I Became A Playwright In Medieval Fantasy

“So, it’s this kind of feature you want included?”

“Yes. I’d like a special audience seating setup designed with mechanical features. It should be remote-controlled, able to move around based on signals received.”

Immediately after agreeing to a contract with Wanderbühne, I visited a secluded workshop to carry out the second stage of preparations.

I was meeting with a race renowned for their skill with sophisticated devices such as springs, gears, and intricate machinery. But at the same time, they had a notorious reputation for being greedy and cunning—goblin engineers.

“Hehe, this is quite a demanding request. There are many technically complicated parts involved.”

The goblin craftsman smirked as he fiddled with his worn-out goggles, his hooked green nose—a racial characteristic—flaring slightly.

“But don’t worry. It’s demanding, but not impossible. We goblins are top-tier in this field, after all!”

The Holy Empire might be the domain of the human Klausowitz royal family, but that didn’t mean there weren’t other non-human races living among them.

In a way, it was similar to foreign companies setting up domestic branches in the modern world.

Elves, dwarves, goblins, gnomes—there were quite a few non-human races mingling and maintaining close ties with human society.

The goblin engineer I was dealing with was no different.

“That’s fine. I’ll pay whatever it takes. Just make sure to deliver the highest quality.”

“Haha! Understood, esteemed customer. You don’t need to worry, we run a highly ethical workshop, hehe.”

The goblin craftsman immediately lowered his head and spoke humbly upon seeing the royal insignia ring.

No matter how much goblins were known for their greed, they wouldn’t be stupid enough to try to scam the royal family while operating in human lands.

“If I may ask, why do you need this type of equipment? We’ve had requests to inspect theater stage setups before, but this kind of unusual order is new to me.”

“Well, I have my reasons. Let’s just say it’s to create a more immersive experience.”

To express Lovecraftian horror, I envisioned something similar to the “4DX” motion chairs I had experienced in movie theaters in my previous life.

Of course, the current request wasn’t for something exactly like that. It was more of a simplified, smaller-scale version that would fit inside Wanderbühne’s tent.

I asked for it to be created by combining modern technology with magic, reinterpreted in the style of this fantasy world. It had to be suitable for a traveling troupe, easily disassembled and reassembled to fit onto large carts.

Obviously, it wouldn’t be 100% the same as the sophisticated modern-day mechanisms, but if I could get a similar effect, I’d be more than satisfied.

“Wouldn’t it be fun if, instead of just watching a play, the audience could ‘experience’ the story with all five senses? If waves crash in the play, the seats could sway with the waves. If there’s an earthquake, the seats could shake too. We could also have devices that spray water and wind at key moments.”