If Angor had to name the murals at the bottom of the hall, they would be "On the Throne", "On the Throne", "Path of Glory", "The Man Who Walked on the Wire", and "Swaddling Clothes".
Angor's idea was to name the murals based on the content of the murals, while the story in his mind was secondary.
But now, he realized that the story he imagined was wrong.
He had always believed that the painting "On the Throne" at the bottom of the hall was the ending of the story of "The Newborn Will Become King".
But The Man on the Tightrope slapped him in the face.
According to Angor's imagination, "The Man Who Walked on the Wire" should be "Path of Glory".
But in "The Man Who Walked on the Wire", the main character had already taken off his heavy armor and threw away his spear. So why was he still wearing his armor and holding his weapon in "Path of Glory"?
This wasn't a contradiction in logic.
In other words, this logic was completely inverted.
The real order should be "Path of Glory" first, and "The Man Who Walked on the Wire".
In other words, "On the Throne" was not the last painting. It was the beginning of the story.
But "Swaddling Clothes", which was painted on the top of a tree, was the real ending of the story.
But Angor and Laplace were still confused.
A newborn who lived for a long time and became a king. That was how normal people thought. But why was it reversed? Why did the king return to his swaddling clothes?
Did it mean something? Or could it be that their current analysis was still wrong? The man who walked on the wire wasn't abandoning his armor. Was he summoning his armor and weapon from the bottomless abyss? Angor didn't believe it himself, but he still couldn't understand what "the king returned to his swaddling clothes" meant.
Both Angor and Laplace were lost in their own thoughts.
After a moment of silence, Angor spoke first, "It's too early to think about it. Let's finish looking at all the murals first."
Laplace nodded and asked Angor to follow her.
Soon, they arrived at the fifth hall. As for the mural there, it would be the final mural they would see.
After entering the hall, Laplace hesitated for a moment before whispering, "Luigi has already come out of Tooth Immortal Castle. Gleipnir also has some investigation results. Do you want to hear them now?"
Angor considered and shook his head. "Not now. Let's figure out the murals first."
Laplace's investigation would not go wrong anyway. As time went by, she would collect more samples, and the results would be more reliable.
So there was no need to rush.
Let's see what the murals in the fifth hall talked about first, and what they had to do with "Swaddling Clothes".
Whether "Swaddling Clothes" was the beginning or the end of the story would depend on the fifth murals.
As the light and shadow changed and lengthened, the painting slowly revealed half of its true form.
Several minutes later, he let out a long sigh.
Swaddling Swaddling Looked..
. A dark abyss, an indescribably huge creature, a tiny "man" who was moving toward the creature, and … an ancient city behind the creature.
This was only the overall picture of the murals. If Angor looked at the details, he would see that the creature was huge, like a ten-thousand-meter-tall mountain in front of him.
Moreover, there was more than one of these gigantic creatures whose overall appearance could not be described. It was just that the one at the front occupied the main position. But from the side, Angor could see the outline of a similar creature behind the ancient city floating in the abyss.
He couldn't tell how many there were, but there was definitely more than one.
Apart from the gigantic creature, there were also details worth mentioning about the tiny "person" who was walking opposite the gigantic creature.
This "man" was exactly the same as the one in "The Man on the Steel Rope". He wasn't wearing any armor or holding any weapon.
This meant Angor's speculation was wrong. "Path of Glory" came first, followed by "The Man on the Steel Rope".
Another piece of evidence was the details of the ancient city.
He couldn't see clearly what was in the ancient city. The only thing he could see was a black silhouette above the ancient city. And this silhouette was exactly the same as the "swaddling clothes" in the last painting.
It could be said that this painting was a foreshadowing of the last painting, "Swaddling Clothes".
This once again proved that 'Swaddling Clothes' at the top of the tree was the last painting of the story, and 'On the Throne' was the first painting.
He still did not know the general idea of the story, but he was sure that the story was not about "the newborn will become king". Besides, he did not interpret the first few paintings correctly.
If he were to name the first painting from his current perspective, perhaps it would be better to call it "The Throne."
He thought the second painting showed a new king ascending to the throne. But in fact, it showed the king abdicating his throne. Therefore, it was more appropriate to call it The Departure of the King.
The third painting was also not of the commoners cheering for the new king's ascension to the throne. Instead, it was of the commoners wondering why the king had left. They were lamenting and sending the king off. Therefore, it was better to call it the Farewell Path.
There was no need to change the name of the fourth painting. It was still "The Man Walking the Steel Rope".
The fifth painting, which was the current one, could be called "The Ancient City and the Giant Beast".
As for the sixth painting, which was the one at the top of the tree, it could still be called "Swaddling Clothes" in a straightforward way.
However, the best name was still to summarize the meaning of the painting. But Angor still did not know what "Swaddling Clothes" was about.
Why would a king abandon his past just to chase after a swaddling clothes?
…
While thinking, Angor and Laplace returned to the top of the tree.
Next, he projected the six murals in the air using illusions.
The mystery of the murals was finally solved. Based on the logic of the murals, it was probably a story about "a king who removed his armor and returned to his new life".
However, the whole story was filled with a sense of absurdity.
Especially when these six murals were seen together, it would be even more dramatic.
Laplace looked confused. "What's the meaning of 'Swaddling Clothes'? Why do people chase after swaddling clothes?"
"Swaddling clothes can be interpreted as a sleeping place for a baby. A king on a throne turned into a baby in swaddling clothes. Does this mean … rebirth? New life? "
"Or … reincarnation?" Angor asked in a low voice.
"Rebirth, new life, reincarnation." Laplace murmured as if he had thought of something. His expression gradually turned solemn.
On the other hand, Angor sighed. "But it's only a guess. The Abyss is full of secrets. Where is this ancient city? What are those giant beasts? Why did a king remove his armor and return to his swaddling clothes? These are all unanswered mysteries. "
"No, we can answer them," said Laplace.
Angor gave Laplace a puzzled look. Laplace did not say anything. Instead, he reached out a finger and tapped on Angor's illusions.
He sensed a new energy being injected into the illusions of the six murals.
The power was unfamiliar, but it did not carry any malicious intent. It simply flowed into Angor's illusion nodes like water.
The power felt gentle, but it wasn't gentle at all. It was trying to take away Angor's control over his illusions.
Angor glanced at Laplace but didn't say anything. Instead, he relinquished control of the illusion nodes to Laplace.
As soon as he let go, Laplace regained control of the illusion. Next, the illusion began to change.
The six murals themselves did not change, but beside the murals, there were additional rows of words.
They were all mutated versions of Abyss Demon's language.
He also saw the words beside the murals, but he didn't know what they were, so he didn't pay attention to them.
Now that Laplace was showing them to him, Angor still couldn't read them.
"If we can translate these words, we'll find the answer to the murals," said Laplace.
"You don't say."
"But who can decipher them?" Angor looked at Laplace.
At the same time, Laplace also looked at Angor, and the two of them looked at each other.
Angor saw a hint of hope in Laplace's eyes. Angor hesitated and pointed at himself. "You mean … me?"
Laplace nodded. "If you can decipher the murals, you can also decipher the words."
Angor's head was full of question marks.
What kind of logic was this? If I can decipher the transformations, I can also decipher the words?
This was just like the logic that if you stepped on an ant, you would definitely be able to step on an elephant. There was no comparison at all!
"I didn't want to come this time, but Gleipnir suggested that I come. As it turned out, her hunch was right."
Angor didn't know what to say. He didn't know the words. How could he force himself to decipher something he didn't know?
"Not long ago, I revealed the situation of the murals to Gleipnir. At that time, Gleipnir received a piece of information and was looking for me." Laplace paused for a moment. "And this is a sign."
Angor finally understood Laplace's logic.
Again, he was trying to "over-interpret" the words.
Angor wasn't saying that over-interpreting was wrong. When analyzing inspiration, one needed to do something reasonable.
But this time, Laplace's explanation sounded too natural.
How was he supposed to decipher these words when he didn't know any of them?
Seeing that Laplace was still looking at him expectantly, Angor had no choice but to speak his mind.
Laplace considered for a moment. "What if this isn't a demon language, but a puzzle similar to the murals?"
"If it's a puzzle, the Lord of Wisdom would've solved it long ago. I don't need to ask."
Perhaps the Lord of Wisdom had his own plans. But if Laplace really wanted to ask, Angor believed that the Lord of Wisdom would still tell him the truth.
The Lord of Wisdom might have solved the murals, but Angor didn't think that the Lord of Wisdom could solve the murals.
Laplace seemed to have something else to say. Angor sighed in his mind. "Like I said, I know a lot of friends from the Abyss. Maybe I can find someone to help me decipher these words. But I can't do it right now."
Angor considered for a moment. "Let's put the murals aside for now. Miss Laplace said that Gleipnir received some information. What is it?"
He was curious about the murals as well, but he was more interested in his own life than those unknown murals.
Laplace was still obsessed with the demon language, but she knew that Angor was telling the truth. Perhaps Angor was right. She would have to wait until she found her friends in the Abyss Plane to get the answer.
"Gleipnir received the information from Charlie's Palace."
"Charlie's Palace?"
Laplace nodded and gave a brief introduction of Charlie Palace.
Charlie Palace was a special mirror space. Its uniqueness lay in the fact that it had a basis in reality.
The mirror space corresponding to Charlie's Palace was a strategic alchemy item called "Mithril Mirror". Laplace didn't know the exact function of the item, but she used it as an analogy. It was similar to the mirror world created by the Lady of Mirrors. Once it was supported by reality, it would become extremely stable. As long as it wasn't disturbed, the mirror space would not break.
However, because of this, the convergence energy in Charlie's Palace was extremely thin. Normally, mirror creatures wouldn't want to live in such a place.
Take the mirror world of Brute Cavern as an example. Although it was called a mirror world, it was completely dependent on the laws of the wizarding world. There was not even a tiny bit of convergence energy in it. Therefore, the mirror world was no longer part of the Realm of Mirrors.
Charlie's Palace, on the other hand, was still within the Realm of Mirrors.
There was a simple reason why there were mirror creatures living in Charlie's Palace. They were worshipped by their descendants in the real world.
"Descendants in the real world? Is it something like the One-Eye Clan? "Angor wondered.
Laplace shook his head. "No. The people living in Charlie's Palace used to be humans. However, after they died, they became Mirror's Wrath. After some special transformation, they became the guardian spirits of Charlie's Palace.
"You can say that they're transformed mirror creatures.
"Because of this, they don't have as strong a control over convergence energy as other mirror creatures. They don't rely on the mirror much either.
"Anyway, let's get back to the main topic. Charlie's Palace is home to Charlie I, Charlie II, and Charlie XIII. Some of Charlie's descendants tried to enter the Realm of Mirrors, but they all failed. Only these three survived.
"Charlie I and Charlie II spent more time in the Realm of Mirrors than I did. Charlie XIII is about the same as me."
The people living in Charlie's Palace were all old-timers from the Realm of Mirrors. They might not be strong, but they had lived for a long time and learned a lot.
This was why Glepnir went to Charlie's Palace.
Inside Charlie's Palace, Glepnir learned something interesting from the three "Mirror's Wrath".
They all stopped dreaming at about the same time.
Before that, they had been dreaming a lot.
(End of Chapter)
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