Despite complaints from the Solarus Church, "The Good, The Bad and The Ugly" was set to screen in Empirica.
This time, it wasn't Hellfire Studio's partner, Bryan Brothers, releasing Arthur's third film, but a studio called "Western Studio." They outbid Bryan Brothers, securing licensing rights by offering Arthur 8 million studios and a 29 percent share of the box office - a deal surpassing offers from major Empirican studios like Science Pictures and Bryan Brothers.
Western Studio began promoting the film across Empirica, with its premiere set for June 9, 1272, just three days away. It was up against another western, "Dust and Gunfire," directed by the renowned Douglas Harper and starring the famous Lewis Light.
"Dust and Gunfire" had been successful since its premiere a week prior.
As "The Good, The Bad and The Ugly" promotions ramped up, newspapers and magazines that had praised "Dust and Gunfire" ran intriguing headlines: "Can this demon western match Harper's genuine frontier tale?"
Many fans of Harper and Light were skeptical. Some sneered, "A demon making a western? What do demons know about our culture?"
Others echoed the sentiment: "It's like westerners trying to make a martial arts movie. It's bound to fail."
Newspapers further fueled this view with headlines quoting Director Harper: "The Good, The Bad and The Ugly might only be popular in Anatolia because it deviates from true western style, aligning more with Anatolian tastes. It's likely to fail here, where audiences are accustomed to 'genuine' westerns."
This buildup of anticipation and skepticism set the stage for a dramatic showdown at the Empirican box office, pitting Arthur's unconventional take on the western genre against established Empirican filmmakers and audience expectations.
June 9, 1272 - "The Good, The Bad and The Ugly" finally hit Empirican cinemas.
Audiences bought tickets with low expectations. The film's demon origins gave many pause, but the infamous exiled prince's reputation as the creator of acclaimed films like "The Demonfather" and "Lord of the Rings" piqued their curiosity.
At Holy Theatre in Angel City, people filed in, their skepticism evident in their hushed conversations. Fresh chapters posted on NoveIＦire.net
"Think this ex-prince's third film will live up to his first two?" one moviegoer asked his companion.
His friend shook his head. "Doubtful. What could a demon prince possibly know about our culture?"
Another in their group chimed in, "It was popular in the East, so it might be interesting. But we can't expect accuracy - the exiled prince has never even set foot here."
"You've got a point," the first agreed.
The air of skepticism hung heavy as the lights dimmed and the movie began. The audience settled in, bracing themselves for disappointment but secretly hoping to be surprised.
From start to finish, the audience was spellbound. They had expected merely an "interesting" movie, but the film's accurate capture of their culture and history surpassed all expectations.
The compelling story, memorable characters, and haunting soundtrack left a lasting impression.
As the credits rolled, many viewers left the theater eager to return with friends and family for a second viewing.
The first day's box office results for "The Good, The Bad and the Ugly" were impressive: 900 thousand dollars. While it outperformed "Dust and Gunfire's" 600 thousand dollar take that day, context was key. "Dust and Gunfire" had been screening for a week, with a stellar opening day of 3.7 million dollars and a cumulative 8.8 million dollar box office.
Moreover, "Dust and Gunfire," starring Lewis Light, hadn't yet been distributed internationally, suggesting even greater potential earnings.
This success wouldn't have been possible without Arthur's groundbreaking first film, "The Demonfather."
As the first colored film, it had inspired both novice and renowned directors worldwide. Film schools now incorporated its techniques into their curricula, particularly its use of symbolism.
The iconic scene of Don Corleone being gunned down amidst oranges, and Sonny holding an orange before his demise, introduced the fruit as a harbinger of death. This motif gradually permeated other films, becoming a recognized cinematic language.
But enough about "Demonfather" - at present, Douglas Harper's fans and those of Lewis Light were feeling smug about "The Good, The Bad and The Ugly's" seemingly lackluster performance. Arthur's third film hadn't received the thunderous welcome they'd feared.
Director Harper himself felt vindicated, certain that Arthur's film would see declining numbers after its modest first-day showing in Empirica.
But the second day's box office results shattered expectations - "The Good, The Bad and The Ugly" raked in a shocking 3 million dollars! The third day saw an even more staggering 9 million dollar haul!
Far from declining, the film's popularity was skyrocketing.
This unprecedented jump raised eyebrows across the industry. Director Harper, feeling something was amiss, publicly criticized the box office tracking system, especially when his own "Dust and Gunfire" only managed to scrape together 90 thousand dollars.
But Harper's protests fell on deaf ears. Empirican citizens were falling in love with "The Good, The Bad and The Ugly." Much like in the East, children began role-playing as Blondie, Angel Eyes, or Tuco in the streets.
By its third day, the film had exploded in popularity across Empirica. Surprisingly, it seemed to resonate even more strongly with Empiricans than it had with Anatolians.
The unexpected success of "The Good, The Bad and The Ugly" in Empirica was turning into a cultural phenomenon, defying all predictions and leaving its critics scrambling for explanations.
The triumph of "The Good, The Bad and The Ugly" gave major studio executives a serious case of déjà vu.
They couldn't wrap their heads around Arthur's consistent success. First "The Demonfather," then "Lord of the Rings," and now this. Just when they thought his third film wouldn't match the massive success of its predecessors, it blindsided them. It was as if Arthur was mocking them, saying, "Bet you didn't see that coming, did you?"
Director Harper found himself in an especially embarrassing position. He'd confidently predicted Arthur's third film would flop in Empirica, only to watch it become even more successful there than elsewhere.
Walking down the street became an exercise in humility for Douglas. Everywhere he looked, children were role-playing scenes from the very film posters he'd once sneered at.
Even the popular Lewis Light couldn't resist the hype. After watching the film himself, he began to understand what all the fuss was about.
"Arthur Morningstar," Lewis Light muttered, staring at the young demon prince's picture in the newspaper. The exiled filmmaker's name had become inescapable, dominating media headlines.
"I'm growing more curious about you," Lewis mused. "What would it be like to work with you, I wonder?"
Lewis wasn't alone in his intrigue. Other prominent actors and actresses found themselves drawn to Arthur's success. However, they dared not voice their interest, fearing backlash from their agencies or damaging relationships with major studios.
Meanwhile, "The Good, The Bad and The Ugly" continued its triumphant run across the Evros region. As time passed, it effortlessly crossed the 100 million dollar box office mark. While it might not have matched the astronomical success of "Lord of the Rings," it stood as yet another hit in Arthur Morningstar's growing arsenal.
The industry bigwigs were left scratching their heads, wondering how this exiled demon prince had managed to outmaneuver them yet again. Arthur's uncanny ability to captivate audiences across cultures was forcing them to reconsider everything they thought they knew about filmmaking and market trends.
In his office, Arthur allowed himself a satisfied smile as he read the system notification:
[The Good, The Bad and The Ugly successfully reached 100 million box office!]
[Mission: "Conquer the Wild West: Hit 100 Million with Your Frontier Epic" - SUCCESS!]