The Rise of Australasia

In any country, there is a phomon referred to as "one word from above, and legs running below."

What does it mean? A thought from the upper echelons of a country can lead to a large number of people in the middle and lower levels scrambling to carry it out.

Especially for a monarch like Arthur who has great power, a single word from Arthur can set the tire Australasia in motion.

This is actually a double-edged sword. If this power is used properly, it can push the country in a more robust direction.

However, if those using this power only pursue their own selfish desires, they may likely push the country into the abyss, a place of no return.

The good news is that Arthur carefully considers most of the orders he issues, and consults with the Cabinet Governmt or other officials wh uncertainties arise.

Although Arthur has various experices from later gerations, after all, he is just an ordinary person and may make mistakes.

However, as the ruler of a nation, Arthur has a large number of subordinates and governmt officials to discuss with. These officials are meant for this purpose, and Arthur finds it quite handy to use them.

Under Arthur's decision to vigorously develop sound films, Australasia's three major film studios and related researchers quickly got to work. Hundreds of literary workers, including various writers, novelists, m of letters, historians, and ev artists, were all gathered together.

Their only mission is to compile stories about the Australasian nation to promote national unity and cultural idtity.

The stories can be based on relevant historical facts or tirely made up, as long as they appear reasonably authtic.

As long as they follow the overarching theme of national unity and cohesion, Arthur allows them to build an alternative framework for national stories, ev outright fabrications.

After all, Australasia has the final say in Australia, and no country will compete with Australasia for the right to interpret this region's history.

The experts assembled take this task very seriously, because they have received news that the stories they compile will not only be adapted into sound films and aired nationally and ev worldwide but also pottially be selected and included in Australasian books.

These experts may also have their stories remembered in Australasia for thousands of years.

After all, they have chos to adopt Australasian nationality, and who wouldn't want to have a good reputation in this country?

Sydney, Royal Film Production Studio.

The Royal Film Production Studio is the film studio with the most shares held by the royal financial group, accounting for 0%.

Of course, the other two major film studios, the Victoria Film Studio and the Australasia National Film Studio, are also backed by the royal financial group. It can be said that in the film studio field, the royal financial group is the big boss behind the sces, and the three major film studios are actually fighting within the royal financial group.

However, this competition is allowed, and some commercial competition can also make the industry's developmt smoother.

It's better than a single dominant player, letting market monopoly lead to a decline in film quality and various services!

Kar is a professional film projectionist at the Royal Film Production Studio. The so-called film projectionist is actually a person who takes movie screing equipmt to small towns or rural villages without cinemas to show movies to people there.

At first, it was because the film companies wanted to promote movies and expand their channels, so they wt to rural villages and small towns for promotion.

Over time, some people have become accustomed to this form of tertainmt. People in some villages oft pool money wh they have extra funds to invite a film projectionist to show a movie.

In Australasia, there ar't many people who can watch movies. If they can afford to invite a projectionist to their village to show a movie, the villagers won't mind bragging about it for a whole year.

But for those film projectionists, while small towns are fine, remote villages are particularly troublesome because the process is time-consuming and burdsome. After all, at this time, film projectionists' belongings could not ev fit in one horse carriage. Going to a small village is tirely a punishmt.

But there's no choice, as this is the strategy of film studios to expand their markets and the livelihood of these film projectionists.

The good news is that the price of screing a movie is not cheap. If you include the travel expses and costs to remote areas, the expse of screing a movie is equal to half a year's income for an ordinary Australasian worker.

This is why most villages and small towns choose crowdfunding wh showing movies, as the cost of a single movie screing requires more than thirty Australian dollars, which is close to the average annual income in Australasia.

Because of this reason, the business of film projectionists like Kar is not very good.

Although a single movie screing can earn them at least two to three months of income for an ordinary Australasian, the problem is that for those small towns and villages, the number of movie screings per year may only be one or two times, or ev once in several years.

This has led to Kar's business operating once every two or three months, and his income is only a the average income level in Australasia.

If it wer't for Kar occasionally finding opportunities to scre a movie in a city square, attracting hundreds of viewers and earning some extra income, his annual income might be the same as that of an ordinary person.

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