Section 3434 Rewards

Laplace walked closer and took a closer look.

"This fruit... is really a text creation."

Laplace looked at the floating text with some surprise: "Yellow Waterberry: The fruit of the yellow water mulberry, sour and watery, can be eaten with sugar. Specially improved fruit tree, harvested once a month, single plant yields 50 kilograms."

This orange-yellow fruit is called yellow waterberry.

The reason why Laplace cares about it is that, to some extent, it is... a text living thing.

Moreover, it is a fine text living thing.

As far as Laplace knows, Ea has long studied various text living things headed by "animals" and "plants".

However, Ea's research on text living things follows the theory of evolution from low to high.

For example, when studying spineless living things, he would start from the lowest sponges and amoebas, and slowly advance to hydras, schistosomes, and finally to nematodes and annelids, step by step.

The same is true for plants.

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

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

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

Moreover, look at the introduction of yellow water berries... It ends in two simple sentences, and one of the sentences is still describing the yield.

This is much shorter than when Eya described the text fruit tree.

In the outside world, the description of each text fruit tree is no less than the text earthworm they saw at the beginning. And the descriptive language of that text earthworm is so dense that it can't be seen on the floating screen.

From this, we can see how concise and generous the description of yellow water berries is.

The fairyland power must have processed the description of text creatures in some way, or updated it locally.

If Eya were here, he would probably be shocked.

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

At most... she picked a yellow water berry from the yellow water mulberry and planned to study it herself. Or wait until Ea enters the Dream Crystal in the future and give it to him to study.

It was considered a return gift from Ea for borrowing the word space.

The yellow water berry was not big, about the size of a prune, and it was very convenient to put it in your pocket and take it away.

Walking forward from the fruit forest, Laplace was sighing all the way.

The plants, flowers, and even the weeds on the ground here are all living things with words. Moreover, the descriptions of the words are extremely concise, without exaggerated descriptive language, nor piled up gorgeous words, simple and unpretentious.

"If Ea's description level of living things with words 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 the text space by the power of the fairyland is far beyond Ea's level in terms of efficiency and level.

It is worthy of being the embodiment of the underlying operating logic of the world...power.

However, Laplace did not encounter any text animals along the way. Whether it was bees, butterflies, flying birds or fish in the pond, she did not see any.

Whether it was because she did not "meet" or there was "nothing" here, Laplace was not sure for the time being.

She did not deliberately look for it. After all, what was more important to her now was to study 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, it was clearly written on the light screen: "Reward: Feast of Gluttons".

But even if it was a reward, she should be told 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 come in. So could she click on "reward" again to get out?

Laplace thought about it and tried it immediately.

However, the result was not what she wanted.

No matter how she clicked "Reward", nothing happened. She clicked other text messages, but nothing happened.

Laplace exhaled and looked around the peaceful and tranquil manor.

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

Laplace was not unfamiliar with this manor, after all, she had cleared it before. She knew very well that there were about four or five doors leading to the outside world in this manor, including the main door, various side doors, and even dog holes.

But now the main door could not be pushed open, and there was no option to "leave" the text space at the main door. So it seems that if you want to leave the text space, you probably can't just leave the manor.

There should be other mechanisms.

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

She wanted to try again to see if she could leave the manor from the side door.

As it turned out, it still didn't work.

Moreover, there was a dog hole near this 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 seems that simply leaving the manor is not the right way.

Laplace could only focus his attention on the manor.

There must be a way to leave here, but he didn't know where it was.

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

In the original copy, the glass greenhouse was full of big Mary roses and there was a key clue of human head balloon.

And in the villa was the big boss Glutton Bila.

So there is no doubt that if the exit is really placed in the core place, it is likely to be in these two places.

Thinking of this, Laplace decided to go to 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 archway, she subconsciously looked up. However, there was no human head balloon.

In the copy, the glass archway was full of human head balloons, but now it is completely peaceful here.

There is nothing abnormal, only colorful roses blooming.

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

The floating words were all about rose species.

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

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

Besides, when Laplace cleared the dungeon, he had already eliminated all the head balloons, so it is normal that there is no one here.

Laplace left the glass greenhouse, and her goal was 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 find her.

However, after all, she has been wandering around the manor for nearly ten minutes. Hasn't Angel noticed that she is missing?

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

Or is Angel already spying, but he just didn't say anything? Deliberately watching herself wandering around the manor?

Laplace thought about it carefully and felt that it was unlikely.

She knew Angel very well. Although Angel had a little bit of the attribute of a "fun person" in his heart, he never showed this "fun person" to his friends.

In other words, his fun was not from his friends.

Moreover, watching himself wandering around the manor could not satisfy Angel's bad taste.

So, Angel has not appeared until now, perhaps because he does not know where he is?

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

"In the past, there were corresponding crystal creations when entering the dungeon, and Angel could use the crystal creations to locate the dungeon." Laplace thought to himself, "And this time, I entered the text space by clicking on the light screen. And Angel cannot see my light screen, so there is no medium in the outside world."

Since there is no medium, it is probably difficult for Angel to locate his location.

I think this is the reason why Angel did not find himself?

Laplace did not continue to think about it, because she had already walked to the door of the manor villa.

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

The familiar looping corridor, the carpet with large Mary rose patterns, the standing knight armor, the oil paintings on the red wall of the corridor...even the curtains with lace, are exactly the same as in the original copy.

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

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

When he came 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 all of them.

The oil paintings in the copy all show the nouveau riche's plot of showing off, and they can't wait to tell everyone who comes here that they are the masters.

But here, there is no portrait.

Most of the oil paintings are blank. It seems to be waiting for people to fill the white paper in the frame with color.

The only thing that was not a blank painting was the huge painting in the center of the hall.

In the copy, there was no painting this big.

Obviously, this painting was unique to the text space.

When Laplace thought of "unique", his attention immediately increased by one level.

Since it was unique, did it mean that this was the exit from the text space?

Laplace walked to the painting and looked up.

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

This painting was not a scene, but an "object". The so-called "object" was a crystal-shaped whip full of barbs, but this winding whip was full of large and small Mary roses. Although the roses were also crystal-shaped, they looked extremely gorgeous with the deep red color. Moreover, human heads grew out of the cores of these Mary roses, both young and old, male and female.

Just looking at this whip, it was quite scary.

But Laplace knew very well that this crystal whip... was actually the crystal creation that disappeared at the beginning.

Previously, if Laplace wanted to enter the dungeon "The Feast of the Glutton", he had to touch 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 did the dungeon disappear, but the corresponding crystal creation also disappeared.

At that time, Laplace thought that he would never see this long whip again.

Unexpectedly, it would appear here, presented in the form of a "painting".

Perhaps because she had been staring at it for too long, the corresponding text information slowly emerged above the oil painting. When Laplace saw the text information, her expression suddenly froze.

"Space oil painting: This is an oil painting with space inside. As long as you put an object in the oil painting, the oil painting will present the corresponding picture."

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

Is this an extraordinary prop? !

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

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

Every extraordinary material is an extraordinary page!

Laplace was thinking on the road before, since extraordinary creatures appeared here, maybe there would be extraordinary props too?

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

But what she didn't expect was that extraordinary props really came, and they were "space-based" extraordinary props.

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

As expected of the power of the fairyland, the mastery of rules and the control of words are estimated to have 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 there are external objects placed in 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?

In the outside world, the crystal whip is the medium to enter and exit the "Feast of the Glutton".

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

Laplace thinks that this possibility is very high.

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

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

But now the question is, how to take things out of the space painting?

Generally speaking, space props have their own core codes, or "recognize the owner". If outsiders touch them casually, there is a high probability that they will not be able to take out anything, and may even suffer backlash.

Laplace thought about it and decided to reach out and try.

If this text space is really a reward for her as she guessed, then according to the fairness of the fairyland power, there should be no special obstacles.