a look at what our hidden camcorder uncovered.”

As Jimmy’s voice trailed off, the large screen on set lit up, playing a pre-recorded segment.

“Ladies and gentlemen, I’m now at the home of Allen, the director and writer behind The Blair Witch Project, Paranormal Activity: Dynamic, and the upcoming film Heroes Unleashed,” Jimmy announced as his scruffy face filled the screen, shot in a mockumentary style.

Holding a camcorder in one hand, Jimmy mimicked the techniques of classic found-footage films, panning the camera to a door in the background.

Of course, the house in the video wasn’t Allen’s actual San Marino residence. It was a prop house built by The Jimmy Feather Show for comedic purposes. This was all a coordinated skit for promoting Allen’s new film.

Back in the video, Jimmy dramatically crept into Allen’s “house,” speaking in a hushed voice. “Allen has mentioned on more than one occasion that he found these mysterious tapes. I suspect he hides them somewhere in his home, only bringing them out when he wants us to see them...”

Under the dim camcorder light, Jimmy panned over posters on the walls—from The Blair Witch Project to the upcoming Heroes Unleashed. When the camera lingered on the Heroes Unleashed poster, Jimmy zoomed in theatrically on the release date, mumbling to himself.

Unsurprisingly, this part of the segment elicited another round of hearty laughter from the audience. Jimmy, however, remained deadpan, continuing his faux investigation through the house.

“My mission now is to find where Allen hides his tapes and sell them to movie studios,” Jimmy quipped, still recording.

As he walked and talked, the footage on the screen showed him stumbling through the mock house. “Once I find the tapes and the documentary airs, I’ll become a millionaire. No more hosting late-night shows. Who needs that when you can be a big-shot Hollywood director?”

Jimmy’s self-deprecating comments about his job as a host drew a mix of laughter and applause from the audience. Suddenly, his camcorder captured a blurry figure in pajamas, holding a mug. Allen’s groggy, bewildered expression flashed on the screen for just a moment before disappearing.

The audience roared with laughter, surprised to see Allen making an appearance in the skit.

In subsequent scenes, Allen kept popping up in “unintentional” ways—always unnoticed by Jimmy. This was a clear parody of supernatural occurrences in found-footage films like The Blair Witch Project, replacing the spooky with absurd humor.

Finally, Jimmy stumbled upon a suspicious-looking room.

“I’ve found it! I’ve found it!” he exclaimed, his voice filled with mock excitement as he aimed the camera at the partially open door.

“Hollywood, here I come! Goodbye, The Jimmy Feather Show!” Jimmy declared dramatically to the camera before pushing the door open.

Inside, shelves lined with videotapes stretched across the walls.

“I knew it! I knew it!” Jimmy shouted, zooming in on the tapes with shaky camera work. The tapes bore titles of Allen’s past films, from The Blair Witch Project to the upcoming Heroes Unleashed. As the camera panned lower, new labels like Paranormal Activity: Dynamic 2 and The Blair Witch Project 2 appeared.

“All of Allen’s tapes are here! I just need to sneak one out, and I’ll be free from hosting late-night shows forever,” Jimmy muttered, extending his hand toward an unlabeled tape on the shelf.

*Bang! Bang!*

Suddenly, loud thuds interrupted the scene. Jimmy collapsed dramatically to the floor, and his camcorder fell, landing askew.

Through the camera’s skewed perspective, a pair of slipper-clad feet appeared in the frame.

“Sorry, Jimmy. You know too much,” a familiar voice said.

The camcorder was lifted to reveal Allen, once again maintaining a straight face as he stared into the lens. He reached out, covering the camera with his hand.

*(End of Chapter)*

*Chapter 272: Movie Promotion*

“…As the director and screenwriter of the film, Allen, is there anything you’d like to share with the audience?”

The promotion of the film Heroes Unleashed was in full swing.

The host was interviewing Allen, the film's director.

“Thank you.”

Accepting the microphone from the staff, Allen looked at the host and deliberately steered the topic toward the film’s backstory. “I don’t think there’s a need for excessive explanation because the content of this ‘documentary’ is something not just Americans but people worldwide already recognize as true. All I’ve done is present it to the public.”

Since the film was shot in a mockumentary style, creating a sense of authenticity was essential.

Even though audiences, having seen many mockumentaries, could easily recognize the usual tropes, Allen still had to insist the film was a genuine documentary, not a scripted movie, as part of the promotional strategy.

This approach wasn’t exclusive to Allen.

Universal Pictures also used snippets of the “Andrew” battle in New York from months earlier, incorporating them into the promotional trailers on YouTube. The goal was to rekindle memories of the New York incident. This embedded marketing strategy was relatively low-cost but surprisingly effective.

Currently, the highest-viewed video had garnered around 30 million views on YouTube, and the number continued to climb.

To maximize promotional impact, Universal organized a global promotional tour for Heroes Unleashed.

As the film’s director and screenwriter, Allen was naturally one of the main figures involved.

Initially, Allen wasn’t particularly enthusiastic about such promotional activities.

However, considering the film's potential box office earnings—of which he was entitled to a share—and the promotional obligations explicitly stated in his contract with Universal, he had to participate.

For both practical and contractual reasons, Allen joined the promotional tour.

---

“…The event that shocked the world continues to capture global attention to this day. Now, the legendary director has documented the entire sequence of events—from the initial occurrence to its shocking conclusion—in a ‘documentary’ format…”

“Superheroes exist in this world, and we shouldn’t ignore it. The superhero incident that stunned America is now being brought to the screen!”

After two days and one night in Tokyo, the promotional tour moved to London.

On the flight to London, the core team of Heroes Unleashed showed clear signs of exhaustion.

A promotional tour is far from a simple sightseeing trip. Universal packed every country’s schedule with numerous activities.

In Mexico, the local staff prepared traditional sombreros for Allen and the crew to wear. In Japan, the promotional team provided culturally themed attire and slogans featuring distinctive Japanese elements to promote Heroes Unleashed.

However, Allen, unimpressed by elaborate costumes, declined the suggestion of wearing traditional Japanese attire. He participated in only essential promotional activities and used his system's recording function to capture local scenery during their trip to Kyoto.

---

“It seems, Director Allen, you’re quite interested in Japanese culture?”

On the plane, one of the film’s leading actors casually remarked, noticing Allen’s backpack stuffed with souvenirs bearing distinct Japanese “artistic” traits.

By now, Allen had become a renowned commercial film director in Hollywood.

In Japan, he had been described as a “legendary director.” While the label carried Japan’s characteristic flair for exaggeration, it also reflected his significant standing in Hollywood.

Unsurprisingly, the main cast of Heroes Unleashed showed varying degrees of deference toward him.

“Don’t you think these things are fascinating?”

Casually placing a quirky-looking souvenir back into his luggage, Allen responded offhandedly, “From these items, I can sense the uniqueness of Japanese culture. Perhaps they might inspire me to create a film related to it.”

Hearing Allen mention a potential film idea, the actors on the plane exchanged intrigued glances.

Even though this so-called film was nothing more than a passing thought with no concrete plans, given Allen’s reputation and history of box office hits, no actor would turn down the opportunity to be involved.

Unfortunately for them, they were bound to be disappointed.

While Allen was indeed inspired to draft a script based on the souvenirs, it wasn’t for the kind of film they imagined. Instead, it was for a much more unconventional and ambitious project.

After all, visiting Japan without creating a lasting memory would feel like a missed opportunity.

---

Despite his burgeoning ideas for a new script, Allen wouldn’t act on them anytime soon.

With the Heroes Unleashed promotional tour only halfway through, the hectic schedule left little room for focused creative work.

Flying from Japan to London, Allen found himself reflecting on the state of the former empire.

Once a global superpower, the UK now seemed like a shadow of its former self. Though the British people still clung to the glory of their past, this attitude had already sown the seeds for Brexit. A country that never fully identified as European was bound to leave the EU eventually.

The reception in London for Heroes Unleashed was lukewarm. The British, known for their pride, weren’t particularly fond of the mockumentary style.

The promotional activities failed to generate much buzz.

Coming off the enthusiasm in Japan, the stark contrast in London dampened the spirits of the cast.

Allen, however, wasn’t too concerned.

The film’s primary box office market wasn’t in London, or even in the UK for that matter.

After completing the London leg of the promotional tour, Allen briefly documented local culture using his system and quickly moved on to the next destination.

(End of Chapter)

*Chapter 273: Box Office Explosion*

After a global promotional tour, the team returned to the United States.

With the release of Heroes Unleashed approaching, Universal Pictures brought Allen and his team back to the U.S. to intensify their promotional efforts.

This move sought to extract every last ounce of value from the cast and crew.

Finally, the movie was ready for release.

---

As a well-known story, the plot of Heroes Unleashed was not overly complex.

It revolved around three teenagers who gain supernatural powers, transforming into superheroes. The narrative followed their initial excitement, growing conflicts, eventual fallout, and climactic showdown.

Thanks to its “mockumentary” style, many scenes in the film perfectly replicated real-life footage from prior news reports.

One standout moment occurred when the three leads donned their self-made, crudely designed superhero suits and appeared on a New York street to thwart a bank robbery. When this scene hit the big screen, it unsurprisingly elicited gasps from the audience.

For viewers, these cinematic moments evoked memories of the months-earlier New York incident involving “Andrew” and his companions. This feeling was heightened by the movie’s integration of actual news broadcast clips, which blurred the lines between fiction and reality, drawing audiences deeply into the film’s storyline.

For a “mockumentary”-style movie, success lies in immersing viewers in its narrative. By that measure, Heroes Unleashed was already halfway there.

---

*Washington, D.C., Cinema*

Amanda and her team watched the film intently.

As the political heart of the U.S., Washington was surprisingly limited in entertainment options, with only two cinemas in the entire city.

Determined to catch the premiere of Heroes Unleashed, the team had gone to great lengths to secure tickets.

Thankfully, the film did not disappoint.

As participants in the original New York incident, viewing the movie from a different perspective gave Amanda and her team an uncanny sense of déjà vu—both immersive and oddly dissonant.

The immersion stemmed from the film’s meticulous replication of reality, particularly scenes based on actual footage. Amanda and her team, having lived through those moments, were inevitably drawn into recollections of that time.

The dissonance came from the fictionalized elements. For example, the movie depicted the protagonists gaining their powers during an outdoor adventure after encountering mysterious crystals. In reality, Amanda’s team knew Andrew’s powers came from contact with the BSI-013 Psychopool. The actual process of acquiring these powers—and their associated costs—was far more complex and harrowing than the film’s portrayal, which reduced it to a mere nosebleed.

Despite these discrepancies, Amanda had to admit that the movie’s storytelling and presentation managed to captivate her.

If even agents like her, who knew the truth, could be drawn in, it was no surprise that casual viewers were enthralled.

In fact, many audiences left the theater believing the film depicted the real story of these superheroes.

Within three days of its release, Heroes Unleashed soared to the top of the North American box office.

With a cumulative gross of $28 million, the movie had already recouped its production and marketing costs in just three days, reaffirming Allen’s reputation as the “father of mockumentaries” and a box office powerhouse.

Some media outlets even preemptively crowned Allen as Hollywood’s most profitable and frugal director.

This claim wasn’t entirely unfounded.

Mockumentaries, by their nature, tend to perform strongly in their initial box office runs before quickly declining, with total earnings typically capped at $200–300 million. However, their production costs were minimal.

Since the release of the first mockumentary, The Blair Witch Project, even the priciest among them—like Heroes Unleashed—had budgets of only $15 million.

By Hollywood standards, this was barely a mid-tier production.

Yet, in Allen’s hands, these low-budget films consistently turned into box-office dark horses.

Time after time, Allen delivered hits, forcing Hollywood studios to adapt. Most avoided releasing competing films against his projects, as their larger-budget productions weren’t worth risking against his modestly funded juggernauts.

This strategic avoidance gave Allen significant breathing room. With minimal competition, Heroes Unleashed experienced a meteoric rise, crossing $100 million in its first week.

---

With the box office surpassing $100 million, media outlets began to shower the film with praise.

“This movie features sharp characters, stunning visual effects, and a gripping moral conflict. The director skillfully weaves emotion and spectacle, delivering a groundbreaking take on the superhero genre. — San Francisco Chronicle”

“Following The Blair Witch Project and Paranormal Activity, Allen once again perfects the art of the mockumentary. — Los Angeles Times”

“This is a collision of reality and fantasy, blurring the line between what is real and what is imagined. — Rearview Mirror”

---

“Congratulations, Allen. Yet another blockbuster from your hands,” Ron Meyer of Universal Pictures said over the phone as soon as the day’s box office numbers were in.

Universal had once again hit the jackpot by choosing Allen to direct. The film not only captured market attention but also filled Universal’s gap in the superhero genre.

“This success isn’t mine alone,” Allen replied modestly.

For him, directing Heroes Unleashed had simply been a job for hire. While he had been confident in its box office potential, the film’s rapid rise exceeded even his expectations. He had initially predicted a slowdown after the first few days, considering the mockumentary format wasn’t new and could have led to audience fatigue.

Apparently, he had underestimated its appeal.

(Chapter End)

*Chapter 274: Sequel Invitation*

To everyone's surprise, while "mockumentaries" were no stranger to the big screen, combining the mockumentary style with the superhero genre was an unprecedented concept.

The storyline depicted in the film resonated deeply with most Americans. For example, the inefficiency of the New York City government in repairing the destruction caused by "Andrew" and his group's battles left a lasting impression.

During the promotional phase, Universal Studios took full advantage of the situation. They organized a donation campaign with Allen and his team at the film's shooting locations, using every possible marketing strategy to maximize exposure.

This effort proved effective, providing a significant boost to the film's box office success.

"According to Universal's estimates, Heroes Unleashed is likely to achieve a domestic box office of $300 million, with global earnings expected to surpass $600 million. The movie has performed particularly well in Japan and Mexico," said Ron Meyer over the phone.

Even without seeing him, Allen could imagine the expression on Ron Meyer’s face.

Recent media reports hinted at internal personnel changes at Universal, with Ron Meyer expected to benefit from the reshuffle. Universal had achieved remarkable growth in the film market in recent years, especially with the success of several films co-produced with Allen. Unless they were completely irrational, Universal would undoubtedly reward such a valuable contributor.

It wouldn’t be long before the "Vice" in Ron Meyer’s title as Vice President would likely disappear.

However, this internal promotion wasn’t the main reason for Ron Meyer’s call.

After offering congratulations, Ron Meyer quickly revealed the true purpose of his call:

"Universal is very pleased with Heroes Unleashed's box office results. We’d like to capitalize on the film’s current popularity by producing a sequel, with you returning as the writer and director."

Producing sequels to hit movies or shows is a standard practice in Hollywood.

Though the success of Heroes Unleashed meant that hiring Allen for the sequel would significantly increase production costs, Universal believed the potential returns justified the investment.

"You already know, Ron, Heroes Unleashed was never intended to have a sequel from the start," Allen replied, his suspicion confirmed the moment he received the call.

He expressed his disinterest in continuing the project:

"By the end of the film, two of the three main superheroes are already dead. Under these circumstances, it’s nearly impossible to develop a meaningful continuation with just one surviving protagonist."

While Allen cited the deaths of key characters as the primary reason, the real issue was that he had no ideas for a compelling sequel. In the original universe, Chronicle never received a sequel despite its success, likely because its creators faced similar challenges in continuing the story.

From Allen's perspective, the plot of a "mockumentary" had already been thoroughly explored.

"I understand…"

On the other end of the line, Ron Meyer was clearly aware of Allen's concerns.

Nevertheless, given the opinions of the board and the film’s commercial success, Ron couldn’t help but propose:

"Perhaps we could introduce a new character who gains powers from the same crystal, create a new supervillain, or even resurrect one of the deceased characters. Alternatively, we could produce a prequel focusing on their backstories."

In Hollywood, resurrection isn’t an unusual trope.

Take 20th Century Fox’s X-Men series, where fan-favorite characters often die and then return in sequels. If they don’t, prequels or alternate timelines are created to bring them back.

Although Universal was earnest in inviting Allen to direct the sequel, he remained uninterested.

This year alone, Allen had been involved in enough films and TV projects to earn a fortune. The revenue from two box office hits had already left him financially secure for life. Even if he retired from filmmaking, the royalties from his existing works would ensure his comfort.

For Allen, Hollywood was now little more than a hobby. With his unique system, most of his focus was directed toward creating and evolving real-world scripts.

During the promotional campaign for Heroes Unleashed, he had generated numerous ideas that required time to refine and develop into new projects.

"Alright, if you insist," Ron Meyer finally relented, sensing the firmness in Allen's tone.

After all, Allen was no longer the struggling filmmaker who once begged Universal for resources.

Now, his reputation meant that any production company would gladly fund his next project.

"Oh, by the way, the DVD sales for Paranormal Activity: Kinetic from last quarter have been finalized, and Universal is processing the royalties. The digital distribution revenue will also be included soon. Over the past few years, the online film market has grown rapidly, with more viewers preferring to stream movies."

Universal and Allen continued their mutually beneficial partnership.

One key reason was, of course, profit.

Hollywood studios were notorious for their creative accounting, often turning profitable films into "losses" on paper. A famous example is Warner Bros.' handling of the Harry Potter series.

Universal, being equally skilled in such tactics, could have easily reduced Allen's earnings. However, given their reliance on his talents for future collaborations, they had maintained a fair approach.

This decision, in hindsight, was also Universal's good fortune.

Any attempt to shortchange Allen would not only lead to legal repercussions but also cost them a valuable ally.

(Chapter End)

*Chapter 275: "Strange Tales"*

In the following month:

Heroes Unleashed continued to dominate the North American box office, amassing a total gross of $280 million and effortlessly retaining its position as the top movie.

Meanwhile, Universal Vice President Ron Meyer hinted at the possibility of a sequel during a media interview. However, fans were disappointed to learn that the director and screenwriter of the first movie, Allen, might not be involved in the sequel's production. This news left fans eagerly awaiting the sequel feeling regretful.

Some even speculated that without Allen’s involvement, Heroes Unleashed 2 was destined to fall short of its predecessor.

Conversely, some viewers shared a different opinion, believing that the plot of the first Heroes Unleashed was already complete and compelling enough to stand alone. They argued that a sequel was unnecessary since the real-life story had been entirely captured in the first film. Any continuation would require fabricating new plotlines without a factual foundation, undermining the essence of the "mockumentary" style that defined the film.

Debates about a sequel to Heroes Unleashed raged on.

However, Allen, one of the central figures in this discourse, seemed indifferent to the clamor.

For Allen, Heroes Unleashed was merely a job—a project completed upon the film's release.

As for the sequel, Universal had already offered a fair price to acquire the rights.

Even if the sequel flopped, it would be Universal's loss, not his concern.

Instead, Allen's focus shifted elsewhere.

After a month-long break to recharge, Allen remembered his other identity beyond being a Hollywood filmmaker.

He began preparing for a new evolutionary project.

During his break, Allen wasn’t idle. He brainstormed ideas for his next script.

His global promotional tour for the film had taken him to numerous countries, where he recorded many suitable locations for future evolutions.

Choosing the next setting for his script, however, proved challenging.

Logically, staying in the United States made the most sense. He was familiar with both the main narrative and the BSI storyline, and it would be easier to craft a script by expanding on the “Dark Rising” arc or using foreshadowing involving Amanda or Spike. A complete script could be created in no time.

Still, repeatedly working in the same place, even with varied content, felt monotonous to Allen.

Initially, Allen had planned to set his new script in Hong Kong.

After all, he still hadn’t utilized the [Lin Jiuying] card.

Unfortunately, during his tour, his only interaction with Hong Kong was during a layover, and the locations recorded by the system were vastly different from his intended script setting.

“It seems this place will have to do…”

After weighing his options and eliminating unsuitable places like Mexico, Allen finally narrowed it down to Kyoto and London.

After some deliberation, he selected Kyoto as the setting for his next script.

---

*Script 11: "Strange Tales"*

*Plot Overview:* Kyoto, an ancient capital with a thousand years of history, has long been a hub for strange tales.

Over time, many of these tales have faded into obscurity.

Yet new ones continue to emerge, nestled within the internet, schools, and the daily lives of ordinary people. These stories may seem distant, but in reality, they are intimately connected to our world.

Perhaps, at the next corner or in the blink of an eye, the protagonist of one of these tales will silently appear by your side.

*Kyoto, Horikawa Municipal High School:*

A long-awaited reunion of former classmates takes place, twenty years after their graduation.

Amid the gathering, the group reminisces about their shared memories from middle school. The reunion’s purpose is to unearth a time capsule buried two decades ago and rediscover what their younger selves had left behind.

Twenty years have passed, and much has been forgotten.

The only thing they vividly recall is a name: Keiko.

Surprisingly, Keiko wasn’t a popular student but was instead known as an eccentric figure mocked for her peculiar behavior.

---

Given the unique setting, Allen tailored the script to match local cultural characteristics.

Drawing from his experience with London Zombies, he realized that while the script was entertaining, it didn’t align well with its setting. To avoid repeating this mistake, Allen ensured that Strange Tales seamlessly blended with its Kyoto backdrop.

After completing the script in the system’s interface, Allen immediately incorporated his prepared [Materials].

*[Materials]:*

1. Landline Telephone – 30,000 [Story Points]

2. Local Souvenirs – 50,000 [Story Points]

3. Hyakki Yagyō Illustrated Scroll – 80,000 [Story Points]

4. Capsule Model – 20,000 [Story Points]

Most of these materials were souvenirs Allen had purchased during his travels. Using them in the evolution process was far more practical than letting them collect dust.

“Ding! Some plot elements deviate from existing storylines. Additional [Story Points] will be required to refine the evolution. Proceed?”

Allen, unfazed, confirmed the prompt with practiced ease.

With his confirmation, the system moved to the next stage.

“Ding! Materials verified. Evolution of the script will require a total of 400,000 [Story Points]. Please select the evolution location!”

“Select Location 1: Kyoto!”

“Ding! Using this location will incur additional [Story Points] for evolution. Proceed?”

This time, Allen hesitated slightly. He glanced at the prompt, knowing that choosing a location outside the United States without a [Random Evolution Card] would be costly.

Still, the script was in its final stages. There was no turning back now.

“Ding! Confirmed. Total [Story Points] required: 1,200,000. Proceed with evolution?”

“Confirm!”

*[Evolution Initiated]*

(End of Chapter)