Hyperdimensional Warlock

Chapter 2873 Ancient City and Giant Beast

If Angel were to name it, starting from the mural at the bottom, they would be: "On the Throne", "Ascension to the Throne", "Road to Glory", "The Tightrope Walker"... "Swaddling Baby".

Angel's naming logic is based on the content of the screen, supplemented by the story of the brain.

But now Angel found out that the story he imagined was completely wrong.

He always believed that the painting "Above the Throne" in the hall at the bottom was the ending of the story of "the newborn will eventually become king".

But the painting "The Man Who Walked the Tightrope" slapped Ingres in the face.

According to Angel's brain story, the painting presented after "The Man Who Walks the Tightrope" should be "Road to Glory".

But the protagonist in the painting "The Man Who Walks the Tightrope" has already removed his bulky armor and lost his spear; but why in "Path of Glory" is he still wearing armor and holding a weapon?

This is not a logical inconsistency anymore.

In other words, this logic is simply reversed.

The real order should be "Path of Glory" first, followed by "The Man Who Walks the Rope".

In other words, "On the Throne" is not the last painting, but the beginning of this story, the first painting!

On the contrary, what they thought was "Swadling Baby", the painting carved on the top of the tree, is the real ending of this story!

However, Angel and Laplace were still puzzled.

The newborns go through a long period of time and eventually become kings. This is the thinking of normal people.But why is it reversed now, but the king finally returned to his infancy?

Is there any moral to this?Or is their current analysis actually still wrong?Isn't the tightrope walker throwing away armor, but summoning armor and weapons from the bottomless abyss?Although Angel himself didn't believe in this speculation, he really couldn't understand, what did "the king returns to his infancy" mean?
Both Angel and Laplace were stuck in a quagmire of thinking at this time.

After a moment of silence, Angel took the lead and said, "It may be too early to interpret it now. How about reading all the murals?"

Laplace nodded and motioned for Angel to follow her.

Soon, they came to the fifth hall, and the mural here would be the last mural they saw.

After entering the hall, Laplace hesitated for a moment, and said in a low voice: "Luigi has already come out of the Tooth Fairy Castle, and Gleipnir has some investigation results. Do you want to listen to it now?"

Angel thought for a while, then shook his head and said, "Don't be busy, let's talk about this mural after we untie it."

Laplace's survey results at that time would not run away anyway, and as time went by, her survey samples would increase, and the results would be more reliable.

So, don't be in a hurry.

Let’s first take a look at what the mural in the last hall is about, and what is its connection with the last pair of "Swaddling Babies".

Whether "Swaddling Baby" is the beginning of the story or the end of the story may depend on the fifth mural.

Angel silently analyzed the murals. With the change and elongation of light and shadow, the murals gradually revealed their half-covered true face from the initial abstraction.

A few minutes later, Angel let out a long breath.

The last mural was also unraveled.

——The pitch-black abyss, the indescribably huge creatures, and the tiny "people" heading towards the huge creatures, and... an ancient city looming behind the huge creatures.

This is just the overall picture of the mural. If you pick up the details, you will find that the huge creature is very huge, like a [-]-meter mountain in front of your eyes.

Moreover, there is more than one of these huge creatures that cannot describe the overall appearance.It's just the one at the front that occupies the main position.But if you look at it from the side, you can see the silhouette of a similar huge creature behind the ancient city suspended in the depths of the abyss.

How many there are, can't be sure, but there must be more than one.

In addition to the huge creature, the tiny "person" who walked towards the huge creature also has details worth mentioning.

This "person" is exactly the same as the humanoid creature in the painting "The Man Who Walks the Tightrope", and he neither wears armor nor holds a weapon.

This means: Angel's previous speculation was indeed wrong, there should be "Path of Glory" first, and then "The Man Who Walks the Rope".

Another evidence is the details of the ancient city.

What is in the ancient city, I can't see clearly, the only thing that can be seen is a black shadow silhouette above the ancient city.And this outline is exactly the same as "Swaddling Baby" in the last painting.

It can be said that this painting paves the way for the last painting "Swaddling Babies".

This also proves once again that "Swaddling Baby" on the top of the tree is the last painting of this story, and "On the Throne" is the first painting.

At this point, although Angel still doesn't know the outline of the story, he has already determined that the moral of the story is not "the newborn will eventually become king" at all, and his interpretation of the first few paintings is not correct.

If it is named from the current perspective, it might be better to call the first painting "The Throne".

In the second painting, Angel previously thought that the new king was ascending the throne, but in fact it was the king leaving the throne, so the title "The King's Departure" may be more appropriate.

In the third painting, the people are not cheering for the new king's enthronement, but the people are wondering why the king left, and lamenting and seeing off the king.Therefore, it is better to call it "Farewell Road".

The fourth painting does not need to be renamed, it is still "The Man Who Walks the Tightrope".

The fifth painting, which is the present one, can be called "Ancient City and Giant Beasts".

The sixth painting, that is, the painting on the top of the tree, can still be called "Swaddling Baby" in a straightforward way.

However, the best way to name it is to sum up the meaning, but now Angel doesn't know what "Swaddling Baby" is.

Why does a king abandon everything in the past, why is he only pursuing a baby?
……

While thinking, Angel and Laplace returned to the top of the tree.

Angel presented the six murals in mid-air through phantoms.

The mystery of the mural was finally solved. Judging from the logical line of the mural, it is probably a story of "the king takes off his armor and returns to his new life".

However, the whole story is filled with a sense of absurdity.

Especially when these six murals are viewed together, it will be more dramatic.

Laplace's eyes were full of confusion: "What is the meaning of swaddling? Why do you pursue swaddling?"

Angel hesitated for a moment: "Swadling can be understood as a baby's sleeping place. From a king on the throne to a baby in swaddling, does it mean...rebirth? New life?"

After a pause, Angel whispered, "Or, reincarnation?"

"Rebirth, rebirth, reincarnation." Laplace chanted these words, as if thinking of something, his expression slowly became serious.

On the other side, Angel sighed softly: "However, it's just a guess after all. The bottomless abyss hides endless secrets. Where is this ancient city? What are those giant beasts? Why did the king return without armor?" Swaddling...these are unsolved mysteries."

Laplace: "No, it can be answered."

Angel looked at Laplace puzzled, but Laplace didn't speak, but stretched out his finger, and tapped the illusion released by Angel.

Angel could feel a new force injected into the illusion of these six murals.

This force is very strange, but it doesn't have any malice, and it rushes into the illusion node with a cool feeling as warm as water.

Although this power feels gentle, what it does is not gentle at all. It is robbing Angel of control over the illusion.

Angel glanced at Laplace, said nothing, and silently gave up control of the illusion node.

With Angel's letting go, Laplace successfully controlled the illusion, and then, the illusion began to change extremely quickly.

The six murals themselves have not changed, but beside the murals, there are more rows of text.

These texts are all Abyss Demon texts, and they are also variants.

Angel had also seen these words next to the murals before, but because he didn't recognize them, he didn't pay attention to them.

Now, Laplace has laid out all these words, Angor looked at them carefully... still don't recognize them.

Laplace: "As long as these words can be translated, the contents of the murals will definitely be answered."

Angor: Isn't this nonsense?

"...But who can decipher these words?" Angel looked at Laplace.

And it just so happened that Laplace also turned his head to look at Angel, and the two looked at each other.

From Laplace's eyes, Angel saw a glimmer of expectation.Angel was stunned for a moment, hesitated for a moment, stretched out his finger, and pointed at himself: "You mean... me?"

Laplace nodded: "If you can decipher the mural, you must also be able to unravel the mystery of the text."

Angel only felt that his head was full of question marks.

What is the logic?If I decipher the change, can I solve the mystery of the text?

This is like the logic that if you trample an ant to death, you will surely trample an elephant to death. There is no analogy at all!

"I didn't want to come this time, but Gleipnir suggested that I come. It turns out that her premonition was correct."

Angel: ...and then?If he doesn't know the characters, he doesn't know them. If he doesn't know a character, can he explain it by force?
"Just before, I disclosed the situation of the mural to Gleipnir; and at that time, Gleipnir just got a piece of information and was also looking for me." Laplace said that this was a pause: "And this is a sign."

At this point, Angel already understood Laplace's logic.

I started to engage in the "over-interpretation" set again.

Angel is not saying that over-interpretation is wrong. When analyzing inspiration, some reasonable or over-interpretation is indeed needed.

However, this interpretation is too taken for granted.

He doesn't know these abyss demon texts, how can he interpret these texts?
Seeing that Laplace was still looking at him expectantly, Angel had no choice but to speak out what was in his heart.

Laplace thought for a moment: "What if this is not a devil text, but a puzzle similar to a mural?"

Angel: "...If it was a riddle, the wise master would have solved it long ago, so it's my turn."

The wise master may be a little cautious, but if Laplace really wants to ask, Angel believes that the wise master will still tell Laplace the truth.

The wise master may have solved the mystery of the mural, but Angel still felt that the wise master might also be helpless in terms of writing.

Laplace seemed to have something to say, Angel sighed in his heart and said: "I said before that I know many friends from the abyss, and I may be able to find help to understand these words, but now, I There is no way to solve the mystery of these words.”

Angle paused, and continued: "Let's end the matter of the mural for now. Ms. Laplace said that Gleipnir got a piece of information. I don't know what kind of information it is?"

Although Angel was also a little curious about the murals, he still cared more about himself than these unintelligible murals.

Although Laplace is still obsessed with the devil's words, she also understands that what Angel is saying now is true, perhaps it is indeed what Angel said, and he will not get the real answer until he finds his friends in the abyss .

"Gleipnir's information was obtained from Charles Palace."

Angel: "Charles Palace?"

Laplace nodded and briefly introduced Charles Palace.

The Charles Palace is a special mirror space, and its special point is that it has a realistic basis.

The reality mirror corresponding to the Charles Palace is a strategic alchemy prop called "Mythone Mirror".Laplace doesn't know the specific function of this alchemy prop, but it made an analogy, it is probably like the mirror world created by Jing Ji, once it has a realistic basis, its stability will be extremely high, As long as it is not done, the mirror space will not be broken.

However, because of the reality, the aggregation energy possessed by the Charles Palace is extremely thin. Generally speaking, the creatures in the mirror are not willing to live in such a place.

It's like the mirror world in a barbaric cave. It is said to be the mirror world, but in fact it has completely adhered to the laws of the wizarding world, and there is not even a little cohesion energy in it. Therefore, the mirror world can no longer be regarded as the territory of the mirror domain.

As for the Charles Palace, it is barely within the mirror area, but it is only between the cracks.

The reason why there are still creatures in the mirror in Charles Palace is very simple, they are enshrined by the younger generations in reality.

"Is there a descendant in reality? Is it similar to the one-eyed family?" Angel wondered.

Laplace shook his head: "No, there are a group of former humans living in the Charles Palace. It's just that after they died, they became the mirror grievances. After some special transformation, they now become the guardian spirits of the Charles Palace."

"It can be regarded as a creature in the mirror transformed by the day after tomorrow."

"Because of this, their mastery of aggregation energy is not as strong as other native mirror creatures. The degree of dependence is relatively low."

"These are all digressions, let's get back to the point. Charles I, Charles II, and Charles XIII lived in Charles' Palace. In fact, there were some descendants of Charles who wanted to enter the mirror domain, but in the end they all failed to transform. Only All three are still alive."

"Among them, Charles I and Charles II have been in the mirror domain longer than me, and Charles XIII is about the same as me."

It is precisely because the group of people in the Charles Palace are old antiques from the mirror domain. Even if they stay in the Charles Palace all the year round, their strength is not very good, but at least they live longer and have more experience.

That's why Gleipnir went to Charles Palace.

In the Charles Palace, Gleipnir learned an interesting piece of information from these three special "mirror grievances".

They all stopped dreaming at about the same time.

Before that, they dreamed very frequently.

(End of this chapter)