North Carlo, behind a wooden house near the lake, is the burial place of Luo Youcheng's mother, Shen Wanlin.

The weeds here are waist-deep, and Luo Youcheng used his mental power to overwhelm a large area of weeds, only to find an irregular stone tablet that is not too big, and determine the location of the tomb.

The stele is rudimentary, just a flat, unprocessed block of stone with charcoal writing on it at a crooked angle. After a long time, the handwriting is very shallow, and it needs to be carefully recognized to recognize "Shen Wanlin" and "2667-8".

Luo Youcheng activated his mental power, and the soil surged up, and the clods of soil were lifted, and then rolled to the sides. The coffin, which had been buried for thirteen years, broke through the ground.

The coffin is a very elaborate Western-style coffin, which may have been found by the elder brother nearby. Luo Youcheng didn't think that his brother could lift such a heavy coffin alone. Maybe he met a kind person, he thought.

Inside the coffin, the mother's body has turned into white bones. The bones were very messy, and many of them had been cut off with sharp weapons. There is a blackened metal box next to the white bones. Luo Youcheng opened the box with his mental power, took out the picture book inside, and put it into the black ring.

After resealing the coffin, Luo Youcheng let out a long sigh.

Sending his mother's coffin onto the plane, Luo Youcheng entered the wooden house where his mother and brother lived before their deaths. The dust in the wooden house was a foot thick. Luo Youcheng wanted to find some commemorative objects, and he used his mind to explore the ash heap for a while, but he didn't get anything.

……

When Shen Wanlin's bones were brought back to the academy for burial, her grandmother Mi Susu was the only one who wept, and her grandfather Shen Wentong sighed. Mi Doudou was not impressed by Aunt Tang, and it was difficult to brew grief, let alone Luo Youcheng's brothers and sisters, for whom the dead godmother was just a stranger, and it was difficult to empathize.

Luo Youcheng is sad, and it would be nonsense to say that he is grief. When Shen Wanlin left with Kui Xiaolin (Luo Yuancheng), Luo Youcheng still didn't remember.

He pulled Liu Ying and kowtowed three times to his mother's grave, and then the two of them supported Mi Susu and accompanied the old man. The five little girls also kowtowed to their grandmother three times in a regular manner.

Grandma looked at Luo Youcheng and stopped talking several times.

……

In the dead of night, Luo Youcheng sat in the hall, took out his mother's picture book from the black ring, and charged it.

His information about his mother is fragmentary, coming from two walnut charms and five people.

The walnut ornament presents the mother's voice and smile.

The stories told by my grandfather and grandmother are the most complete. But the willful and irresponsible girl character makes Luo Youcheng's perception of his mother collapse.

The one-eyed dad gave the briefest message, saying that his mom had gone to find his dad. Dad seemed very reluctant to mention his mother to Luo Youcheng, and always said that he would tell him when he grew up. Now that I think about it, my father may really think that my mother took my brother to find my father, and my father's shirk just didn't want the young Luo Youcheng to bear the blow and pain of abandonment.

Then the brother in the dream made Luo Youcheng's impression of his mother have a 180-degree reversal. The mother became a prophet, and in order to protect her younger son, she took her eldest son across the ocean and into the tiger's den. Later, Luo Youcheng also confirmed from the hammer boss that his mother was a picture book prophet.

Luo Youcheng has mixed feelings about his mother, he is grateful for the sacrifice his mother made for him, but he is emotionally alienated from his mother. Boss Yin said that he did not have high emotional intelligence, and he suspected that what Boss Yin said was right.

The picture book lit up. He shook his head and looked at the sketch that appeared on the cover of the book.

The cartoon woman on the cover resembles her mother, her eyes are closed, and the brush in her hand almost shines through the screen. This sketch depicts the mother as she paints, drawing with her eyes closed, highlighting the difference between a prophet and an ordinary painter.

My mother's painting skills are very good, as can be seen from the brushes that open the screen.

Luo Youcheng swiped his finger lightly on the book, and the cover slipped away, and a second sketch appeared. The painting is a silhouette of the mother, who is still sitting in front of the easel with her eyes closed, and two children are sleeping soundly in the crib not far behind her. One raised his hands, spread his legs, and danced his teeth and claws in a sleeping position. The other slept on his stomach with his ass cocked high.

Looking at the bottom half alone, this is a very warm drawing. But above the sketch is a fruit bat face, staring at the two children below with greedy eyes. The sketch thus takes on a terrifying nightmare tone.

The drawing was signed in November 2656.

In the third drawing, the mother wears a walnut pendant around the necks of two young children, and a few steps away, a one-eyed old man stands. The painting was painted in June 2657.

In the fourth drawing, the mother is lying on top of a dead man. The man had a handsome face, and although the pain of death had slightly distorted it, it could not hide the handsomeness that had taken the heart of a woman. Mother has put a lot of effort into this face, and the rest of the sketch uses comic techniques, but this face is realistic.

Luo Youcheng recognized it at a glance that this was his scumbag father - his facial features were too similar. In all fairness, the scumbag dad is still a little more handsome than himself.

Luo Shengdong was lying on the ground, holding a sharp knife in his hand. Near him, there were three corpses.

The painting was painted in October 2657.

The fifth painting was inscribed in September 2658, when Luo Youcheng had just turned three years old.

In the drawing, the one-eyed father is holding a child and watching his mother lead the other child away.

There is one square on each side of the nominative comic. The secondary grid on the side of the one-eyed father depicts Luo Youcheng when he grows up, he is suspended in the air, and the eight-edged dart flies around him, majestic.

The secondary grid on the mother's side depicts a tall and thin young man in a tuxedo. The room was dark and the fireplace was the only source of light. The tall and thin young man faced the fireplace, leaving a bleak back.

Seeing this frame, Luo Youcheng throbbed inexplicably. Mother's picture book and Tonigo's dream both predict the same scene. But this time he traveled to North America, and the scene was not reproduced, and the elder brother passed the message with a small piece of consciousness. What went wrong?

The first few paintings have caused Luo Youcheng to speculate a lot. One of his most inclined conjectures is:

The mother felt the threat of the red bat face to her sons, and was unable to deal with it, so she desperately wanted to find Luo Shengdong and help her share the pressure. Therefore, she entrusted her two children to the one-eyed father and went to find her man alone. Man is found, but also dead. The helpless mother could only return to the base of Zizai City, leaving one son behind and the other taking away.

Luo Youcheng didn't know whether his mother left him to take away his brother because of the prophecy, or because he looked too much like a scumbag father to be chosen as the object of protection. Luo Youcheng prefers the former.

Luo Youcheng still has a doubt in his heart, is the scene of the death of the scumbag's father from the concrete image of his mother's prophecy, or is it a real scene? Why did the scumbag dad get angry with others? Is it to fight for food, or to protect the mother? None of this is explained in the book. But it's not an important thing, the scumbag who abandoned his wife and children, let's die.

Luo Youcheng continued to look down. The next eight drawings are all prophetic paintings of my mother on her way to North America. Like hiding from the Monsters along the way, where to find food, the five Shuai brothers find her a well-fueled boat, distress at sea, dangers from the west coast to the east coast of America, and a lakeside cabin in North Carlo.

The drawing of the lakeside chalet was made in July 2661. It took three years for my mother and brother to travel from the city of Glory to North Carlo in the Americas.

Luo Youcheng finally felt the heartache, and tears dripped from his eyes. For the first time, he cried for his mother and brother. The selfish and willful girl was completely erased from his heart and replaced by a great mother with perseverance.

For several years, the mother did not paint, and it was not until March 2667 that the mother took out the drawing board again. The easel was placed by the lake, and the mother still had her eyes closed. She struggled to keep her face calm to hide her uneasiness and fear.

Her mother had gray hair, wrinkles crept up her forehead, and she was only thirty-two years old! Prophet, this goddamn deadly profession.

My brother has grown from a child to a teenager. He sat cross-legged beside his mother, intently flipping through the e-book in his hand.

In the sky, there is a pair of looming giant eyes of the Yin Owl. Red Bat once again set his sights on the mother and son.

In July of the same year, my mother painted four drawings in a row.

The first painting in July 2667 made Luo Youcheng's heart palpitate. In the painting, the mother sits cross-legged on the bed, and the twelve-year-old brother lies with his head resting on his mother's lap. The mother stroked her son's hair with her hand, explaining something. Both mother and son were in tears, one tear sliding down their faces, and the other falling down the corners of their eyes. The mother seems to be explaining what happened.

In the second painting, the mother, whose body has been cut into several sections, is placed in a coffin, and the elder brother stands next to it with a metal box in his hand. Among the crowd of corpses, there was one person who stood out from the crowd, and his face was painted in perspective. Under that normal person's face, a fruit bat face could be faintly seen.

Seeing this, Luo Youcheng's body couldn't help but tremble, his handsome face became distorted, and anger rushed from his heart to his eyes. The death of the mother is inseparable from the red bat.

In the third painting, my brother is sitting in a classroom with only one person, and a middle-aged man is teaching him.

In the fourth painting, Luo Youcheng is curled up in a hole in the ground, a man and a rabbit tearing at a person with a fruit bat face. The upper part of the picture is occupied by tall, straight tree trunks. This is Luo Youcheng's personal experience outside the city, which was predicted by his mother thirteen years ago.

In the fifth painting, the background is a gradient from light gray to dark gray, Luo Youcheng and the five little girls stand together, and what confronts them is four vague figures in the dark gray background.

The gray gradient color is much like the sea of fog in the sea of consciousness. My brother said that the little Lori would be the biggest help, and it seems to be true.

Luo Youcheng rubbed his cheeks vigorously with both hands and wiped away his tears.

The five works were completed in July, and the tombstone was buried in August. It took Mother one month to fulfill five prophecies.

She's in a race against death!