If you knew your own date of death, what would you do?

And if this period of death has fallen, what will you do?

De Rosso is an orphan, a term that is apparently not uncommon in greenhouses.

But at the same time he was a lucky orphan, because he was adopted by an old painter at the age of five.

This gave him a childhood that could at least ensure food and clothing, and also exposed him to the most beautiful things in his life.

Before he saw the paintings, he never thought everything could be so beautiful.

And by the time he paints his first colors with paint, the world in his eyes is already lit up.

It was a shift from gray to color, and that was another way of looking at the world.

And this is also the most valuable knowledge that the old painter taught to De Roso.

He said that before the disaster, there was a famous saying that there is no lack of beauty in this world, but only a lack of eyes to find it.

De Rosso had always believed in this sentence, and so in his eyes, the world became so beautiful, even if it was cold and unforgiving most of the time.

When De Rosso was sixteen years old, the old painter died. As the adopted son of the painter, he inherited the studio at 118 Thumb Street, as well as all the legacy of the old painter.

He started drawing posters for the greenhouse newspaper, which gave him a free source of paper, which was important because paper wasn't cheap.

In addition, he can also find some leftover kraft paper used in packaging magazines in the newspaper office, and use these to wrap the frames of the paintings, which can effectively protect the work.

De Roso's life seems to have gradually come into normalcy, and he is not immersed in grief over the death of the old painter, because he knows that the old painter will not want him to do that.

As his skills improved, he began to paint for some of the inhabitants of the greenhouse, and the canvas was always able to record some beautiful moments.

Compared with the reality of the photos, these works sketched with color strokes will always have a little more fantasy beauty.

This sense of beauty is what the painter wants to convey to the viewer.

Conveying the beauty of what he sees in his eyes to those who have not yet seen it through pen and paper is what De Rosso has wanted to pursue all his life.

He wanted to share with everyone the fantastic sights he had seen.

The world could have been a different story.

De Rosso believed without doubt.

It was only in the year he was eighteen years old, a month earlier, that he was diagnosed with heart swelling.

It was a terminal illness with no cure, and doctors said he would die in agony.

De Rosso was depressed for a long time, he didn't understand why fate was always so cruel to him, he didn't understand why, he had worked so hard, but he still couldn't get the favor of life.

No way, many things in this world are unreasonable.

De Rosso thought about it, just waiting to die in such a lonely way.

Until one day, he found an old photograph among the relics of the old painter.

It was really a very old photograph, and even though it was framed, its torn corners and yellowed colors made it difficult to tell its age.

It is only based on the content of the photo that people can judge that it is a pre-disaster photo.

It is hard to imagine that a photograph of such an age could be preserved in the relics of an old painter, and it is still so well preserved.

What makes De Rosso even more unimaginable is the view in that photo.

It was, he assured, a beauty he had never seen in his life, even if its color had dimmed and its brilliance faded because of the passage of time.

But the scenery recorded in it still makes De Rosso addicted.

That night, De Rosso had insomnia.

He didn't sleep all night, just tossing and turning over and over one thing.

He thought that maybe he should draw that picture, he thought that maybe he could use his short life to achieve a real beauty.

As for where he should draw this picture, he already had an idea.

He's going to the east of Greenhouse No. 4, where there's a huge ice wall, and he's going to paint this beauty on top of that ice wall.

It would be the last thing he left to the world.

This will also be the last work he is willing to use his life to achieve.

In this way, he can have no regrets.

In this way, he can say that he has given his most beautiful blessing to this world, which is not necessarily beautiful.

······

On July 22, De Rosso hung a sign for the sale of the house at the door of his studio.

Yes, he's going to sell the studio and use the ore to buy paint, maps, and recruit mercenaries to take him to the ice wall to the east.

On July 23, De Rosso completed his final work in the greenhouse, a portrait of the innkeeper's wife.

He took the portrait to the inn, but it was there that he encountered something that left him at a loss.

An extremely beautiful lady expressed some interest in him.

De Rosso has always been a very ordinary person, he is not handsome in appearance and is not good at socializing.

So in terms of feelings, he is almost a blank slate, and the lady's initiative made him completely panicked.

In his frustration, he left a bunch of inexplicable words, and then fled from the hotel in a panic.

So that night, De Rosso lost sleep again.

He was deeply ashamed of his self-righteousness.

I've said something.

Lying limply on his bed, De Rosso thought as he grabbed his hair with both hands.

The lady was just a very ordinary gesture of kindness to me, maybe she just wanted me to paint a picture for her.

How did I come up with that?

De Rosso, is your head full of pulp and paper.

Yes!

After rolling around the bed twice more without embarrassment, De Rosso finally stopped, lying on all fours, staring blankly at the ceiling on the roof.

But that lady is really beautiful, isn't she?

In a trance, he thought again.

In my mind, it seems that the woman's three-dimensional facial features, healthy complexion, and body lines have once again surfaced.

It's like a sculpture of Venus.

The difference is that the lady has no shortcomings.

The moonlight outside the window was cold, and this night, the boy was still sleepless.

······

Yanagihara received a message from Wadson the day after he met De Rosso.

The stressed captain of the greenhouse told her that the expulsion of the herd had begun.

So Yanagihara said goodbye to Al and went to the station of the greenhouse guard.

By the time she arrived at the Greenhouse Guard, it was already full of soldiers and hired men.

They were each doing their own thing, whether they were preparing weapons, wiping tools, or packing their luggage.

In the crowd, Wadson seemed to see Yanagihara, but he obviously had a lot of business to attend to, so he just nodded at Yanagihara, and after a symbolic greeting, he turned and left.

It wasn't long before a message came over the Greenhouse Guard's radio asking everyone to gather in the middle of the camp's square to wait for the arrangements to be made and to receive weapons and supplies.

Yanagihara didn't say much, and followed the crowd to the square of the guard camp.

On the way, she briefly estimated the number of people in the square.

Between a thousand and fifteen hundred people.

Well, the situation is not particularly rosy.

If the number of beasts is really large enough, then it will be difficult for such a number to be effectively attacked.

In the square, Wadson stood there, and when he saw that the crowd had gathered, he picked up a microphone in front of him, looked at the crowd and said.

"Thank you very much for your cooperation. First of all, on behalf of the Greenhouse Guard, I would like to thank you for your participation in this operation, and I, as the commander of this operation, will try to ensure your safety as much as possible. ”

"Secondly, I would like to reiterate that our time is running out, so next, my secretary will explain to you the main arrangements for this operation."

Wadson said, handing the microphone to a woman beside him.

The woman's eyebrows furrowed, and then she stepped forward and began to explain what Wadson had called the plan of action.

The plan to banish the beast is actually quite simple.

On the periphery of Greenhouse No. 4, there is a ring around the mountain built in the early years, this track is a high-altitude track, fifteen meters above the ground, around the greenhouse, which can lead to the main places infested by wild beasts, such as the mountain range, the eastern snowfield, and the western hills.

The Greenhouse Guards will use this track to take the Snow Train to the Ice Field.

The train is equipped with a special fragrance that is used to attract wild animals, which is a special fragrance that combines a series of materials such as ambergris, weasel incense, and minced meat. Just igniting it on a train is enough to attract most of the beasts to attack the train.

The Greenhouse Guards can then use the speed of the train and the height of the track to keep a safe distance from the herd, and then use their guns to shoot the beasts with precision.

In this way, they can effectively consume the number of the herd and defeat the herd, thus achieving the goal of driving the herd away.

Planning sounds doable, but it's not so easy to execute.

Everyone knew this, but no one said anything more.

Everyone just listened quietly to the plan, and then under the arrangement of the greenhouse guards, they received their weapons and supplies.

When Yanagihara received her weapon, the soldier handed her a rifle, two boxes of ammunition, and a 70-centimeter-long straight knife.

Yanagihara pulled out the blade and cut it on his finger.

Blood flowed out immediately, but because of the blood, no one saw that her wound healed in an instant.

"What are you doing?" The soldier looked at Yanagihara's actions and asked in a puzzled voice.

"Oh, I just wanted to test the sharpness of the knife." Yanagihara said, putting the straight knife away and nodding in satisfaction.

"Obviously, it's sharp."

At least it was much sharper than her short knife.

"That's right." The soldier looked at the straight knife that was put away in Yanagihara's hand, and suddenly said with a complicated smile.

"This knife is for you to kill yourself, of course it has to be sharper."

"Oh?" Yanagihara, who was about to leave, was stunned for a moment, then turned his head again to look at the soldier and asked.

"Why do you say that?"

"Because when you're going to use it, you're basically dying." The soldier replied without looking up, arranging the remaining weapons.

It is impossible for humans to survive in the herd with a blade, so the role of this knife has always been to make people kill themselves when they are besieged by the herd.

After all, compared to being devoured alive by the beasts, this way of killing yourself is obviously much easier.

"yes, can you give me one more knife like this?" Yanagihara looked at the soldier and said with a sudden smile.

"Okay, it's not like bullets anyway, and it's usually not much that people want." As he spoke, the soldier pulled out another knife from the pile of weapons and threw it to Yanagihara.

"Remember, give yourself a bite when you need to, it will get you out quickly."

"Okay, I remember." Yanagihara took the knife and turned to leave.

To be honest, in fact, she prefers this simple and straightforward weapon to a firearm.

No way, who made her a barbarian.