Come to think of it, is this the reason why Angel didn't find himself?
Laplace did not continue to think deeply, because at this time, she had already reached the door of the manor villa.
The door was unlocked, so Laplace pushed the door open and walked in.
The familiar winding corridor, the large Mary rose-patterned carpet, the standing knight armors on display, the oil paintings on the red walls of the corridor...even the lace curtains are all exactly the same as in the original copy.
The only difference is that there is the glutton Bila in the copy, and there is Helen hidden under the mask, but here, except for Laplace, there is no one else.
Soon, Laplace walked through the corridor and came to the main hall.
When he came here, Laplace discovered something different again.
In the copy, the oil paintings in the main hall are all portraits of Bila's family, singles, doubles, mother and daughter, father and daughter, family portraits, almost everything you can find.
The oil paintings in the copy all show the ostentation of the nouveau riche, and I want to tell everyone who comes here that they are the masters.
But here, there is no portrait.
The vast majority of oil paintings are blank. They seem to be waiting for someone to fill the white paper in the frame with color.
The only thing that is not a blank oil painting is the huge painting in the center of the hall.
In the copy, there is no such big painting here.
Obviously, this painting is unique to the literal space.
When he thought of "unique", Laplace's attention immediately increased by one level.
Since it is unique, does that mean that this is the exit from the literal space?
Laplace walked to the painting and looked up.
In the huge oil painting, there was something very familiar to her.
This painting is not a scene, but an "object". The so-called "object" is a crystal-shaped whip full of barbs, but this winding whip is full of blossoms.
Large and small Mary roses, although the roses are also crystal-shaped, but with the bright red color, they look extremely gorgeous. Moreover, these big Mary roses also have human heads growing out of the flower cores, and they can be found by both men and women, young and old.
Just looking at this whip is quite 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 first come into contact with this crystal whip. In other words, the crystal whip was the medium for entering the dungeon.
After Laplace's dungeon completion reached 100%, not only the dungeon disappeared, but the corresponding crystal creation also disappeared.
At that time, Laplace thought he would never see the whip again.
Unexpectedly, it would appear here and be presented in the form of a "painting".
Perhaps because he had been staring for a long time, corresponding text messages slowly appeared in the sky above the oil painting. When Laplace saw these text messages, her expression was stunned.
"Space oil painting: This is an oil painting that contains space. As long as you put items into the oil painting, the oil painting will show the corresponding picture."
Space oil painting? And as long as you put something, there will be a corresponding display in the picture?
This is an extraordinary prop?!
There are two most difficult things to create in text space: one is a living text object, and the other is an extraordinary prop.
Among them, extraordinary props are even more difficult than literal living creatures. This is because almost all extraordinary props represent the accumulation of countless extraordinary materials.
Every extraordinary material is an extraordinary page!
When Laplace was on the road before, he was still thinking, since there are extraordinary living 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 props. After all, extraordinary props are really difficult to create.
But what I didn't expect was that the extraordinary props really came, and they were "space system" extraordinary props.
Laplace felt that even if Ea were to use extraordinary paper to write, it would be difficult to write space props...
It is worthy of the power of the fairyland. His mastery of rules and control of words have probably surpassed Ea himself.
Laplace shook his head and looked at the huge oil painting again.
According to the information described in the text, as long as external objects are put into the oil painting, the oil painting will have a corresponding display. Now, the oil painting is a crystal whip, does that mean that the crystal whip is in the oil painting at this time?
middle?
The crystal whip is in the outside world and is the medium for entering and exiting the "Glutton's Feast".
So, can this also be used as a basis for entering and exiting the text space?
Laplace felt that this possibility was very high.
Otherwise, why would the crystal whip be specifically placed in the space painting, and it is also the center of the hall. It is also the core of the entire manor.
Thinking of this, Laplace decided to try and take the crystal whip out of the space painting.
But now the question comes, how to get things from the space oil painting?
Generally speaking, space props have their own core password, or "recognition of ownership". 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.
Laplace thought for a while and decided to reach out and give it a try.
If this piece of text space is indeed a reward for her as she guessed, then according to the fairness of the power of the fairyland, there should not be a deliberate obstruction.

Chapter completed!