The content of the mural seems to explain only a small part of the history of this ethnic group, but through the clues left by the author, other parts can be guessed.

The mutations of these people erupted in the crowd, and under the laws designated by some of the dominant people, they inhibited the expansion of that mutation.

The cave was used as a way to rule out this anomaly, but the process may have something to do with a detail in the picture.

My gaze rested on the book in the hand of each person on the picture, and perhaps this was the case;

They are like the exercises that Liu Qingchun obtained, and only those who have cultivated that exercise will be found to have their own mutations.

It's just that unlike Liu Qingchun, a latecomer, the book in the mural has its own connection, and even different from Liu Qingchun's own way of understanding.

The book presents a fulcrum in the painting, supporting the search for the cause of that anomaly.

Because of the rejection of this mutation, those people are buried alive with the scales removed from their bodies, just like the looks of those who pretend to be sad and bid farewell to the dead in the painting.

They are arranging a ritual of death, beyond the "perceived" deviant of the dead.

This rejection, as if by instinct, emanates from the heart of every human being, rejecting everything that is different from us, even what we have known best.

Such a thought will make us fearful, and that fear will one day be rejected by others, until it becomes the object of rejection by everyone.

On the other hand, people who hurt others in a crowd are often turning their backs on themselves.

After looking back at the mural, I looked at the one on the right again, and saw that there were many phantoms in this painting.

I think it should refer to the state of the human soul, in the painting, some people are driven by some black monsters behind them, and after their souls leave the body, those black monsters slowly merge into the body.

At the same time, there is a sequence of one after the other, explaining the process of being expelled from the soul and being possessed by the black shadow on the body.

At the end of this painting, that is, at the forefront; The dark shadow entered the body of the person completely, and the same mutation I had seen before occurred.

The painting seems to be the voice of the people in the painting overhead, who see these mutants as demons who have been driven out of their souls.

I think the direction of this painting is closely related to the first one, which is the fear in people's hearts, but in this mural on the right, what is presented to me is more like a supplement to the process in the cave in the second painting.

While this kind of mutation is stopped and eradicated, it is also constantly contagious, it is a vicious circle, but people cannot stop.

Turning my gaze to the right, I came to the mural behind me, which showed a huge black dragon and an old man standing beside the corpse of the black dragon with a sword.

Red blood flowed from the dragon's dense scales, spreading from the sword to the old man's hands, body, and feet of those behind him.

After looking at this painting, I think it is about the origin of all these mutations, because the costume worn by the old man who killed the black dragon in the picture is exactly the same as the costume in the other murals.

The blood of the black dragon heralds a curse, even assimilation. The blood flowed down the others, showing that the curse would spread over the old man's people.

I think this is the beginning of them, this group of people cursed by the black dragon to make that kind of anomaly appear in the race that killed them in a way that is passed down by blood.

Seeing this, I didn't take my eyes off for a long time, and in addition to the content of the mural, there was another thing in my heart; Another thing related to it.

In that file, there was also a terrible mutation, although it was different from the mutation in the mural now, but it was the same, and it all happened.

This mutation will make all participants feel frightened and feel that its existence will bring a threat to themselves.

Perhaps, the stories mentioned in the archives have also happened here, and from the tone of those experiences, I can feel how frightened and painful the people who wrote that diary are.

The deviants here are buried alive, they are not a scourge to the world, but there are still some who are coming to us.

Maybe it's all just a conjecture by coincidence, there is no evidence that they are connected, it's just that something similar is happening in two corners of the world.

The connection may have been my guess, but it made me feel closer to the truth.

The bones were taken from here and implanted in the body of the man named Dun Cheng, indicating that the mutations that broke out here were also similar in others.

The person who recorded these things is not me, my guess is just personal, maybe the master of Dun Gong made such a wrong decision when he found such a corpse after finding this place?

This mistake continued until the day he could not control it, and the power that lurked in Dun Cheng's body had a repulsive effect on himself.

Combined with the contents of that diary, my thoughts continued to expand, and when I finally gathered my mind, I moved my eyes to the mural that originally belonged to the left.

The content of this mural is much further back than the previous one, and the painting is an ancient tomb, and lying on the stone platform is not those skeletons, but the old man who killed the black dragon.

On each side of the stone platform stood two groups of people, and one group of people put their hands on the old man's body, indicating the hope of resurrecting the old man and saving them.

The people on the other side of the stone platform were about to turn around and leave, as if they were against this practice.

I went back to look at the previous painting, and the connection between the two was in this old man, who I thought might be the ancestor of this group.

But after his death, the people were divided, and they made different choices.

However, there seemed to be something missing in these two paintings, and with that in mind, I immediately moved my gaze to the other murals.

Did the emergence of those mutants begin to appear when the ancestor was alive, or did the appearance of the mutants lead to their disagreement after the death of the ancestor?

The murals are very self-contained, a story that encompasses all the corners, and it seems to put my whole heart into it.

Surrounded by these murals, all my doubts must be answered in these murals.

Finally, in the fourth and fifth paintings, I found a clue, which was the rope that the ancestor tied around his wrist.

This is like the stone platform outside, inherited from the ancient rattan script, which was used by people in the earliest way of writing before Cangjie - knotting rope records.

The evolution of rattan script, which is very ancient and troublesome, is inherited from the knot, and the writing and reading are relatively more cumbersome than the text, so it has been abandoned during the Zhou Dynasty, but there are still some people who choose to keep it, and remember the wisdom of their ancestors.

Even the epitaphs are written in rattan script, and it is not surprising that the ancestors of this group used knotted ropes to remember their stories.

In the mural, the ancestor's right hand is turned out, and a string of straw rope is revealing on the cuff, which is also an ancient way of counting the year.

The calculation of the year, in the period of the Three Emperors, began to flourish, a rope represents a day, and a few knots represent a few things to do today.

This is the earliest diary style, and with Cangjie following the method of imitating and making characters, there is everything that comes after.

However, in the human society, even backward wisdom will be preserved and continued without evolving to the point of completely abandoning the original wisdom.

With the flourishing of writing, the method of knotting ropes has also been used to record the year in a large part of the sense, and people usually leave a rope in the family knot rope for the child after birth, and continue to compile it in the following days, and each year will add one to calculate how many years the person's life has experienced.

It wasn't until he grew up that the ropes that recorded his time growing up would be made into a garment, the only piece of clothing he had, like the fur of an animal.

And after that, continue to weave this garment until the day of death, on which one can count his lifespan, and from it divide the year, month, and day.

Legend has it that the first person who began counting years lived to be sixty years old, and later generations did not know his name, only found his clothes.

Although in today's society, it is nothing to live to the age of 60, but in ancient times, it was really rare to have such a high lifespan, so there are A, B, C, and D used to calculate the year...... These are taken from the names of the sexagenary branches

Although there is no such ancient method of knotting ropes now, the knots on the hands of the ancestors are a continuation of the method of counting years, each knot represents a year, and I calculated from the painting of the black dragon that killed the black dragon, there are as many as eighty knots on his wrist.

By the time of the next pair, the knots on it had exceeded 100, and the gap between them was about 20 years.

In addition to these, I also found on the fifth painting that the people who caressed the ancestors had a layer of phantom on their bodies.

This kind of phantus is somewhat similar to the mural in front, but behind it, there is no black shadow that can make people change.

But these shadows all look weird, and it seems that this is one of the reasons for their disagreement.

Those shadows are not only like themselves, but also as if the dark shadows have long been infiltrated into the soul, and there is no need for the author to repeat the previous content.

I don't know if I thought of that at the time, but I didn't dare to point it out head-on—these people are being assimilated by demons.

Based on the above speculation, I can think of a possibility that after the death of the ancestor, the mutation occurred in the group, and with the emergence of the mutation, some people felt unprecedented fear, although the method left by the ancestor allowed them to control the spread of the mutant, but that fear came from instinct, so they chose to resurrect the ancestor for protection.

Others, on the other hand, are more likely to seek new hope, and the dominant tribe has begun to migrate on a large scale in order to improve the emergence of mutants.

Based on these speculations, I finally saw the last mural, and perhaps it was not in the time period of these murals, but it was actually around us.

It has made us what we see now, preserved the human history, the catastrophe and the redemption.

In this painting, all the people are walking along a mountain, their migration is carried out according to the laws of Kanyu, and they are looking for the most suitable land to live in.