Wine and Gun

Although these people are used by Albarino as a whole to replace the survivors of the disaster in a làng comic painting, what they are frantically pursuing is not a fleeting sail in the deep sea. The direction everyone struggled to crawl toward, the direction their arms stretched with all their might, was Kabbah Slade hanging in front of the cross of Christ.

At this moment, Slade was staring at Albarino and Herstal in horror. Albarino had obviously done a lot of things when he was drinking coffee in Herstal. You can also see clues on the body. Slade, too, was now naked, hanging from the far end of the altar table; his limbs were pulled apart by the piano strings, which had sunk deep into the feeble limbs, slicing through the pale flesh.

Albarino probably used a knife to cut a ring of cuts in his limbs before he hoisted him up in the air, and then he could fix the wires in these "grooves" so that they wouldn't get in the way. Slipped off human skin. This resulted in blood dripping everywhere on Slade's body where the piano strings were fastened, and the blood that had not yet coagulated was constantly spilling from under the wire that was deeply embedded in the skin, drawing on the skin that was like a blank canvas. Traces of dark red.

Stryder looked like a filthy shadow floating in front of the cross of Jesus, and apparently Albarino didn't mind actually dressing the man as Satan: Stryder didn't know what to do with his head. A pair of curved black horns were fixed, and under the illumination of the church lights, the black shadow with the horns was being cast on the cross behind him, drawing the figure of the Son of God into it.

In St. Anthony's Church, the young Herstal hanged the other two men on either side of the cross, as if they were two criminals who were crucified with Christ at Calvary, leaving the middle empty. This vacancy is exactly the position that should be reserved for Slade.

Now he's finally hanging there, years too late, but perhaps not too late in a sense. His body was coinciding with the statue wearing a crown of thorns on the cross behind him, and his height was exceptionally perfect, just like some silent irony.

Herstal couldn't help but glanced at Albarino, who had a slight smile on the corner of his mouth, just like every artist who was examining his upcoming work.

—and the Sunday Gardener read so easily what he meant.

Albarino took Herstal around the ship that was about to sink beneath the nonexistent waves. As he got closer to the creation of the ship and the people on board, Herstal discovered details that he would not have seen from a distance.

It has been said before that these six people are generally arranged in a column from the main entrance of the church to the altar in the center of the church. One victim was hung purely by the strings of the piano, and their feet were probably hanging in the air.

But when Herstal approached, he found that it was not the case: the bottom of the "boat" was not level with the ground at all. Although only the side of the ship that was about to sink could be seen from the side, there was actually a path on the bottom of the boat that gradually gradually started from the main entrance of the church. On the steps raised towards the altar, the victims of Albarino were placed on this step by mistake. No wonder it seems that the height difference between them is very obvious.

"Gradually rising is a very common image," Herstal said quietly.

"Some people will think that 'up' is the way to heaven. In Dante's long poem, heaven is divided into nine layers, and the higher the soul, the nobler the soul." Albarino said lightly, his eyes from there Dao glanced over the wooden stairs that climbed step by step, "The order of fate and God makes it possible to fly over those light celestial bodies - but how boring it is to follow the rules."

Herstal chuckled softly, and it was difficult to discern his true emotions from such a chuckle. He said, "So in your design, the higher the sin, the more sinful."

——The six people in this boat shape are roughly fixed by Albarino in a posture similar to the oil painting "The Raft of the Medusa", so that people with relevant knowledge can see his selection of materials by looking at the overall shape from a distance what is. But as long as you pay close attention to the specific postures of the six people on the boat, you will find that they are actually different from the figures in the oil painting.

The man lying on his back closest to the bow was an unfamiliar face Herstal did not know, a stocky middle-aged man; now, of course, he was skinny. He seemed to have just woken up from some large dose of anesthesia, and the horror in his eyes was mixed with an equal amount of confusion; at this moment he was staring in horror at the high dome of the church, his chest heaving faintly.

The skin near his ribs was almost peeled off, and it seemed that something was used to scorch the bleeding to stop the bleeding. Now the wound nearby did not bleed any more, but turned into a terrifying charred black piece. Such a wound will eventually become infected. ——Of course, provided that if he can still live to be infected. Herstal saw some plants crawling out of his rib wound. He didn't know how Albarino did it, but the golden ears of wheat grew up from between his ribs, and there were bright red blood splattered on the wheat awns. ; thorns wrapped around him like chains, leaving scary scars on his skin.

Search [Book Reading Assistant] official address: www.kanshuzhushou.com Millions of popular books are free to read for life without advertisements!