What I wish I had done with that text, I am now doing with my current work. I want my protagonist to know the language, my deuteragonist to not, and whole conversations to exist wherein the DA. and reader are left hanging as to what is said. In that work, I'm supplying an appendices of by-chapter/by-line translations (in that hot-linking is not practical). In that way the actual content is not lost.
I'm going to say it, so you at least have a record that someone spoke up: This sounds dreadful.
When reading a book with appendixes, I will almost never flip to them as this disrupts the chain of thought going on in the scene. I will read them last, and if they prove to be nothing more than transcriptions of ordinary conversation that where already summarized in the action, I would stop reading them.
There is no "richness" in words that we cannot read. "Al gort simonitca blatcheu?" is not interesting in and of itself, and its translation can never be more rich than the English words it is the placeholder for. What you're really doing is forcing the reader to sit and scan past a half page of "Xxxxx, xxx xxxxxx xxxx. X xxx xxxx xx xxxxxxx!" It doesn't matter if that's really Korean or Andromedan because it is in unreadable code. People aren't even going to read it phonetically because that's not how we read - people read the shapes of words not the letters, and only read the spelling if they have to do so to get the meaning pulled out of something that is written phonetically, like a creole.
I see no richness in an large amount of unreadable text, and no Easter eggs in an appendix full of very ordinary translations of that encoded text. All that adds up to are many pages that the reader is going to skip both in the narrative and at the end.*
As with all the background exposition stuff, you sound WAY too in love with the meta elements of creating written material. You are like a potter who expects a vase to only be displayed next to a video about its throwing, firing and glazing in the customer's home, when people just want a vase not a dissertation on ceramics.
*(What would be rich is if you had the occasional footnote that briefly discusses why something said in Korean is funny or interesting due to some quirk that doesn't translate into English, explaining why a character laughs as an otherwise dry statement of fact. These are the kind of notes that
can make a book richer.)
)
