Super Dimensional Wizard

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 waterberry: The fruit of yellow water mulberry. It tastes sour and watery. It can be eaten with sugar. Specially improved fruit tree, one harvest per month, with a yield of fifty kilograms per plant. .”

This orange-yellow fruit is called yellow waterberry.

The reason why Laplace cares about it is that to some extent, it is...a living creature of words.

Moreover, it is also a masterpiece among living writings.

As far as Laplace knew, Aea had already studied various living creatures with words, including "animals" and "plants" a long time ago.

However, Ea's research on written creatures followed the theory of evolution from lower to higher levels.

For example, when studying invertebrates, he would start with the lowest sponges and amoebas, then slowly advance to hydrozoa and schistosomiasis, and finally to nematozoans and annular animals, step by step.

The same goes for plants.

Although the research on glyph plants is progressing much faster than the research on glyph animals, this kind of fruit-bearing tree is also the highest level of Ea's current research on glyph plants.

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

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

Moreover, look at the introduction of yellow waterberries...it ends with two simple sentences, one of which still describes the yield.

This is much shorter than when Ea describes the literal fruit tree.

In the outside world, the description of each literal fruit tree is no less than the literal earthworm they saw at the beginning. As for that literal earthworm, its descriptive language is so densely packed that it can’t even be seen on the screen.

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

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

If Ea were here, he would probably be shocked.

Although Laplace was also surprised by the technology behind the text 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 waterberry from a yellow waterberry and planned to study it myself. Or wait until Eya enters the Dream Crystal Plains in the future and leave it to him to study.

It’s a gift in return from Ea’s borrowed writing space.

The yellow water berries are not big. One is about the size of a prune. You can put it in your pocket and take it away easily.

Walking forward from the fruit trees, Laplace was feeling emotional as he walked.

The plants, flowers, and even the weeds on the ground here are all living creatures with words. Moreover, the text descriptions are extremely concise, with no exaggerated descriptive language or piles of gorgeous words. They are simple and unpretentious.

"If the description level of Ea's written 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 difference.

The transformation of text space by the power of Wonderland far exceeds Ea's level in terms of efficiency and level.

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

However, Laplace did not encounter literal animals along the way. She did not see any bees, butterflies, or birds and fish.

Whether it's because he didn't "encounter" it, or because it "doesn't exist" here, Laplace doesn't know yet.

She didn't deliberately search for it. After all, what was more important to her now was to figure out how to get out.

Laplace could actually vaguely guess that this text space might be a reward from the power of the fairyland to the "first passer".

After all, the light screen clearly says: "Reward: Glutton's Feast."

But even if it is a reward, she should be told how to use it and how to get out?

Laplace paused for a moment. She still remembered that she clicked on the "reward" on the light screen to enter. Could she click on "reward" again to get out?

Laplace thought of it and immediately tried it.

However, the result was not what she expected.

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

Laplace exhaled and looked around the peaceful and peaceful manor.

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

Laplace was no stranger to this manor, after all, she had passed the level 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 entrances, and even dog holes.

But now the main entrance cannot be pushed open, and there is no option to "leave" the text space when you go to the main entrance. It seems that if you want to leave the text space, you probably don't have to leave the manor.

There should be other mechanisms.

However, even if Laplace guessed this result, she still walked towards the other side entrance 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 probably covered.

It seemed that simply leaving the manor was not the right way to go.

Laplace could only focus on the manor.

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

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

In the original copy, the glass flower room was filled with big Mary roses, and there were key clues about human head balloons.

In the villa is the big boss, the gluttonous Bila.

So there is no doubt that if the exit is really placed in a core location, it will most likely 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 flower room first.

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

In the dungeon, all the balloons with human heads were floating on the glass arches, but now the place is completely peaceful.

Nothing out of the ordinary, just gorgeously blooming roses of all colors.

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

The words floating around in my eyes are all related to rose species.

Laplace sighed, it seemed that the clue was not here.

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

Besides, when Lapras cleared the dungeon, he had already eliminated all the head balloons, so it was normal that there were none here.

Laplace left the glass flower room, where her target was placed on the most important place in the manor: the main house.

If she couldn't find a way out of the main house, then she would have to wait for Angel to come find her.

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

With Angel's ability, he should be able to spy on the copy easily, right?

Or is it that Angel was already snooping, but he just didn't say anything? Deliberately watching yourself wandering around the manor?

Laplace thought about it carefully and found it impossible.

She knew Angel very well. Although Angel had a little bit of "fun person" inside him, he never showed this "fun person" to his friends.

In other words, he didn't get his pleasure from his friends.

Moreover, seeing himself wandering around the manor could not satisfy Angel's evil taste.

Therefore, Angel has not appeared yet, perhaps because he does not 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. 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 would be difficult for Angel to locate where he is.

Come to think of it, is this the reason why Angel didn't find him?

Laplace did not continue to think deeply, because she had already reached the door of the manor villa.

The door was unlocked, so Laplace pushed the door open and walked in.

The familiar looping corridor, covered with large Mary rose pattern carpets, standing knight armors, oil paintings on the red walls of the corridor... and even the lace curtains are all exactly the same as in the original copy.

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

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

When he came here, Laplace discovered 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 you can find.

The oil paintings in the copy all show the show off of the nouveau riche, and they want 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 wasn't a blank oil painting was the huge painting in the center of the hall.

In the copy, there is no such big painting here.

Obviously, this painting is unique to the literal space.

When he thought of "unique", Laplace's attention immediately increased by one level.

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

Laplace walked to the painting and looked up.

In the huge oil painting, there was something very familiar to her.

This painting is not a scene, but an "object". The so-called "object" is a crystal-shaped whip full of barbs, but this winding whip is covered with large and small Mary roses. Although the roses are also crystal-shaped, they match the bright red color. The color looks extremely gorgeous. Moreover, these large Mary roses also have human heads growing out of their stamens, and they are found in both men and women, young and old.

Just looking at this whip is quite scary.

But Laplace knew very well that this crystal whip... was actually the crystal creation that disappeared in the first place.

Previously, if Laplace wanted to enter the dungeon "Glutton's Feast", he had to first come into contact with this crystal whip. In other words, the crystal whip was the medium for entering 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 would appear here, presented in the form of a "painting".

Perhaps because he had been staring for a long time, corresponding text messages slowly appeared above the oil painting. When Laplace saw these text messages, her expression was stunned.

"Space oil painting: This is an oil painting that contains space. As long as you put items into the oil painting, the oil painting will show the corresponding picture."

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

Is this an extraordinary prop? !

The most difficult things to create in text space are two, one is a living text object, and the other is an extraordinary prop.

Among them, extraordinary props are even more difficult than literal living creatures. Because almost all extraordinary props represent the accumulation of countless extraordinary materials.

Every extraordinary material is an extraordinary page!

When Laplace was on the road before, he was thinking, since there are extraordinary living creatures here, maybe there will also be extraordinary props?

Of course, she was just thinking about it and didn't really think there were extraordinary props. After all, extraordinary props are really hard to create.

But what I didn't expect was that the extraordinary props really came, and they were "space system" extraordinary props.

Laplace felt that even if Ea were to use extraordinary paper to write, it would be difficult to write space props...

It is worthy of the power of the fairyland. His mastery of rules and control of words have probably surpassed Ea himself.

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

According to the information described in the text, as long as external items are placed into the oil painting, the oil painting will be displayed accordingly. Now, the crystal whip is in the oil painting. Does that mean that the crystal whip is in the oil painting at this time?

The crystal whip is in the outside world and serves as a medium for entering and exiting "The Glutton's Feast".

Can this also be used as a basis for entering and exiting the text space?

Laplace felt that the possibility of finding Shuyuan www.zhaoshuyuan.com was very high.

Otherwise, why would the crystal whip be specifically placed in the space painting, and it would also be in the center of the hall. It is also the core place of the entire manor.

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

But now the question comes, how to get things from the space oil painting?

Generally speaking, space props have their own core password, or "recognition of ownership". If outsiders touch it at will, there is a high probability that they will not be able to take out anything, and they may even encounter backlash.

Laplace thought for a while and decided to reach out and give it a try.

This text space, if it is as she guessed, is a reward for her. According to the fairness of Fairyland's power, there shouldn't be any obstacles deliberately set up.

Please remember the first domain name of this book: . :