Nightmare Attack

Chapter 217 History
"Fatty," Jiang Cheng's voice interrupted his guess, and when he regained his composure, he found that he had come to the second stone gate.

The doctor and Chen Ran have separated from the intimacy of conjoined twins.

The two, one on the left and one on the right, occupy a terrain respectively.

"Wait for me outside," Jiang Cheng said in a customary tone, "I want to go in with brother Chen to do some business, I don't call you, don't come in and disturb our good business."

Hearing this, the fat man was stunned for a moment, his brain was still stuck in the previous guess, and he didn't react, but out of his trust in the doctor, he nodded and said with a twitch: "You two take your time, don't worry, I can wait."

Chen Ran grinned at the corner of his mouth, squinted his eyes at the fat man, and said, "Then you have to work hard, brother fat."

"Why is he working so hard?" Jiang Cheng squinted at Chen Ran, and yelled dissatisfied, "It's my hard work!"

Chen Ran tilted his head, looked at Jiang Cheng one more time, then left a look, and stopped talking, took a step back, turned around and flashed into Shimen.

Seeing that Chenran was gone, the fat man immediately trotted to Jiang Cheng's side, and said in an eager but low voice, "Doctor, you can go in by yourself and nothing will happen. How do I feel inside?"

Jiang Cheng babbled, turned his head and said to the concerned fat man, "Don't worry," he patted his waist, bared his teeth and said, "Don't you know how good I am? I'm a night show."

The fat man automatically blocked the following words, but he still advised the doctor to be more careful, and if the situation was wrong, he could yell loudly, and he ran in to help.

"Stay smart here," the doctor stared at the stairs they walked up, and suddenly said, the playful expression disappeared, he retracted his gaze, pointed to the position under his feet, and said after a few seconds: "There are people down there." question."

The fat man slowly opened his eyes.

"Brother Hao," Chen Ran looked at Jiang Cheng who came in cautiously, and said with a smile, "What are you doing? With me here, are you still worried about someone sneaking up behind the door?"

Jiang Cheng patted his clothes, and said apologetically, "Don't be surprised, Brother Chen, I was bitten by a dog hiding behind the door when I was a child."

He looked around, except for the old woman huddled in the corner, there was no sign of Su An.

Su An also disappeared.

But unlike the two missing people before, they can be sure that Su An disappeared in this room, and because of his serious injuries, it is impossible for him to leave here.

So...the two looked at the shivering old woman in the corner at the same time.

It is self-evident who the murderer is.

Both of them are smart people. The information they got from the stone plate and the painting carved with dark lines on the stone pillar, together with their own judgment, is enough for them to restore most of the plot.

It has to be said that the history of Blackstone Town is far more complicated than they thought before.

The story told by the "things" in Blackstone Town is a complete lie.

They are not natives at all.

Jiangcheng had doubts for a long time, how could the aborigines on this isolated island forge iron tools as weapons?

Or mass production.

They were invaders, invaders who came here in huge wooden ships.

Just like in the 15th century, those who boarded the "Mayflower" and landed in Plymouth, America, were Puritans who were not tolerated by the government at that time.

The first engraved painting on the stone pillar records the origin of this group of invaders.

The waves on the sea were raging, and the invaders probably discovered the island by accident, or maybe the wooden ship ran aground on the coast near the island after encountering a shipwreck.

The simple local aborigines received them kindly and gave them the necessary food and shelter.

Soon, they became acquainted with the local aborigines, that is, the townspeople of the real Blackstone Town.

This is also what the second painting wants to express. Two groups of people dressed in completely different attire gather together. The background is the sea.

In the third painting, some people are cutting firewood in the forest, and others are climbing up and down the wooden boat stranded by the sea, apparently helping to repair the ship.

But the strange thing is, whether it is cutting firewood or repairing ships, they are all locals in strange costumes, and outsiders who should have done it themselves are gathering in the dark, whispering, and facing the direction of the forest from time to time Pointing.

Apparently, they found something.

And it was precisely because of this discovery that they were unwilling to leave Heishi Town, but had other thoughts.

In the following paintings, the angle of view is no longer single, and it starts to jump one after another, and the brushstrokes become sharper and bolder.

On a pitch-black night, a long dragon-like team gathered from outside the town, and then set off, quietly walking into the forest.

The reason why the intention of being silent in the middle of the night can be understood is because the painter used a contrasting technique.

On the left is a procession entering the forest, while on the right of the same painting, a group of people are engraved lying on a bed, sound asleep.

Those who entered the forest were the aborigines, while those who fell asleep were naturally outsiders.

The aborigines deliberately chose to enter the forest quietly in the middle of the night. The purpose was naturally to avoid the eyes and ears of outsiders, and a few of them were carrying something like a wooden board.

On the wooden board, there is a person lying down.

A dead man with one arm hanging limply in the air.

In the middle of the night, without lighting a torch, a group of townspeople quietly carried a dead man into the depths of the forest. Thinking about it, it felt weird.

But what's even weirder are those outsiders.

They were lying on the bed in different postures. Everyone was in a comfortable sleeping position, but at the position representing the eyes, there was a slit carved from top to bottom.

Vertical eyes like snakes.

Of course they were not monsters, Jiang Cheng took a slow breath, he thought what the painter wanted to express was that they were just pretending to be asleep, but in fact they were all awake and not asleep.

And fully aware of what's going on outside.

The following paintings also confirm this point.

The next painting has a sudden change in perspective, which is very similar to the feeling of modern candid photography.

In the middle of the picture, a group of strangely dressed people are gathered around the edge of a huge stone plate, holding hands, some prostrating, some crying.

There was a man lying on the stone plate, motionless.

Immediately afterwards, a woman in a white dress slowly stepped out of the stone plate. The depiction of this woman was much more detailed than others, giving the impression that even the folds on the skirt could be seen clearly.

A townsman came forward respectfully and handed her a crock-shaped container. After the woman took it, she raised the container above her head, and then suddenly toppled over.

There's blood in the container!

Bright red blood!

It's not a guess, but the painter painted this part of the painting with blood. The bright red color has not faded with the passage of time, and it is still red and dazzling.

(End of this chapter)