Laplace walked closer and took a closer look.
"This fruit … is really a creation of words."
Laplace looked at the floating words with some surprise. "Yellow Water Berry: the fruit of Yellow Water Mulberry. It tastes sour and can be eaten with sugar. Specially improved fruit tree, harvested once a month, with a yield of 50 pounds per plant. "
This orange-yellow fruit was called Yellow Water Berry.
The reason why Laplace was so interested in it was because, to a certain extent, it was … a living creature of words.
Moreover, it was the best of the living creatures of words.
As far as Laplace knew, Ea had already researched various living creatures of words, led by "animals" and "plants".
However, Ea's research on living creatures of words followed the theory of evolution from the lowest level to the highest level.
For example, when researching invertebrate living creatures, he would start from the lowest level of sponges and amoebae, and slowly advance to hydroids and schistosomes, and finally to linear animals and ring animals, step by step.
It was the same for plants.
Although the research progress of word plants was much faster than that of word animals, this kind of fruit tree was also the highest level of Ea's research on word plants.
In other words, as the founder of the word space, Ea himself had not researched many word fruit trees in the outside world, but the authority of the Immortal State had described the perfect word fruit tree here.
In terms of efficiency, it was much better than Ea.
Moreover, looking at the introduction of the Yellow Water Berry … it ended with two simple sentences, one of which was the description of the yield.
This was much shorter than Ea's description of the text fruit tree.
In the outside world, the description of each word fruit tree was no less than the word earthworm they had seen before. As for the word earthworm, its descriptive language was so dense that it could not be seen on the floating screen.
From this, it could be seen how concise and generous the description of the Yellow Water Berry was.
The authority of the Immortal State must have done some kind of processing or updating of the description of the word living creatures.
If Ea was here, he would probably be so shocked that his teeth would fall out.
Although Laplace was also very surprised by the technology behind the word fruit tree, she was not the owner of the "Hidden Secrets in the Book" talent, so she was not too surprised.
At most … she plucked a Yellow Water Berry from the Yellow Water Mulberry and planned to study it herself. Or wait for the future when Ea entered the Dream Crystal and let him study it.
It was Ea's return for borrowing the word space.
The Yellow Waterberry wasn't big. It was about the size of a prune. He put it in his pocket and took it away easily.
Laplace sighed as he walked forward from the fruit tree forest.
The plants, flowers, and even the weeds on the ground were all living creatures. Moreover, the descriptions were extremely concise. There were no exaggerated descriptions, nor were there any flowery words. It was plain and simple.
"If the description of living creatures in Aia is Level 1, then the description here is probably Level 10," Laplace muttered. This was the difference.
In terms of efficiency and level, the transformation of the Word Space by the Authority of Fairyland was far beyond Ea's level.
As expected of the embodiment of the underlying logic of the world … Authority.
However, along the way, Laplace did not encounter any word animals. Whether it was bees, butterflies, birds, or fish, she did not see a single one.
Laplace didn't know if it was because he didn't "meet" or because there was "nothing" here.
She did not deliberately search for it. After all, what was more important to her now was to figure out how to get out.
In fact, Laplace could vaguely guess that this word space might be the reward for the "first pass" by the Authority of Fairyland.
After all, it was clearly written on the screen: "Reward: Feast for the Glutton."
But even if it was a reward, it should have told her how to use it. How to get out?
Laplace paused. She remembered that she clicked on the "Reward" on the screen to enter. So, could she leave by clicking on the "Reward" again?
As soon as Laplace thought of this, he immediately tried it.
However, the result was not what she wanted.
No matter how she clicked on the "Reward", there was no response. She clicked on other text messages, but there was no response.
Laplace exhaled and looked around the tranquil manor.
"It seems that the way out is from the manor."
Laplace was no stranger to this manor. After all, she had cleared it before. She knew very well that there were about four or five doors to the outside world in this manor, including the main door, various side doors, and even dog holes.
But now, there was no way to open the main door, and there was no option to "leave" the word space at the main door. It seemed that if she wanted to leave the word space, she could not just leave the manor.
There should be other mechanisms.
However, even if Laplace speculated this result, she still walked toward the other side door of the manor.
She wanted to try again to leave the manor from the side door.
Facts proved that it was still not possible.
Moreover, there was a dog hole near the side door. Laplace tried to stick her foot out of the dog hole, but was blocked by an invisible film of light.
The appearance of this film of light meant that the entire manor was probably covered.
It seemed that simply leaving the manor was not the right way.
Laplace could only look inside the manor.
There must be a way to leave here, but she did not know where it would be.
According to Laplace's understanding of the "Feast for the Glutton", there were two core places here, the glass greenhouse and the distant villa.
In the original dungeon, the glass greenhouse was full of big Mary roses, and the key clue was the human head balloon.
And in the villa was the big boss, Bila the Glutton.
So there was no doubt that if the exit was really in the core place, it was most likely in these two places.
Thinking of this, Laplace decided to go to these two places first. From the nearest to the furthest, she went to the glass greenhouse first.
It didn't take long for Laplace to reach the glass greenhouse. When she saw the familiar arch, she looked up instinctively. However, there were no human head balloons.
Back in the dungeon, the glass door was filled with human head balloons. But here, it was completely peaceful.
There was nothing unusual. There were only colorful roses in full bloom.
Laplace carefully observed the roses and even went into the greenhouse to check. Still, she did not find anything that might lead her to the "exit".
The words floating in front of his eyes were all related to the rose species.
Laplace sighed. So the clue was not here.
As for why there were no human head balloons, it was understandable. This was a "reward", after all, and it was unlikely that there would be any dangerous monsters.
Besides, Laplace already destroyed all the human head balloons when she cleared the dungeon. It was normal that there were no human head balloons here.
Laplace left the greenhouse and focused on the most important place in the manor: the main house.
If she could not find her way out of the main house, she would have to wait for Angor to find her.
Speaking of which, she had been wandering around the manor for ten minutes already. Did Angor not notice that she was missing?
With his ability, he should be able to find the dungeon easily, right?
Or was Angor already looking for her but did not say anything? Was he watching her walk around the manor on purpose?
Laplace gave it some thought and did not think it was possible.
She knew Angor well enough. Angor was a bit of a "joker", but he never showed it to his friends.
In other words, he did not get his fun from his friends.
Besides, watching Angor walking around the manor was not enough to satisfy his bad taste.
So Angor did not show up until now? Maybe he did not know where she was?
This was the only explanation for why Angor did not show up.
"Every time I entered a dungeon, there would be a corresponding crystal object. Angor could use it to locate the dungeon," Laplace thought. Laplace pondered. "This time, I entered the text space by clicking on the screen. Angor can't see my screen, so there is no medium outside. "
Without a medium, it would be difficult for him to locate his location.
So this was why Angor could not find her?
Laplace did not think too much about it. She had already reached the entrance of the manor.
The door was not locked, so Laplace pushed it open and walked in.
She saw the familiar winding hallway, the rose-patterned carpet, the knight armors, the oil paintings on the red walls, and even the lace curtains. Everything was exactly the same as in the dungeon.
The only difference was that there was Bila the Glutton and Helen hidden under the mask in the dungeon, but there was no one else here except for Laplace.
Laplace quickly walked through the hallway and arrived at the main hall.
When he came here, Laplace found something different again.
The oil paintings in the main hall were all portraits of Bila and her family. There were single portraits, double portraits, mother-daughter portraits, father-daughter portraits, family portraits … almost everything.
The oil paintings in the dungeon all showed how the nouveau riche family wanted to show off, as if they wanted to tell everyone that they were the masters of this place.
But there was not a single portrait in this place.
Most of the oil paintings were blank. It was as if they were waiting for someone to fill the blank paper in the frame with color.
The only thing that was not blank was the huge painting at the center of the hall.
There was no such painting in the dungeon.
Clearly, this painting was unique to the text space.
As soon as he thought of the word "unique", Laplace immediately paid more attention to it.
If it was unique, did it mean this was the exit of the text space?
Laplace walked to the painting and looked at it.
In the huge oil painting, there was something she was very familiar with.
It was not a painting of a scene, but an "object". The so-called "thing" was a crystal-shaped whip full of barbs. However, this winding whip was full of large and small Mary Roses. Although the roses were also crystal-shaped, they looked extremely beautiful when combined with the dark red color. There were also human heads growing out of the stamens of the roses. There were people of all ages.
Just looking at this whip alone gave him a sense of horror.
But Laplace knew very well that this crystal whip … was actually the crystal creation that had disappeared.
Previously, if Laplace wanted to enter the dungeon "Glutton's Feast", she had to come into contact with this crystal whip first. In other words, the crystal whip was the medium to enter the dungeon.
After Laplace's completion of the dungeon reached 100%, not only did the dungeon disappear, but the corresponding crystal creation also disappeared.
At that time, Laplace thought that she would never see this long whip again.
She did not expect that it would appear here in the form of a "painting".
Perhaps because she had been staring at it for a long time, the corresponding text slowly appeared above the oil painting. When Laplace saw this text, she was stunned.
[Space Oil Painting: This is an oil painting that contains space. As long as an item is placed in the oil painting, the oil painting will show the corresponding image. ]
[Space Oil Painting? And as long as something is placed in the painting, the corresponding image will appear?
This is a transcendent item?!
There were two things that were the most difficult to create in the text space. One was a living text, and the other was a transcendent item.
Transcendent items were more difficult than living text. This was because almost all transcendent items represented the accumulation of countless transcendent materials.
Every transcendent material was a transcendent page!
On the way here, Laplace had been thinking that since a transcendent living text appeared here, there might also be transcendent items.
Of course, she was just thinking about it. She did not really think that there would be transcendent items. After all, transcendent items were really difficult to create.
But she did not expect that a transcendent item would really come, and it was a "space" transcendent item.
Laplace felt that even if Eya used transcendent pages to write, it would probably be difficult to write a space item …
As expected of the Fairyland Authority, the mastery of the rules and the control of words had probably surpassed Eya's own.
Laplace shook her head and looked at the huge oil painting again.
According to the information described in the text, as long as an item from the outside world was placed in the oil painting, the oil painting would show the corresponding image. Now, the crystal whip was in the oil painting. Did that mean that the crystal whip was currently in the oil painting?
In the outside world, the crystal whip was a medium to enter and exit "Glutton's Feast."
Then, could it also be used as a basis to enter and exit the text space?
Laplace felt that this possibility was very high.
Otherwise, why would the crystal whip be deliberately placed in the space oil painting, and in the most central position of the hall? It was also the most central place of the entire manor.
Thinking of this, Laplace decided to try and take the crystal whip out of the space oil painting.
But now, the problem was, how could she take something out of the space oil painting?
Generally speaking, space items had their own core password, or "owner recognition." If an outsider casually touched it, there was a high probability that there would be no way to take anything out, and there might even be a backlash.
Laplace thought for a while and decided to try.
This text space, if it was really as she guessed, was a reward for her. Then, according to the fairness of the Fairyland Authority, it should not have deliberately set up a barrier.
(End of Chapter)
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