If Angel were to name them, starting from the bottom mural, they would be: "Above the Throne", "Ascending the Throne", "Road to Glory", "Tightrope Walker"... "The Infant".
Angel's naming logic is mainly based on the content of the picture, supplemented by the story he imagined.
But now Angel discovered that the story he imagined was simply wrong.
He has always believed that the painting "Above the Throne" in the bottom hall is the ending of the story of "the newborn will eventually become a king".
But the painting "Tightrope Walker" slapped Ingres in the face.
According to Angel's imaginary story, the painting presented after "The Tightrope Walker" should be "Road to Glory".
But the protagonist in the painting "Tightrope Walker" has taken off his heavy and bloated armor and thrown away his spear; but why is he still wearing armor and holding a weapon in "Road to Glory"?
This is no longer a logical inconsistency.
In other words, this logic is simply reversed.
The real order should be "Road to Glory" first and "Tightrope Walker" last.
In other words, "On the Throne" is not the last painting, but the beginning of this story, the first painting!
On the contrary, they thought "The Swaddle", the painting carved on the top of the tree, was the real ending of the story!
However, Angel and Laplace still felt confused.
A newborn goes through a long period of time and finally becomes a king. This is the thinking of normal people. But why is it reversed now, and the king finally returns to his infancy?
Does this have any meaning? Or is their current analysis actually wrong? The tightrope walker is not discarding the armor, but summoning armor and weapons from the bottomless abyss? Although Angel himself does not believe this speculation
, but he really couldn't understand what "The King Returns to the Infancy" meant to express?
Both Angel and Laplace were stuck in a quagmire of thinking.
After a moment of silence, Angel took the lead and said: "It may be too early to interpret it now. Why not read 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 whispered: "Luigi has come out of the Tooth Fairy Castle, and there are some investigation results from Gleipnir. Do you want to hear it now?"
Angel thought for a while, then shook his head and said, "Don't be busy now, let's wait until we unravel this mural."
Laplace's investigation results will not be lost anyway, and as time goes by, her investigation samples will become more and more, and the results will be more reliable.
So, don't rush it.
Let’s first take a look at what the mural in the last hall is about, and what connection it has with the last one, “The Infancy”.
Whether "The Infancy" is the beginning or the end of the story may depend on the fifth mural.
Angel silently analyzed the mural. As the light and shadow changed and lengthened, the mural gradually revealed its half-hidden true face from the initial abstraction.
A few minutes later, Angel let out a long breath.
The last mural has also been unlocked.
——The pitch-black abyss, the indescribable giant creatures, the tiny "people" heading towards the giant creatures, and...an ancient city that loomed behind the giant creatures.
This is just the overall scene of the mural. If you look at the details, you will find that the huge creature is very huge, like a 10,000-meter mountain standing in front of you.
Moreover, there are more than one of these huge creatures whose overall appearance cannot be described. Only the one at the front occupies the main position. But if you look at it from the side, you can see the faint shadow behind the ancient city suspended in the depths of the abyss.
There are also similar silhouettes of giant creatures.
There is no way to determine how many there are, but there must be more than one.
In addition to the giant creatures, the tiny "human" walking towards the giant creatures also has details worth mentioning.
This "man" is exactly the same as the humanoid creature in the painting "Tightrope Walker", and he does not wear armor or hold a weapon.
This means that Angel's previous speculation was indeed wrong. There should be "Path of Glory" first and "The Man on the Tightrope" next.
Another piece of evidence is the details of the ancient city.
I can't see clearly what is in the ancient city. The only thing I can see is a black shadow outline above the ancient city. And this outline is exactly the same as "The Swaddle" in the last painting.
It can be said that this painting is a preparation for the last painting "The Swaddle".
This also proves once again that "The Swaddle" 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 didn't know the outline of the story, he had determined that the moral of the story was not "the newborn will eventually become the king" at all, and his interpretation of the first few paintings was wrong.
If it were named based on the current perspective, it might be better to call the first painting "The Throne" directly.
In the second painting, Angel previously thought it was the new king ascending the throne, but in fact it is the king retreating from the throne. Therefore, it may be more appropriate to name it "The Departure of the King".
In the third painting, it is not that the people are cheering for the new king to ascend the throne, but that the people are wondering why the king has left, and lamenting and saying goodbye to the king. Therefore, it is better to call it "Farewell Road".
The fourth painting does not need to be renamed, it is still "The Tightrope Walker".
The fifth painting, which is the current 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" in a straightforward way.
However, the best way to name it is to summarize the meaning, but now Angel doesn't know what "Swaddling" is about.
Why does a king abandon everything in the past and only pursue a baby?
…
While thinking, Angel and Laplace returned to the top of the tree.
This chapter is not over yet, please click on the next page to continue reading! Angel presented six murals in mid-air through illusion.
The mystery of the mural has finally been solved. Judging from the logic 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 full of a sense of absurdity.
Especially when these six murals are viewed together, they will become even 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: "The swaddling clothes can be understood as the sleeping place of the baby. From the king on the throne to the baby in the swaddling clothes, does it mean...rebirth? New life?"
After a pause, Angel whispered: "Or, reincarnation?"
"Rebirth, rebirth, reincarnation." Laplace muttered these words, as if he had thought of something, and his expression slowly became serious.
On the other side, Angel sighed softly: "However, it is still just a guess after all. The bottomless abyss hides endless secrets, where is this ancient city, what are those giant beasts, and why does the king return after removing his armor?
Infancy...these are unanswerable secrets."
Laplace: "No, that can be answered."
Angel looked at Laplace in confusion. Laplace did not speak, but stretched out his finger and gently tapped the illusion released by Angel.
Angel could feel a new power injected into the illusion of these six murals.
This power is very strange, but it does not carry any malice. It rushes into the illusion node with a warm and refreshing feeling like water.
Although this power feels very gentle, what it does is not gentle at all. It is robbing Angel of his control over illusions.
Angel glanced at Laplace, said nothing, and silently gave up control of the illusion node.
And as Angel let go, Laplace successfully controlled the illusion, and then, the illusion began to change very quickly.
The six murals themselves have not changed, but there are rows of additional text next to the murals.
These texts are all Abyss Demonic texts, and they are also variant versions.
Angel had seen these words beside the mural before, but because he didn't recognize them, he didn't pay attention to them.
Now, Laplace laid out all these words, and Angel looked at them carefully...still didn't recognize them.
Laplace: "As long as these words can be translated, the answers to the contents of the murals will definitely be found."
Angel: Isn’t this nonsense?
"...But who can decipher these words?" Angel looked at Laplace.
And coincidentally, Laplace also turned his head to look at Angel, and the two people met each other's eyes.
From Laplace's eyes, Angel saw a trace 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 murals, you will definitely be able to solve the mystery of the text."
Angel felt like his head was filled with question marks.
What kind of logic is this? If I decipher the changes, can I solve the mystery of the text?
This is like the logic that if you step on an ant to death, you will definitely step on an elephant to death. There is no analogy at all!
"I didn't want to come this time, but Gleipnir suggested that I come, and it turns out that her hunch was right."
Angel: ...Then what? If he doesn’t recognize the word, he just doesn’t know it. If he doesn’t know a word, can he still forcefully interpret it?
"Just before, I disclosed the situation of the murals to Graipnir; at that time, it happened that Graipnir got a piece of information and was looking for me." Laplace paused after saying:
"And this is a sign."
At this point, Angel already understood Laplace's logic.
The "over-interpretation" thing started again.
Angel is not saying that over-interpretation is wrong. When analyzing inspiration, some reasonable or excessive interpretation is indeed needed.
However, this interpretation is too taken for granted.
He doesn't know these abyss demon texts, so how can he interpret them?
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 demonic text, but a puzzle similar to a mural?"
Angel: "...If it were a puzzle, the wise master would have solved it long ago, so why would it be my turn?"
The Wise Lord may be a little careful, but if Laplace really wants to ask, Angel believes that the Wise Lord will still tell Laplace the truth.
The wise master may have solved the mystery of the murals, but in terms of text, Angel still feels that the wise master may be unable to solve it.
Laplace seemed to have something more to say, and Angel sighed in his heart: "I have said before that I know many friends in the abyss, and I may be able to find helpers to decipher these words, but now, I
The mystery of these words cannot be solved."
Angel paused and continued: "Let's put the mural matter to rest for now. Ms. Laplace said that Gleipnir got some information. I wonder what it is?"
Although Angel was also a little curious about the murals, he still cared more about things related to 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 indeed true. Perhaps it is indeed what Angel said, and he will have to wait until he finds his friends in the abyss to get the real answer.
.
"Gleipnir's information was obtained from Charles's palace."
Angel: "Charlie Palace?"
Laplace nodded and gave a brief introduction to Charles Palace.
Charles Palace is a special mirror space. Its special point is that it has a basis in reality.
The mirror of reality corresponding to Charles's Palace is a strategic alchemical prop called the "Mytholite Mirror". Laplace didn't know the specific function of this alchemical prop, but he made an analogy, and it was probably like a mirror.
Once the mirror world created by Ji is supported by reality, its stability will be extremely high. As long as nothing is done, the mirror space will not be broken.
This chapter is not over yet, please click on the next page to continue reading! However, because of the reliance on reality, the aggregate energy possessed by Charles Palace is extremely thin. Generally speaking, creatures in the mirror are not willing to live in such a place.
Just like the mirror world in the Savage Cave, it is said to be a mirror world, but in fact it has completely relied on the laws of the wizarding world, and there is not even a bit of convergence energy in it. Therefore, the mirror world can no longer be regarded as the territory of the mirror realm.
As for Charles Palace, it is still within the Mirror Realm, but it is just between the cracks.
The reason why there are still mirror creatures in Charles Palace is very simple. They are enshrined by their descendants in reality.
"There are descendants in reality? Is it similar to the one-eyed family?" Angel asked doubtfully.
Laplace shook his head: "No, the people who live in Charles Palace are a group of former humans. However, after their death, they became mirror resentments. After some special transformation, they have now become the guardian spirits of Charles Palace."
"It can be regarded as a creature in the mirror that was transformed the day after tomorrow."
"Because of this, their grasp of polymerization energy is not as strong as other native mirror creatures. Their dependence on it is also relatively low."
"These are all digressions, let's get back to the topic. Charles I, Charles II, and Charles XIII lived in Charles's palace. In fact, there were some descendants of Charles who wanted to enter the mirror realm, but in the end they all failed to transform. Only
These three are still alive."
"Among them, Charles I and Charles II have been in the Mirror Realm longer than me, while Charles XIII is about the same length as me."
It is precisely because the group of people in Charlie's Palace are all old antiques from the Mirror Realm. Even though they stay in Charlie's Palace all year round and are not very strong, they at least live longer and have more knowledge.
This is why Gleipnir went to Charles' Palace.
At Charles' Palace, Gleipnir learned an interesting piece of information from these three special "Mirror Grudges".