Hyperdimensional Warlock

Chapter 3433 Rewards
Laplace walked closer and took a closer look.

"This fruit... is really a creation of words."

Laplace looked at the floating text with some surprise: "Yellow water berry: The fruit of yellow water mulberry is sour and juicy, and can be eaten with sugar. Specially improved fruit trees, harvested once a month, with a yield of [-] catties per plant .”

This orange-yellow fruit is called yellow waterberry.

The reason why Laplace cares about it is because, in a way, it's...a literal creature.

Moreover, it is also a masterpiece among living creatures.

As far as Laplace knows, Eya has already researched various living creatures with characters, including "animals" and "plants".

However, Eya's research on living creatures with writing follows the theory of evolution from low level to high level.

For example, when studying invertebrates, he will start from the lowest sponges and amoebas, slowly advance to hydras and schistosomes, and finally to linear animals and ring animals, step by step.

The same goes for plants.

Although the research progress of text plants is much faster than that of text animals, this fruit-bearing tree is also the highest level of Eya's current research on text plants.

In other words, Eya, as the founder of the text space, has not researched a few text fruit trees in the outside world, but the power of the fairyland has described the perfect text fruit tree here.

In terms of efficiency, it is much better than Eya.

Moreover, take a look at the introduction of the yellow waterberry... It is over in two simple sentences, one of which is to describe the yield.

This is much shorter than Eya's description of the fruit tree in words.

In the outside world, the description of each word fruit tree is no less than the word earthworm they saw at the beginning.As for the word earthworm, its descriptive language is almost so dense that it cannot be seen on the floating screen.

From this, we can know how concise and generous the description of yellow waterberry is.

The power of the fairyland must have undergone some kind of processing or localization update on the description of the living creatures in the text.

If Eya were here, he would probably lose his teeth in shock.

Although Laplace was also surprised by the technology behind the word fruit tree, she was not the owner of the "Secret in the Book" talent after all. She was surprised but not too much.

At most it is... I picked a yellow water berry from the yellow water mulberry and planned to study it myself.Or wait for Eya to enter the dream crystal field in the future, and give it to him to study.

It’s a gift in return for Eya’s borrowed text space.

The yellow water berries are not big, one is about the size of a prune, and it is convenient to put it in the pocket and take it away.

Walking forward from the fruit grove, Laplace walked with emotion all the way.

The plants, flowers, and even the weeds on the ground here are all living creatures.Moreover, the text descriptions are extremely concise, there is no exaggerated description language, and there is no pile of gorgeous rhetoric, plain and unpretentious.

"If Eya's description level of text and living creatures is level 1, the description level here is estimated to have reached level 10." Laplace murmured in a low voice, this is the gap.

The transformation of the text space by the power of the fairyland far exceeds Eya's level in terms of efficiency and hierarchy.

It is indeed the embodiment of the logic of the bottom layer of the world... power.

However, along the way, Laplace didn't encounter text animals, whether it was bees, butterflies, or bird pond fish, she didn't see any of them.

Whether it's because he didn't "encounter", or because there is "nothing" here, Laplace doesn't know for the time being.

She didn't try to find it either. After all, what is more important to her now is to study how to get out.

In fact, Laplace can vaguely guess that this text space may be the reward of the power of the fairyland to the "first passer".

After all, the light screen clearly read: "Reward: Feast for Gluttons."

But even if it's a reward, you should tell her how to use it, how to get out?
Laplace paused for a moment. She still remembered that she clicked on the "reward" on the light screen to get in, so can she go out by clicking on "reward" again?

Laplace thought of it and immediately tried it.

However, the result was not what she wanted.

No matter how much I click on "Reward", nothing happens.She clicked on other text messages, but there was no response.

Laplace let out a breath and looked around the peaceful manor.

"It seems that the way to get out has to be found in the manor."

Laplace is no stranger to this manor, after all, she had passed the customs before.She knew very well that there were about four or five doors leading to the outside world in this manor, including the main entrance, various side doors, and even dog holes.

But now there is no way to open the main entrance, and there is no option to "leave" the text space at the main entrance. From this point of view, if you want to leave the text space, you probably have to leave the manor.

There should be other mechanisms.

However, even though Laplace guessed this result, she still walked towards the other side door of the manor.

I want to try again to see if I can leave the manor through the side door.

Facts have proved that it still doesn't work.

Moreover, there is a dog hole near this side door. Laplace tried to stick his feet out of the dog hole, but was also isolated by an invisible light film.

The appearance of this layer of light film also means that the entire manor is estimated to be shrouded.

It seems that simply leaving the manor is not the right way.

Laplace could only focus on the manor.

There must be a way to leave here, but I just don’t know where it will exist?
Based on Laplace's understanding of "Glutton's Feast", there are two core places here, the glass greenhouse and the villa in the distance.

In the original dungeon, the glass house was full of big Mary roses, and there were key clues like human head balloons.

And in the villa is Bila, the big boss glutton.

So there is no doubt that if the export is really placed in the core place, then there is a high probability that it will be in these two places.

Thinking of this, Laplace decided to go to these two places first. From near to far, she went to the glass greenhouse first.

It didn't take long for Laplace to walk to the glass greenhouse. When she saw the familiar arch, she subconsciously looked up.However, no human head balloons were seen.

In the dungeon, the glass arches were filled with balloons of human heads, but now the place is completely peaceful.

There is nothing unusual, only roses of various colors blooming gorgeously.

Laplace carefully observed the roses here, and went around the greenhouse for a while to explore, but still did not find any information that might be related to the "exit".

The words floating in the eyes are all related to rose species.

Laplace sighed, it seems that the clue is not here.

As for why there are no head balloons, that's normal.After all, this is a "reward". If there is a reward, it is unlikely that there will be dangerous monsters.

Besides, when Laplace cleared the dungeon, he had already wiped out all the head balloons. It's normal that there are no head balloons here.

Laplace left the glass house, and here her goal was the most important place in the manor: the main house.

If she couldn't even find a way out of the main house, then she would have to wait for Angel to come to her.

However, having said that, she has been wandering around the manor for 10 minutes, and Angel hasn't noticed that she is gone?
With Angel's ability, it should be easy to spy on the copy, right?

Or, in fact, Angel was already spying on him, but he just didn't make a sound?Deliberately watching yourself go around the manor?

After thinking about it carefully, Laplace felt that it was impossible.

She knows Angel very well. Although Angel has a little bit of "joyful person" in him, he has never shown this "joyful person" to his friends.

In other words, he didn't get his pleasure from his friends.

What's more, watching myself wandering around the manor couldn't satisfy Angel's bad taste.

Therefore, Angel has not appeared until now, perhaps because he does not know where he is?
Only this possibility can explain why Angel did not show up.

"In the past, when entering a dungeon, there was a corresponding crystal creation, and Angel could use the crystal creation to locate the dungeon." Laplace thought to himself, "But this time, I entered the text space by clicking on the light screen. And Angel can't see my light screen, so there is no medium from the outside world."

Since there is no medium, it may be very difficult for Angel to locate himself.

Come to think of it, this is why Angel didn't find himself?

Laplace didn't think about it any further, because she had already reached the gate of the manor villa at this time.

The door was not locked, and Laplace pushed it open and walked in.

The familiar looping corridor, the big Mary rose-pattern carpet, the standing knight armor, the oil painting on the red wall of the corridor... even the curtains including small lace, are exactly the same as in the original copy.

The only difference is that there is Bila the glutton and Helen hiding under the mask in the dungeon, but here, there is no one else except Laplace.

Soon, Laplace walked through the corridor and came to the main hall.

When he came here, Laplace found something different again.

In the copy, the oil paintings in the main hall are all portraits of Bila's family, single, double, mother and daughter, father and daughter, family portraits, almost everything that can be found.

The oil paintings in the dungeon all show the plot of the nouveau riche showing off, and I can't wait to tell everyone who comes here that they are the protagonists.

But here, there is no portrait.

The vast majority of oil paintings are blank.It seems to be waiting for someone to fill the white paper in the frame with color.

The only thing that wasn't a blank oil painting was the huge painting in the center of the hall.

In the copy, there is no such a large painting here.

Obviously, this painting is unique to the text space.

Thinking of the "unique" ones, Laplace's attention immediately raised a level.

Since it is unique, does that mean that this is the exit from the text space?
Laplace walked up to the painting and looked up.

In the huge oil painting, there was something she was very familiar with.

This painting is not the scene of the painting, but the "object" of the painting.The so-called "thing" is a crystal-shaped whip full of barbs, but this winding whip is full of big and small Mary roses. Although the roses are also crystal-shaped, they match the bright red color. The color looks very gorgeous.Moreover, human heads grew from the stamens of these big Mary roses, both young and old.

Just looking at this whip, it feels a bit scary.

But Laplace knew very well that this crystal whip... was actually the crystal creation that disappeared at the beginning.

Previously, if Laplace wanted to enter the dungeon "Glutton's Feast", he had to contact this crystal whip first. In other words, the crystal whip was the medium to enter the dungeon.

After Laplace reached 100% completion of the dungeon, not only did the dungeon disappear, but the corresponding crystal creation also disappeared.

At that time, Laplace thought he would never see the whip again.

Unexpectedly, it will appear here, presented in the form of "painting".

Perhaps it was because of staring at it for a long time, the corresponding text information slowly emerged above the oil painting. When Laplace saw these text messages, her expression froze for a moment.

"Space Oil Painting: This is an oil painting with space in it. As long as you put objects into the oil painting, the oil painting will present the corresponding picture."

Space painting?And as long as you put something, there will be a corresponding display on the screen?

Is this a super prop? !
The most difficult things to create in the text space are two things, one is text living creatures, and the other is extraordinary props.

Among them, extraordinary props are even more difficult than living creatures.Because almost all supernatural props represent countless supernatural materials piled up behind them.

Every extraordinary material is a piece of extraordinary paper!
When Laplace was on the road before, he thought, since there are extraordinary creatures here, maybe there will also be extraordinary props?

Of course, she just thought about it, and didn't really think that there were extraordinary items.After all, extraordinary props are really difficult to create.

Unexpectedly, the extraordinary props really came, and they were also "space-type" extraordinary props.

Laplace felt that even if Eya was asked to write on extraordinary paper, it would be difficult to write space props...

It is worthy of the power of the fairyland, the mastery of the rules and the control of the words, it is estimated that it has surpassed Eya himself.

Laplace shook his head and looked at the huge oil painting again.

According to the information described in the text, as long as there are external objects put into the oil painting, the oil painting will have a corresponding display.Now, there is a crystal whip in the oil painting, does that mean that the crystal whip is in the oil painting at this time?

The crystal whip is in the outside world, and it is the medium for entering and exiting the "Glutton's Feast".

So here, can it also be used as a basis for entering and exiting the text space?

Laplace felt that this possibility was very high.

Otherwise, why is the crystal whip deliberately placed in the space oil painting, and it is also the center of the hall.It is also the core of the entire manor.

Thinking about this, Laplace decided to try and take the crystal long whip out of the space oil painting.

But now comes the question, how to get something from the space oil painting?

Generally speaking, space props have their own core codes, or "recognize the owner". If outsiders touch it at will, there is a high probability that they will not be able to take out anything, and may even encounter backlash.

After thinking about it, Laplace decided to reach out and give it a try.

If this text space is true to her guess, it is a reward for her.According to the fairness of the power of the fairyland, it should not be deliberately set up to block it.

(End of this chapter)