Does the disappearance of the three dead bodies have anything to do with Beard and their departure?

Or do you say that three corpses and beards them .... Are they all afraid of the same danger?

They're all hiding from the same thing, something that both the living and the dead dodge?

I was shocked to the extreme by this thought of myself, what could be something that both the dead and the living would be afraid of? Immortals?

In any case, this place is not a place to stay for a long time, I just gave my mother a damn bite to eat melon seeds here, but now it's good, I don't dare to stay for a moment longer with a cold sweat.

That's true, but it's impossible to get me to leave all at once. Wherever I went, I was trapped in the first place.

Back in that hole? I've been delayed here for a long time, if the flying mirror is not defeated, it will definitely be slaughtered by the family now, and if I go back, it will be the second ghost under the knife of Zabuxi, and this brow is better not to be touched.

Besides, the five dead ghosts inside are still there, and I don't dare to climb down the rope anymore. Do you want to say: 'Hey, brothers, give way, master, I'll go down now'? What kind of guts does it take?

I really don't.

Actually, in my subconscious, I still think that Feijing is unlikely to be killed by Za Buxi, that Taoist priest is very slippery, although Za Buxi is similar to him, but it is really not easy to kill him.

And there were a few gunshots just now, in that case, it should be someone who is in the war, I don't know who it is, the seven-colored person? Or other people with guns in the ranks?

I think no matter which side it is, it must be on the side of Feijing.

In the end, what happened to me now is even worse than the flying mirror, the danger of the flying mirror can be seen, and I don't know what I want to encounter, which is the most terrifying.

I quickly made a torch and tied the rest of the car cushion into small lumps with rope so I didn't have to worry about the light.

I started fumbling around the walls around me to find some special places, trying to find some traps to turn on. Let's see if we can find any entrances, staying here alone is definitely not the way to go.

Once the matter had been settled, I quickly put it into action. The stones on the walls were cold and biting, and there was even a feeling of pain when the palms of the hands were printed.

I endured the pain and began to touch the stones on the wall piece by piece. In the end, I didn't find the mechanism of the stone, but I found a very strange problem.

There is a slight bump sensation on the stone wall, which is because the little finger of my left hand is more sensitive to the touch, and it would never be noticeable if it was my right hand.

The unevenness is very even, as if someone deliberately carved it. That's something I can't really see.

It occurred to me that I hadn't really seen any record of this place since I came to this so-called studio.

It's a strange thing.

Just imagine, any ancient city ruins in history, no matter how dilapidated and dilapidated, will have some evidence that can prove that people here have survived. This evidence can be frescoes, antiques, books, or even a broken bowl.

But there is none, nothing here. It seems that there are only these light-absorbing stone houses, and the people here have withdrawn from this place, and all traces of survival have been erased.

It's a very strange thing.

So, when I felt the unevenness in the stone walls, there was some excitement in my heart. Seemingly, I found something.

I know that in ancient times there was a carving technique that could be used to adjust the picture on a special stone, but the content of the painting could hardly be seen with the naked eye.

I think that what I am encountering now may be the case, and the people of Yingloulan should have recorded something here with special means.

I wondered how I could make these carvings visible, which was very difficult to do without specialized techniques.

But I don't have to be the most detailed, just have a rough idea.

There are a few burnt ashes here, and it should work for a while, I think.

Thinking of this, I stopped looking for the opening point of the mechanism, and went back to the campfire and wrapped all the campfire ashes with the dog skin I had peeled off. But there is only one point.

I applied the ash evenly on the wall that I thought was strange, because the ash was limited, so it wasn't very large.

After I painted it, I used a torch to shine it, and at first I couldn't see it clearly, but when I looked closely, I could see that there was some light gray color on the wall that was uneven with the wall.

I know that these light colors are the colors of ash. I was happy in my heart, I felt that it was feasible, and I was busy looking at it.

The walls between them are densely packed with people holding weapons, and the people are very abstract, with only a few simple lines. But there are so many of them, densely packed like moving ants, this should be an ancient army. It is a carving of a march.

The queue is long and extremely numerous. In front of them was the appearance of an altar, and in the middle of the altar sat a person, also a few simple strokes, but on the person's head, which should indicate the most expensive level of this person's status.

That's all I saw because of the limited amount of ash, but it was enough to arouse my curiosity, because when I touched it, the bump in the back continued, and I touched the bump all the way, and my head exploded with a bang.

Oh my God, the walls here are carved with such stone paintings, and slowly the walls of the temple are carved like this all around.

How many things have to be recorded, and what are some of them. I knew that this kind of recording must have been an extremely important thing at the time, something that could definitely go down in history.

It is impossible for the people of Ying Loulan to record the trivial feathers of shit and fart in it. The amount of information I've just smeared is too small to be specific here.

But because I have been studying at the police academy for a few years, I can make a reverse push here.

Judging from what I found, this should be the scene of Ying Loulan's troops fighting. The people in the altar may have been wizards at the time, astrologers or something, and they were calculating the right time and place for the battle. This kind of person has a very high status in ancient times, equivalent to the status of a strategist now, and this kind of person is not a mortal, and it is often some messengers who claim to be gods, and there is a reason. The soldiers below are warriors who are receiving the will of Heaven or something. That's about it.

In other words, it's the man at the altar who is boosting morale.

They must have experienced an extremely brutal war, otherwise it would never have been possible that the walls around them would be carved with such stone paintings.

And, I have a gut feeling that this is definitely not a war of a generation, it is likely that this war lasted for a long time, or even for several generations.

However, I'm just guessing, nothing is conclusive. Now it's going to be a huge undertaking for me to paint the whole wall to see what it's all about. I'm the only one here, and I don't have that kind of strength.

Although I didn't want to, I couldn't help but take a second look at the carving on the wall, and suddenly realized that it was wrong.

There is another layer of meaning hidden in this carved painting, and I found that the person in the altar, whose hands were originally raised above his head, had strangely changed direction at this time.

PS: There is one more chapter in the evening, and I will pass it on when I finish writing.