Surviving as a Plagiarist in Another World

Since the late 20th century of my previous life, the literary world had been suffering from a severe drought of writers.

There were many reasons one could cite for this, but there was one claim that had been consistently repeated in the literary world for over 20 years.

It was the assertion that “all the talented writers are moving into TV scriptwriting.”

About this claim, well, it was hard to say much.

After all, many TV writers chose the profession because they were drawn to the glamour of the “broadcast” medium, so there was no guarantee that those who didn’t become TV writers would turn to novel-writing.

Considering that one of the roots of literature was Greek tragedy, the claim that “people are writing scripts instead of novels!” seemed a bit absurd.

Moreover, one of the main sources of income for Korean novelists in the 21st century was from the rights to adapt their works into visual media.

Regardless of whether the adaptation actually happened, TV stations would buy up adaptation rights, and after passing through the hands of scriptwriters familiar with broadcast plotlines, the works would be slightly modified and turned into scripts.

The 21st-century “video industry” was more of a symbiotic partner to “literature” rather than a competing force battling for dominance.

This was due to Korean broadcasters competitively purchasing adaptation rights to secure content.

In most other countries, aside from so-called “bestsellers,” the income from books equaled royalties, and if the books didn’t sell, authors simply had to twiddle their thumbs.)

Anyway.

When it came to competitive dramas or high-quality films, they often directly and effectively served as marketing tools for “literature.”

That was because of one thing.

“We’re planning to release the movie and the novel simultaneously, along with a major promotional campaign.”

“Yes! I’ll get started right away!”

It was “leveraging the original work.”

Publishers would sell books under the banner of “the original work of a trending drama,” utilizing the marketing power of visual media to drive book sales.

Conversely, scripts were adapted into “novels” and published as collectible items for fans who loved the works.

Simultaneous releases were one such marketing tactic.

“Let’s test our promotional abilities this time. Use newspapers, flyers, and banners from publishing houses—don’t skimp on the budget.”

“Huh?”

“This is going to be a cultural milestone in film; let’s go big.

Partner with art support foundations, establish support plans for other authors, and monopolize the publicity.”

“Is… is film really that significant?”

President Kindersley was a capitalist who had no trouble watching magic plays.

Given his influence in the arts and culture world, he didn’t even need to buy tickets; VIP seats would be arranged for him wherever he went.

This made him question whether such effort was necessary for something like a “film.”

Truthfully, I wasn’t much of a film enthusiast myself.

“Advancing arts and culture as a whole also advances literature.

Since the essence of reproducible art lies in ‘content,’ scripts could also be considered a form of literature.”

“Aha!”

The reason I was preparing such a marketing campaign for the White Magic Tower’s new movie was simple.

It just felt good.

Seeing films or dramas labeled as literary originals gain popularity in literature’s wake… it was satisfying, in a way.

Perhaps it was a slightly twisted sentiment, but for me as a literary enthusiast, the fact that “literature” could lead the content industry of visual media was a form of “self-satisfaction.” ɽÂ𝐍ỒＢË𝘴

In the 21st century, when people no longer read literature, its “content potential” became one of the few strengths literature could still assert.

Although this trend was gradually weakening in the 21st century…@@novelbin@@

I still believed that this potential as “content” was one of literature’s greatest strengths.

Even if times changed and no one read books anymore, it was an enduring strength that would never fade.

Perhaps because I was more drawn to “stories” than “sentences” as a translator within the field of literature.

“So, I’m counting on you, President.”

“Leave it to me, author! I’ll make this project a success even if I have to break my bones and smash my body!”

“…Take it easy, take it easy.”

The Wizard of Oz.

One of the greatest fairy tales had finally been published in the Empire.

“At last! A new fairy tale from Homer has been released!”

“This work must be something like Alice in Wonderland, right? Oh, I can’t wait.”

Homer had written many works, but the ones particularly beloved by the public were his “fairy tales.”

The Little Prince, Alice in Wonderland, Through the Looking Glass…

And now, the list included The Wizard of Oz.

Parents with children sat by their beds, reading fairy tales until their little ones fell asleep.

However.

This time, something new was added to that routine.

“But what’s this? A movie…?”

“Judging by what’s happening at the theater, isn’t this a play?

It seems they’re performing it alongside the release of The Wizard of Oz.”

“Wow, in that case, we can’t miss the first show. Let’s go right away!”

Film.

A new type of cultural medium being screened at the White Magic Tower’s Filanelgia Theater.

Some people knew what movies were, but most of them did not understand what the word “movie” meant.

So, people flocked to the theater with questions and expectations about “movies.”

“What is that? A wall painted completely white…?”

“It looks like a solid curtain. Are they going to show some shadow play using magic?”

“Ah.”

Sitting in their seats, they faced the bright white screen instead of the stage.

Soon, the theater lights went off.

With the sound of the projector starting, the title “The Wizard of Oz” appeared on the screen.

“…Huh?”

And then.

Before their eyes.

Without any magical devices using illusions.

Magic unfolded.

[“If there is a heart, it will guide you, and you will never have to make mistakes. But since I have no heart, I must always be careful.”]

The success of the movie The Wizard of Oz made the Empire buzz with excitement.

Numerous theaters were built in the main districts of the Empire, allowing countless people to watch The Wizard of Oz simultaneously.

“Did you see that movie?”

“The Wizard of Oz? I wondered what the fun would be in just watching moving pictures without any fantasy magic… But when I saw it for the first time, I was deeply drawn in. The music, the visuals, everything was so beautiful… I went to the theater several times a day to watch it again. Hehe, every time I saw something new, it felt like I was reading a novel by Homer.”

“That’s right! I went to see it every week, and even though theaters were built in every downtown area, I was surprised that tickets were still hard to get.”

“Actually, I installed a projector and screen in our mansion…”

“In your mansion?!”

“Yes. Would you like to watch it with me next Sunday?”

“Sure!”

The Empire’s first color movie.

Made under Homeros’ advice and massive material support, the movie monopolized the Empire’s attention from its first screening and captured the souls of countless people.

Everyone talked about the movie wherever they were.

It felt like when Don Quixote was first published. Young girls braided their hair like Dorothy from the movie and wore blue dresses. Some people even walked around imitating the Tin Man or Scarecrow in a funny way.

Due to the immense interest in the movie, the White Magic Tower was overwhelmed with visitors seeking technical inquiries.

“Movies are a revolution! They’re going to dominate the Empire’s culture from now on!”

“Well, maybe not that much, right? This movie was an adaptation of Homeros’ novel, and it was definitely good, but… I’m not sure if the movie itself is that amazing. Compared to the book, it’s a bit chaotic.”

Some people debated whether the success of The Wizard of Oz was due to the content itself, or if it was because of the potential of the medium known as “film.”

This debate became especially fierce among critics.

The work The Wizard of Oz not only attracted literary critics who had been critical of Homeros’ literature, but also “art critics” focusing on the visual beauty of the film, and “performance critics” who focused on the actors’ performances and scene direction.

“The movie The Wizard of Oz is just one interpretation of Homeros’ work! While it is a meaningful attempt in itself, it should be seen as an extension of the aesthetics of ‘literature’ rather than the aesthetics of cinema!”

“The movie The Wizard of Oz is an extension of ‘performing arts,’ adding immortality to a play that could be performed over and over!”

“The movie The Wizard of Oz is an exhibition of art using screens and light! It should be interpreted from an artistic perspective!”

Some critics who had been somewhat critical of Homeros were forced to defend him in this “competitive environment.”

It was a matter of pride in the cultural and artistic community.

Literature interpreted The Wizard of Oz through its own logic, art interpreted it through the logic of art, and performing arts interpreted it through the logic of performance. Some directors of performance arts even began to borrow or buy cameras from the White Magic Tower and started filming their own movies.

Thus, a new discipline called “Film Studies” began to take root in this world.