221-225

Chapter 221: Oddities of the Spirit Realm

“In this world, the majority are often just ordinary people like you and me.”

Faced with Hemingway’s explanation, Allen turned again to gaze at the chaotic yet strangely orderly world before him.

A sense of clarity arose within him.

It seemed that not only in the physical world but also in the Spirit Realm, the majority were spirits of this Middle World variety.

“Repent now! You sinful souls! Only by embracing the teachings of God can you attain the eternal life granted by Him! That is the only way to salvation!”

As Allen mulled over his thoughts, a spirit dressed like a priest began loudly praying nearby.

Noticing the spirit’s actions, Allen’s expression turned puzzled. He glanced at Hemingway beside him, only to find the latter wearing a look of indifference.

In the distance, after repeated prayers elicited no reaction from the surrounding spirits, the priest-like spirit abruptly abandoned its pious demeanor, adopting a threatening tone:

“You were born into the world burdened with sin, and as humans, you refused to heed God’s teachings. That’s why you’ve ended up in the Spirit Realm, barred from entering Heaven! But it’s not too late. As long as you follow God’s commands and train yourselves diligently here in the Spirit Realm, you will one day reach Heaven! I was sent here by God to educate and reform you.”

Witnessing the priest’s sudden change in tone, Allen’s expression turned slightly odd.

At the same time, the spirit’s words shifted from prayer to outright curses:

“Wretched! Those who reject God’s teachings will surely face punishment! Soon, a flood akin to Noah’s will sweep through the Spirit Realm, claiming the lives of all who remain unrepentant. The most sinful among you will be crushed by stones falling from the heavens before the flood even begins!”

“It’s just a self-righteous spirit,” Hemingway muttered, noticing Allen’s inquisitive look.

“In the Spirit Realm, no one can deceive themselves. In life, people could use knowledge, status, or authority to fool others. But here, that’s no longer possible. When humans die and become spirits, what remains is their most primal core—their memories as spirits.”

“In the process of crossing the ‘River,’ only the most vivid and unforgettable memories survive. Take that priest, for example. While alive, as a clergyman with an authoritative position, people believed his teachings. Yet he mistakenly attributed this to the greatness of his sermons. That respect left a deep impression on him, persisting even after he entered the Spirit Realm. Oblivious to his delusion, he continues preaching here, though his real motivation is nothing more than a selfish desire for reverence.”

“Spirits like him are common in the Middle World. Most are self-important politicians who mistook public trust for their own greatness. Even after entering the Spirit Realm, they remain trapped in those memories.”

It’s like wearing a mask for so long that even the wearer starts to believe it’s real.

Hearing Hemingway’s explanation, Allen raised an eyebrow and glanced again at the priest, who had resumed his pious prayers after cursing moments ago.

Allen had never held high expectations for clergy, given the mountain of scandals surrounding them in the real world.

“Now that we’ve reached the Middle World, the rest of the exploration is up to you,” Hemingway said abruptly, withdrawing his gaze from the distant spirit.

Waving an arm, he summoned an old-fashioned car that stopped in front of him.

The famous writer, a lifelong lover of alcohol, seemed unable to forget his fondness for it even as a spirit. In the Spirit Realm, a large group of spirits shared this obsession, many of them clinging to their final memories of drinking before death. Some even hailed from the Prohibition era.

Watching Hemingway climb into the car and leave without looking back, Allen shrugged. He didn’t seem particularly dissatisfied. As Hemingway had pointed out, now that he had reached the Middle World, Allen’s main purpose in exploring the Spirit Realm had been fulfilled.

From this point on, it was just a matter of wandering around and gathering material for his script about the Spirit Realm.

With that in mind, Allen started walking down the street. Passing the priest-like spirit, he heard it continuing to pray and curse endlessly.

Crossing a street with a distinctly modern vibe, Allen turned a corner.

In the next moment, the scenery abruptly shifted from a modern city to a medieval European castle.

Glancing at the golden fields surrounding the castle, Allen turned to look back at the bustling, modern streets he had just left. Despite Hemingway’s earlier explanation, this stark contrast still left him feeling slightly uneasy.

Following the cement path leading to the castle, Allen noticed a man dressed in luxurious medieval attire. The man wore a sparkling ring on his finger and kept muttering the name “Capet,” which seemed to hold significant meaning for him.

Clearly, this spirit must have been a notable figure in life. But here in the Spirit Realm, his once-glorious background was gone. Yet he remained immersed in his past, much like the priest Allen had encountered earlier.

As he passed through the castle, Allen saw more spirits like this man along the way.

Having seen plenty of these types, Allen’s initial curiosity had long given way to indifference. Ignoring the spirits lost in their memories, he continued on.

Emerging from the castle, he found himself in a city resembling one from the 1950s or ’60s.

In this city, Allen observed two distinct groups of spirits—one black and the other white, sharply divided.

Within the black-clad group, a spirit in a suit waved its arms passionately, seemingly making a grand declaration.

In the white-clad group, another spirit was fiercely opposing it.

Soon, a violent conflict erupted between the two groups as they launched aggressive attacks on each other.

“It’s happening again…”

Nearby, a spirit watching the commotion shook its head with a look of resignation.

“Even as spirits, they can’t forget their colors.”

(End of Chapter)

Chapter 222: Return to Reality

San Marino.

The Voodoo Doll held its tiny trident high, bouncing and hopping across the dining table as it "patrolled." Every time it passed a certain spot, the doll would tilt its yarn head and fix its button eyes on the doorway.

This had already been its umpteenth time circling the vicinity of the door.

Tilting its head again, the Voodoo Doll retracted its gaze and turned to continue its unfinished patrol.

Click—

Just as the doll turned, the familiar sound of the door unlocking came from outside.

Hearing this, the previously dejected Voodoo Doll spun around so fast that it almost stumbled.

But it didn’t care.

Shaking its yarn-covered head, it spotted Allen stepping through the doorway. Waving its toothpick-sized trident, the doll leapt from the table. Its tiny body bounced on the floor like a rubber ball before it stood upright, dusted itself off, and dashed toward Allen on its short legs.

"Alright, I’m back."

"You’ve worked hard."

Allen crouched down and picked up the Voodoo Doll, which had grabbed onto his pant leg and was attempting to climb him.

Patting its fluffy yarn head, Allen smiled. Despite having glimpsed the demonic hair lurking within the doll during its earlier transformation, it didn’t make the doll any less pleasant to touch.

The Voodoo Doll enjoyed the affection, rubbing its head against his hand in response.

After ruffling the doll’s soft head for a while, Allen finally pulled his hand back, albeit a bit reluctantly.

"Alright, go play now."

He placed the Voodoo Doll back on the dining table, giving its head another pat.

Allen then sat down at the table, his mind wandering back to his recent journey through the Spirit Realm.

The entire trip had been a rollercoaster of danger and wonder. If it hadn’t been for the Spirit Realm Ticket that allowed him to leave at any time, he might have perished in that perilous realm as soon as he stepped into the rust-red world of memories.

However, the ticket provided him with the confidence to explore the Spirit Realm freely, leading to a thrilling adventure.

The Midworld was the largest of the three realms—upper, middle, and lower—within the Spirit Realm.

There, Allen encountered spirits from various times and places. The differences in their respective memories, shaped by when they died and entered the Spirit Realm, resulted in vastly diverse landscapes.

Constructed from the collective memories of these spirits, the Midworld was immense. Allen’s brief exploration barely scratched the surface—not even one-thousandth of it. Yet even this cursory glimpse left him in awe.

After all, no matter how detailed the descriptions in a script were, they could never compare to the vividness of experiencing it firsthand.

Witnessing a mysterious world birthed from his own script gave Allen a new appreciation for being called a "Creator" by the characters in his stories. It also heightened his anticipation for the worlds he would craft next.

However, before diving into a new script, he had to fulfill his promise to Universal Studios by finishing the superhero movie script.

Suppressing the excitement stirred by his journey through the Spirit Realm, Allen took a deep breath and refocused on the phone call he’d had with Ron Meyer.

Though the call had taken place not long ago, Allen felt as though an eternity had passed.

…

"Allen, you’re finally here."

New York, Universal Studios.

Ron Meyer greeted Allen with a warm smile, shaking his hand as he arrived at the company. Meyer wasted no time sharing his thoughts on the recently completed movie script.

"I’ve read the new script—it’s fantastic! The character setups for the three protagonists in the first half are so realistic that they almost feel like actual events."

"I owe that to Universal’s collection of news reports and recent media investigations."

The New York superhero incident had left a profound impact, sparking a surge in superhero-themed Hollywood films while also becoming a hot topic for media outlets.

In their race for headlines and exclusives, major and tabloid media alike had extensively investigated the backgrounds of Andrew and his two companions. Thanks to their reports, Allen learned details about the trio’s past that he hadn’t known—even though they were characters he had created.

When writing his script, Andrew and the others had emerged fully formed in their current states, with little emphasis on their backstories. Like watching a movie, the protagonists’ pasts often remain a mystery unless the film is a biography.

However, the tabloid media cared little for such conventions. Knowing the public’s fascination with superheroes, they delved into every aspect of the trio’s lives.

Using the information from these reports, Allen pieced together a plausible backstory and revised his script, incorporating elements of Chronicle to craft the new screenplay titled Unleashed Heroes.

"In fact," Ron Meyer continued, "Universal has already decided to greenlight Unleashed Heroes, aiming to release it ahead of other superhero films and dominate the market."

Though still a "found footage" film, Unleashed Heroes differed significantly from Allen’s earlier projects, particularly in its use of special effects.

During the televised New York superhero incident, much of America had witnessed Andrew and his companions in action.

To recreate those scenes, the film would require substantial investment in visual effects.

Universal’s evaluation estimated that replicating the battles alone would cost at least $5 million, not including other production expenses.

(End of Chapter)

Chapter 223: Inviting the Director

According to calculations by Universal Pictures, the production cost of the movie Hero Unleashed is approximately $15 million.

While this investment might only rank as medium-to-low in the landscape of Hollywood movies, it’s an astronomical budget for a "mockumentary" film.

After all, Allen's previous "mockumentary" project, Paranormal Activity, was made on a budget of just a few hundred thousand dollars.

The leap from a few hundred thousand to $15 million is starkly evident, underscoring the scale of this new venture.

Naturally, with such a significant increase in costs, Universal exercised caution in selecting a director. They logically turned to Allen, the scriptwriter of the project, and deemed him the ideal choice to helm the film.

Had it been another genre, Universal might not have been so insistent.

Hollywood has no shortage of excellent directors, and compared to these seasoned professionals, Allen—relatively new to directing—might not even come close.

However, within the niche of "mockumentary" films, Allen stands unrivaled.

Allen has practically pioneered this genre, whether through the controversial and box-office success The Blair Witch Project, the recently released Paranormal Activity, or even the hit mockumentary TV series Modern Family on ABC. He consistently explores new variations of the mockumentary format across movies and TV shows.

Remarkably, every project he undertakes in this genre manages to achieve significant box-office or viewership success.

In terms of directing, Allen is a specialist—his talent is laser-focused on the "mockumentary" style.

---

“Invite me to direct the new film?”

New York, Universal Pictures.

When Ron Meyer, Vice Chairman of Universal, extended the invitation, Allen raised an eyebrow, though he felt little excitement internally.

By now, Allen was no longer the inexperienced newcomer he once was.

He had established himself in Hollywood with the success of Modern Family, held the rights to the Paranormal Activity film series, and earned recognition as a rising talent.

Under such circumstances, he didn’t see much value in being the director of Hero Unleashed.

In fact, he’d rather spend his time working on the next screenplay.

“You know, Mr. Meyer, I’m a writer at heart, not a director. I’m not even a member of the Directors Guild.”

Detecting Allen’s hesitation, Ron Meyer grew more persistent.

For most other movies, Universal would have simply moved on to another candidate—Hollywood has no shortage of directors.

But given the uniqueness of Hero Unleashed and the board’s stance, Meyer had to try harder to convince Allen.

And what better way to persuade someone than with significant financial incentives?

“Five million—that’s Universal’s initial offer, Allen,” Meyer said. “If you agree to direct Hero Unleashed, your compensation will total $8 million.”

“Does that include the screenwriting fee?”

Hearing the number, even the wealthy Allen couldn’t help but feel a twinge of temptation.

“Of course not,” Meyer replied.

The $8 million was purely for directing, exclusive of the screenwriting fee.

In Hollywood, a director’s paycheck of $8 million is considered high-tier. Only the biggest commercial directors earn $10 million or more. Universal’s willingness to offer such a figure stemmed not only from Allen’s achievements in the mockumentary genre but also the remarkable box-office performance of The Blair Witch Project and Paranormal Activity.

These successes had established Allen’s credibility, particularly in creating films with strong commercial appeal.

---

In Universal’s New York office, Allen remained silent for a few seconds after hearing the offer.

Finally, he looked up at Ron Meyer and sighed. “Alright, Ron, you win. I’ll direct Hero Unleashed.”

Even a master storyteller has to live in the real world.

Allen had been eyeing a house in Beverly Hills and wanted to move out of his current home in Little Beverly Hills.

But houses in Beverly Hills aren’t cheap—not even for someone like him.

Between a Beverly Hills mansion and his next screenplay, Allen only hesitated briefly before making his decision.

A script could wait, but an $8 million director’s paycheck? That kind of opportunity might not come around again.

Moreover, this deal would set a benchmark for future invitations from other studios.

As for whether the movie would lose money? Allen wasn’t worried.

The superhero genre was thriving, and Hero Unleashed wasn’t just a random script. It cleverly combined elements of the original-world film Chronicle with the current trend of superhero stories. Coupled with the unique “mockumentary” style, the film was sure to draw audiences to theaters.

---

*"Universal Pictures announces its first 'superhero' movie, directed by Allen, known for writing and directing hit films like The Texas Chainsaw Massacre, The Blair Witch Project, and Paranormal Activity."*

*"Superheroes meet the 'mockumentary' genre—a groundbreaking collaboration!"*

*"As the superhero trend dominates, Universal enters the race. Is this innovation or an industry in decline?"*

(End of Chapter)

Chapter 224: Filming a Movie

Allen was no longer an unknown figure in Hollywood.

After all, whether as the screenwriter of The Texas Chainsaw Massacre or the director of The Blair Witch Project and Paranormal Activity, he had achieved remarkable box-office success. These accomplishments were rare even in the competitive world of Hollywood.

It was no exaggeration to say that every major production company in Hollywood eagerly sought to collaborate with Allen.

Directors like James Cameron, despite their astounding achievements in commercial cinema, often operated with exorbitant budgets. Allen, on the other hand, had maintained remarkably low production costs—none of his films since The Texas Chainsaw Massacre had exceeded a $10 million budget.

Even Chronicle, marketed with a $15 million price tag, saw profits so immense compared to The Blair Witch Project and Paranormal Activity that no studio would hesitate to invest $20 million or even $30 million if it meant working with him.

Hollywood, at its core, is a profit-driven industry.

As long as a director can generate revenue, even the worst filmmaker will always find opportunities knocking at their door.

---

"Scene 42, shot 3 of Chronicle. Action!"

While Allen's new film, Chronicle, also adopted a "found footage" style, it differed significantly from his earlier works. This was evident even in the angles captured by the handheld DV cameras.

In The Blair Witch Project and Paranormal Activity, the handheld DV angles, while shaky, were simply moved by the actors’ arms, requiring minimal directorial finesse. Realistic, even haphazard movements sufficed.

This simplicity was why Allen had dared to direct those films himself.

Such "found footage" films inherently demanded the least technical expertise from a director.

However, this approach proved less viable for Chronicle.

During the early scenes, before the protagonists acquire their superpowers, this rough filming style might still pass. But once the characters transform into superheroes, the requirements for DV camera angles become one of Allen’s biggest challenges.

One particular scene in the script briefly noted: “The protagonist, Dane, uses his telekinesis to levitate the DV camera, capturing footage of the group using their powers.”

For the director, however, this meant meticulously planning the camera's movement to ensure the audience could see the levitating camera without it feeling unnatural.

To bring this vision to life, Allen spared no effort.

If not for his familiarity with Chronicle as a reference, enabling him to replicate its techniques, the filming schedule might have been delayed indefinitely. Even with a blueprint to follow, the filming had already stretched over a month—making it Allen’s longest shoot to date.

Of course, if his thoughts were shared with veteran Hollywood directors, they would undoubtedly roll their eyes.

A month-long shoot? That’s standard. Many films don’t even get a third of the way through their scripts in a month. Large-scale scenes alone can eat up two weeks.

Yet for Allen, Chronicle was nearing completion after just one month of filming.

With such efficiency and consistent box-office hits, it was no wonder directors like James Wan felt pressured.

---

On set, following Allen’s command:

“Calm down, Michael! We’re friends. Have you forgotten our time as superheroes?”

The leads of Chronicle sprang into action, suspended against a green screen as they delivered their lines.

In the story, Andrew and his friends’ battle occurs in the heart of New York City.

Naturally, the actual filming couldn’t take place there—especially since the real-life damaged streets hadn’t been fully repaired and didn’t match the film’s opening visuals.

Thus, this part of the scene relied heavily on post-production effects.

Moreover, securing permits for filming in New York’s bustling downtown was costly and time-consuming. CGI was a far simpler solution.

“Michael, we can leave now. Let’s fly away from here…”

The actors, suspended less than two feet above the ground, worked hard to simulate a floating sensation. A massive fan nearby simulated gusts of wind to enhance the illusion.

“Superhero? Now I’m a supervillain—a top predator!”

Opposite the protagonist Dane, the actor portraying Michael—the movie’s villain—smirked wickedly. His bulky frame and special effects makeup obscured his true face, resembling the character “Steve” caught on TV footage during the earlier New York battle.

This choice ensured viewers could better connect the movie to that climactic confrontation.

The only noticeable change? Michael’s actor was white, while the real-life “Steve” was Black.

This decision aligned with Hollywood’s pursuit of political correctness.

Given the growing sensitivity around racial discrimination, casting a Black actor as the villain might provoke backlash from certain groups. If exploited by opportunists, it could spiral into accusations of racism—an outcome the film’s producers wanted to avoid.

Instead of courting unnecessary controversy, the team opted to recast the role.

Chronicle, after all, leaned heavily on the premise of superheroes losing control.

The storyline could easily be misconstrued as perpetuating racial stereotypes, especially if the "out-of-control" character happened to be Black.

Rather than risk such complications, the filmmakers preemptively avoided potential pitfalls. With CGI and clever camerawork, the difference was barely noticeable.

(End of Chapter)

*Chapter 225: The Circus Has Arrived*

Regardless of the circumstances, Allen had already directed several consecutive films.

The filming of Heroes Unleashed faced some minor setbacks initially, but by drawing inspiration from the alternate world’s Chronicle, the production was successfully completed.

In the following days, scenes for the pivotal New York battle were shot against a green screen.

With that, the movie Heroes Unleashed officially wrapped up filming.

The post-production editing and visual effects will be handled by Universal.

Universal invested $15 million in this film, with a significant portion allocated to Allen’s director’s fee.

This, however, doesn’t mean Universal is taking Heroes Unleashed lightly. On the contrary, from the early stages of development, Universal has paid close attention to the project.

As soon as filming concluded, the production team dived headfirst into the intense work of editing and visual effects.

During the time Allen was filming Heroes Unleashed, the market saw a surge of copycat superhero movies attempting to emulate the New York battle. Due to their subpar quality, these films failed to make much of a splash, but their sheer volume still made Universal feel a sense of urgency.

Determined to beat the competition, they pushed to complete the movie as quickly as possible.

“My suggestion is to revisit recent news, especially footage of the New York battle captured by TV stations. If possible, purchase the rights to those clips and integrate them into the movie. This approach not only adds authenticity but also reduces the cost of producing certain battle effects…”

With the filming done, Allen was no longer deeply involved in the editing process.

He wasn’t exactly a responsible director; his decision to take on the job for Heroes Unleashed was purely because Universal’s offer was too enticing to refuse.

In San Marino, Allen shared some thoughts on post-production with Ron Meyer over the phone before hanging up.

Stretching lazily, he moved the [Voodoo Doll] resting on his lap to the side.

Pulling out the [Clockwork] device, he entered the “Clockwork Space.”

As he gazed at the room filled with spinning gears and clockwork mechanisms, a thoughtful expression crossed his face.

After taking a break following the movie shoot, it was time to start working on a new script.

---

*Script 10: The Circus Has Arrived***

*Plot Overview:* Since the “Superhero Battle” in New York, supernatural powers, once confined to movie plots, have begun manifesting in the real world.

However, this is merely the tip of the iceberg. The forces of darkness never truly disappeared. On the contrary, they’ve been lurking in the shadows, and now it seems they are ready to rise and return.

Reports online claim that mysterious supernatural creatures have been spotted in Texas.

A couple walking in the woods reported encountering a bizarre humanoid creature. It stood over ten meters tall, emaciated, with mummified, rust-colored flesh stretched over its frame. Its disproportionally long limbs ended in massive skeletal hands. Its head and neck were replaced by a thin, fleshy rod supporting two blaring sirens.

This strange creature caught the attention of the Federal Special Department, BSI.

But this is only the beginning of the story…

---

The tremendous success of the Odd Tales script, especially its contribution to the [World Evolution Rate], had given Allen a clear preference for similar creations.

He enjoyed crafting scripts like Odd Tales—developing a broad narrative framework while letting participants drive the story forward. As a capable mastermind, he intervened only when the plot deviated from expectations, using [Plot Points] to make corrections.

With 1.5 million [Plot Points] at his disposal, Allen felt confident that even significant story deviations could be corrected easily.

“Now that the script is done, it’s time to prepare the [Materials].”

Having worked extensively with the system, Allen had become proficient in its operations.

It didn’t take long for him to gather the materials for the script.

- *Material 1*: Siren Horns — 20,000 [Plot Points]

- *Material 2*: Tent — 60,000 [Plot Points]

- *Material 3*: Candles — 10,000 [Plot Points]

- *Material 4*: Cane — 15,000 [Plot Points]

- *Material 5*: Feathers — 15,000 [Plot Points]

The new script, The Circus Has Arrived, involved many characters, so the preparation required numerous materials. Allen hesitated briefly as he looked over the items, then decided to take a stack of [Black Iron] cards from the system’s inventory.

Initially, he had intended to use these cards for something else, but after reconsidering, he felt this script was more suitable for them.

At this point, [Black Iron] cards held little value for him, so rather than waste them, he decided to put them to better use in a meaningful script.

Still, he couldn’t help but wonder what expression the circus leader might have if they knew about this decision.

With the materials ready, the system displayed a familiar prompt.

“Ding! Some script elements involve external plot development. Additional [Plot Points] are required for evolution and correction. Proceed?”

As the script’s impact on reality grew, such prompts had become more frequent.

Unconcerned by the system’s skewed text, Allen decisively confirmed.

“Ding! Materials are valid. Script generation requires 500,000 [Plot Points]. Select the evolution location!”

“Choose Evolution Location 1—Texas!”

“Ding! Location confirmed. Total evolution cost is 650,000 [Plot Points]. Proceed with evolution?”

Six hundred and fifty thousand [Plot Points] would have been astronomical in the past.

But now, with 1.5 million [Plot Points] at his disposal, Allen remained unfazed. After all, these points weren’t spent frivolously. Instead, as the script evolved, more [Plot Points] would return.

After all, one must give to gain.

With this mindset, Allen calmly confirmed the system’s prompt.

*[Evolution in Progress]*

---

(End of Chapter)