Super Dimensional Wizard

  Chapter 3433 Reward

   Laplace walked closer and took a closer look.

   "This fruit... is really a creation of words."

Laplace looked at the floating text with some surprise: "Yellow water berry: The fruit of yellow water mulberry is sour and juicy, and can be eaten with sugar. Specially improved fruit trees, harvested once a month, with a yield of 50 catties per plant .”

   This orange-yellow fruit is called yellow waterberry.

  The reason why Laplace cares about it is that it is, in a way, a living thing of words.

   Moreover, it is also a masterpiece among living creatures.

  As far as Laplace knows, Eya has long ago researched various living creatures with characters such as "animals" and "plants".

  However, Eya's research on living creatures with writing follows the theory of evolution from low level to high level.

  For example, when studying invertebrates, he will start from the lowest sponges and amoebas, slowly advance to hydras and schistosomes, and finally to linear animals and ring animals, step by step.

  The same goes for plants.

  Although the research progress of writing plants is much faster than that of writing animals, this kind of fruit-bearing trees is also the highest level of Eya's current research on writing plants.

   In other words, as the founder of the text space, Eya has not researched a few text fruit trees in the outside world, but the power of the fairyland has described the perfect text fruit tree here.

   In terms of efficiency, it is much better than Eya.

   Moreover, take a look at the introduction of the yellow waterberry... It is over in two simple sentences, one of which is to describe the yield.

   This is much shorter than Eya's description of the text fruit tree.

  In the outside world, the description of each text fruit tree is no less than the text earthworms they saw at the beginning. As for the word earthworm, its descriptive language is almost so dense that it cannot be seen on the floating screen.

   From this, we can know how concise and generous the description of yellow waterberry is.

  The power of the fairyland must have undergone some kind of processing or localization update on the description of the living creatures in the text.

  If Eya were here, he would probably be stunned.

  Although Laplace was also surprised by the technology represented behind the word fruit tree, she was not the owner of the "Secrets in the Book" talent after all. She was surprised but not too much.

   At most... I picked a yellow water berry from the yellow water mulberry and planned to study it myself. Or wait for Eya to enter the dream crystal field in the future, and give it to him to study.

   is a return gift for Eya’s borrowed text space.

  Yellow water berries are not big, one is about the size of a prune, put it in your pocket, and take it away easily.

  Walking forward from the fruit grove, Laplace walked with emotion all the way.

  The plants, flowers, and even the weeds on the ground here are all living creatures. Moreover, the text descriptions are extremely concise, there is no exaggerated description language, and there is no pile of gorgeous rhetoric, plain and unpretentious.

   "If Eya's text description level of living creatures is level 1, the description level here is estimated to have reached level 10." Laplace murmured in a low voice, this is the gap.

  The transformation of the text space by the authority of the fairyland far exceeds Eya's level in terms of efficiency and level.

   It is indeed the embodiment of the underlying logic of the world... power.

  However, along the way, Laplace didn't encounter text animals, whether it was bees, butterflies, or bird pond fish, she didn't see any of them.

   Whether it's because he didn't "encounter", or because there is "no" here, Laplace doesn't know for the time being.

  She didn't deliberately look for it, after all, what is more important to her now is to study how to get out.

  Laplace could vaguely guess that this piece of text space may be the reward of the power of the fairyland to the "first passer".

   After all, the light screen clearly reads: "Reward: Feast for Gluttons".

   But even if it is a reward, you should tell her how to use it, how to get out?

   Laplace paused for a moment. She still remembered that she clicked on the "reward" on the light screen to enter, so can she go out by clicking on "reward" again?

   Laplace thought of it and immediately tried it.

   However, the result was not as she wished.

   No matter how I click on "Reward", nothing happens. She clicked on other text messages, but there was no response.

   Laplace exhaled a breath, and looked around the quiet and peaceful manor.

   "It seems that the way out has to be found in the manor."

   Laplace is no stranger to this manor, after all, she had passed the customs before. She knew very well that there were about four or five doors leading to the outside world in this manor, including the main entrance, various side doors, and even dog holes.

  But now the front door can’t be pushed open, and there is no option to “leave” the text space at the front door. From this point of view, if you want to leave the text space, you probably don’t have to leave the manor.

   There should be other mechanisms.

  However, even though Laplace guessed this result, she still walked towards the other side door of the manor.

   I want to try again to see if I can leave the manor through the side door.

   Facts have proved that it still doesn't work.

   Moreover, there is a dog hole near the side door. Laplace tried to stick his feet out of the dog hole, but was also isolated by an invisible light film.

  The appearance of this light film also means that the entire manor is estimated to be shrouded.

  It seems that simply leaving the manor is not the right way.

   Laplace could only focus on the manor.

   There must be a way to leave here, but I just don’t know where it will exist?

  Based on Laplace's understanding of "Greedy's Feast", there are two core places here, the glass greenhouse and the villa in the distance.

  In the original dungeon, the glass greenhouse was full of big Mary roses, and there were key clues like human head balloons.

  In the villa is Bila, the big boss glutton.

  So there is no doubt that if the export is really placed in the core place, then there is a high probability that it will be in these two places.

  Thinking of this, Laplace decided to visit these two places first. From near to far, she went to the glass greenhouse first.

   Not long after, Laplace walked to the glass greenhouse. When she saw the familiar arch, she subconsciously looked up. However, no human head balloons were seen.

  In the dungeon, the glass arches were filled with balloons of human heads, but now the place is completely peaceful.

  There is nothing abnormal, only gorgeous blooming roses of various colors.

  Laplace carefully observed the roses here, and went around the greenhouse for a while to investigate, but still did not find any information that might be related to the "exit".

  The floating words are all related to rose species.

   Laplace sighed, it seems that the clue is not here.

   As for why there are no head balloons, this is also normal. After all, this is a "reward". If there is a reward, it is unlikely that there will be dangerous monsters.

   Besides, when Laplace cleared the dungeon, he had already wiped out all the head balloons. It is normal that there are no head balloons here.

  Laplace left the glass greenhouse, and here her goal was placed on the most important place in the manor: the main house.

  If even the main house can't find a way to leave, then she will have to wait for Angel to come to her.

   But, having said that, she has been wandering around the manor for ten minutes, Angel hasn't noticed that she is gone yet?

  With Angel's ability, it should be easy to spy on the copy, right?

   Or, in fact, Angel was already spying on it, but he didn't make a sound? Deliberately watching yourself go around the manor?

   Laplace thought about it carefully, and felt that it was impossible.

  She knows Angor very well. Although Angel has a little bit of "joyful person" in him, he has never shown this "joyful person" to his friends.

   In other words, he doesn't get his fun from friends.

   Moreover, seeing myself wandering around the manor couldn't satisfy Angel's bad taste.

  So, Angel hasn't shown up until now, perhaps because he doesn't know where he is?

  Only this possibility can explain why Angel did not show up.

"In the past, when entering a dungeon, there was a corresponding crystal creation, and Angel could use the crystal creation to locate the dungeon." Laplace thought to himself, "But this time, I entered the text space by clicking on the light screen. And Angel can't see my light screen, so there is no medium from the outside world."

  Since there is no medium, it may be difficult for Angel to locate himself.

   Come to think of it, this is why Angel didn't find himself?

  Laplace didn't think about it any further, because she had already reached the gate of the manor villa at this time.

  The door was not locked, so Laplace pushed the door and walked in.

  The familiar looping corridor, the carpet covered with big Mary rose pattern, the standing knight armor placed, the oil painting on the red wall in the corridor... even the curtains including small lace, are exactly the same as in the original copy.

  The only difference is that there is Bila the glutton and Helen hiding under the mask in the dungeon, but here, there is no one else except Laplace.

   Soon, Laplace walked through the corridor and came to the main hall.

  After coming here, Laplace found something different again.

  In the copy, the oil paintings in the main hall are all portraits of Bila's family, single, double, mother and daughter, father and daughter, family portraits, almost everything that can be found.

  The oil paintings in the dungeon all show the nouveau riche's ostentatious plot, and I can't wait 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. It seems 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 dungeon, there is not such a large painting here.

   Obviously, this painting is unique to the text space.

  As soon as he thought of "unique", Laplace's attention immediately raised a level.

  Since it is unique, does it mean that this is the exit from the text space?

   Laplace walked to the painting and looked up.

  In the huge oil painting, there is something she is very familiar with.

  This painting is not the scene of the painting, but the "object" of the painting. The so-called "thing" is a crystal-shaped whip full of barbs, but this winding whip is full of big and small Mary roses. Although the roses are also crystal-shaped, they match the bright red color. The color looks very gorgeous. Moreover, human heads grew from the stamens of these big Mary roses, both young and old.

  Looking at this whip alone, it feels a bit scary.

   But Laplace is very clear that this crystal whip... is actually the crystal creation that disappeared at the beginning.

  Before, if Laplace wanted to enter the dungeon "Greedy's Feast", he had to contact this crystal whip first. In other words, the crystal whip was the medium to enter the dungeon.

   After Laplace reached 100% completion of the dungeon, 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 will appear here in the form of a "painting".

  Maybe because she stared at it for a long time, the corresponding text information slowly emerged above the oil painting. When Laplace saw these text messages, her expression froze for a moment.

  「Space oil painting: This is an oil painting with a space inside. As long as you put objects into the oil painting, the oil painting can present the corresponding picture.」

  Space oil painting? And as long as you put something, there will be a corresponding display on the screen?

  Is this a super prop? !

   The most difficult things to create in the text space are two things, one is text living creatures, and the other is extraordinary props.

  Among them, extraordinary props are more difficult than literal living things. Because almost all supernatural props represent countless supernatural materials piled up behind them.

   Every supernatural material is a supernatural page!

   When Laplace was on the road before, he thought, since there are extraordinary 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 items. After all, extraordinary props are really difficult to create.

   Unexpectedly, the extraordinary props really came, and they were also "space-type" extraordinary props.

   Laplace felt that even if Eya was asked to write on extraordinary paper, it would probably be difficult to write space props...

   As expected of the power of the fairyland, the mastery of the rules and the control of the text, it is estimated that it has surpassed Eya himself.

   Laplace shook his head and looked at the huge oil painting again.

  According to the information described in the text, as long as there are external objects put into the oil painting, the oil painting will have a corresponding display. Now, there is a crystal whip in the oil painting, does that mean that the crystal whip is in the oil painting at this time?

  The crystal long whip is outside, and it is the medium for entering and exiting the "Glutton's Feast".

  Then here, can it also be used as a basis for entering and exiting the text space?

   Laplace felt that this possibility was very high.

   Otherwise, why is the crystal whip deliberately placed in the space oil painting, and it is also the center of the hall. It is also the core of the entire manor.

  Thinking about this, Laplace decided to try and take the crystal long whip out of the space oil painting.

  But now the problem comes, how to get something from the space oil painting?

  Generally speaking, spatial props have their own core codes, or "identify the owner". 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.

   After thinking about it, Laplace decided to reach out and give it a try.

  This text space, if it is true to her guess, is a reward for her. According to the fairness of the power of the fairyland, it should not be deliberately set up to block it.

  (end of this chapter)