How many scales can a minute be divided into? How many scales can a second be divided into? Time ticked by every tiny tick, and Dorothy felt like she was adjusting to what she had felt so uncomfortable. The environment around her is constantly changing, and her inner self is constantly changing, and the factors that cause the change are so complex and changeable, however, no matter how she changes, it tends to be more and more constant in her feelings—those changes that seem to have countless combinations are being delimited by an invisible range, and no matter how they change, there are fewer and fewer people who can break out of this range.

It is as if what is infinite is becoming finite in a huge scale that is difficult to describe. Dorothy felt that she was adjusting to this limitation, and even she couldn't observe and describe what the range looked like.

The uncertainties that have been oppressing them have become certain, from variables without warning to predictable variables, and even the value of the variable has finally become marginal and feels its limit.

The infinite becomes finite, the finite becomes certain, the definite has adapted, and the already adapted can no longer make Dorothy feel embarrassed - she doesn't know how she did it, maybe there is Super Dorothy's identity behind this adaptability, but when she feels like she can do it, she feels that she can do it.

The Supersystem's real-time detection of Dorothy is becoming stable, and in Dorothy's field of vision, this "corridor" that once seemed to be isolated from the internal space of the repeater is changing into another wonderful shape. The so-called "corridor" is a conformity to common sense, and when it is transformed, this outline is stretching like dough, expanding like fermentation, it no longer appears in a physical way, and Dorothy does not gradually feel that she is standing in a physical corridor.

Dorothy began to feel that she was floating, that the ground under her feet did not exist, that the walls she was using force did not exist, that all the substances that were stressing her did not exist, and that even the force she had felt before was false.

What kind of position is oneself and the corridor, oneself and others, the corridor and the repeater, and the other person and the repeater? It is also completely different from the "real situation" that you can see with the naked eye. The idea of distinguishing between each other as "up, down, left, right, front, back" seems to be wrong from this point on.

Whether it's Omi, Marceau, Father Sissen, or the whole thing in the corridor, the concept of "quality" seems to have disappeared.

Dorothy only felt that she was standing in a world made up of countless "threads", but these "threads" were by no means the lines of the outline of things that could be seen with the naked eye. The original outline of a thing is only a part of these "lines", and a little "line" even passes through the outline of two or three things at the same time, but before it fully outlines its shape, it turns into something else.

The world of these complex "lines" is full of gaps, and Dorothy feels that she may be able to pass through these gaps directly, but because of the complexity of the "lines", the structure of these gaps is also very complex, and it is impossible to form a straight path. Moreover, those gaps that seem to be able to be traversed, if you look closely, they are actually filled with dense "threads" that are filling the existing gaps.

I don't know how many "lines" there are, where the ends of each "line" are connected, and I don't know what the meaning of these "lines" represents.

Dorothy was originally only observing through her senses, but in a very sudden moment, she felt that she was really looking with her "eyes"—she saw the dynamics of these "lines", and the myriad of "lines" constituted complex dynamics that words could not describe. Whenever I look closely at the movement of these "lines", I feel a sense of stagnation that my brain is filled.

Unlike the previous feeling of expanding her thinking, the more Dorothy looked at these "lines", the more difficult it became for her attention to take her attention off them, and her mind seemed to be contracting, firmly rooted in these "lines", leaving no energy to think about other things.

My thoughts seem to be firmly bound by these "threads". Then, a feeling of being restrained came more intensely than before, making her feel that her body could not move in these worlds full of "threads".

Dorothy glanced at her own image - there was no "girl" silhouette either, just a lot of "threads".

She can clearly feel which "lines" are part of her own contours, and these "lines" are all intertwined by the complex "lines" around her.

Dorothy felt that she had to sever the connection between her own "thread" and other "threads" in order to break away from the London repeater. Moreover, not only herself, but even Father Sissen, who had just invaded the inside of the London repeater, was partially outlined by these "threads", interspersed with other "threads", and at the same time entangled by other "threads".

Does this mean that even Father Sissen's inexplicable state at this time will not be able to truly break away from the London repeater if these "threads" are not severed?

Dorothy did not think that these "threads" had been wound around Father Sissen since he had entered the London Repeater, but had been wound around Father Sissen early in the morning, and no matter how his form and nature changed, they had never really broken away.

Dorothy did not feel the passage of time in this state of observation, nor did she feel the change of space, nor did she feel any sense of consumption, as if she could have seen such a scene by herself, and the reason why she could not see it in the past was only because this ability was not "used".

Dorothy herself doesn't know what kind of abilities this body possesses, which is an imitation of the final weapon, but judging from the extraordinary sense of adaptability and the world of "threads" observed in front of her, this image that has been marked as the "final weapon" has a mystery corresponding to its name.

Super Dorothy and the final weapon Dorothy are essentially the same, however, the final weapon Dorothy was not made by Super Dorothy, and the birth of the final weapon Dorothy was never under the control of Super Dorothy and the color center. To put it simply: "Dorothy, the final weapon", is a character that already exists, and Super Dorothy automatically gets this character after she "descends" from the hospital reality to the apocalyptic fantasy.

Of course, this is no accident, it's just that the factors that cause this inevitability are so complex that even Super Dorothy herself can't figure out all of them.

What Dorothy can do, when it does, comes naturally. These powers are full of mysteries, not skills, not consumables, not abilities that require a price to be used, and there is no time to use them, and even if they don't even need to turn their minds.

As if she had raised her hands and feet, Dorothy's vision had returned to the original hallway, and not even a second had passed in the Super Department's time.

Faster than blinking, faster than missing, faster than any conscious cognitive action. In this instant, Dorothy has changed dramatically. The observation data of the super system is being refreshed rapidly, and two-thirds of the newly generated data is already inadvertently garbled.

“…… What's going on? Omi, who was also observing Dorothy in real time, couldn't help frowning, and there was also a lot of garbled characters in the data she obtained. The new data that is being produced has few similarities compared to all the data saved in the past. As if standing in front of herself, Dorothy did not change in form, but at this moment, she became a completely different existence.

Omi is no longer sure if what he knew about her in the past, as one of the makers of the final weapon, Dorothy, and the back door left in her body, will still work on Dorothy, who seems to have become new from head to toe. Now Dorothy's changes have exceeded her initial estimates, and are completely inconsistent with her theory.

Although the situation has turned out to be a little different than she expected, Omi has gained a huge advantage in the struggle for dominance of the repeater in London. Many of the supersystem's permissions have been breached, but its identity as one of the three pillars makes it impossible for Omi to completely ban the permissions it should have.

In a few minutes, Omi would be able to fully control all the rights of the London repeater, while the Super System would only be able to maintain the permissions it already had. It is impossible for the adjustment of the London repeater of the super system to be canceled, but the difference in authority between the two sides is large enough for Omi to restore those parts that have been adjusted in the first place.

She had already begun to make a copy of the current state of the London repeater. In a place where Dorothy can't see, the most powerful masterpiece she has made so far, the "Time Machine", has also docked with the prayer room where the magical girl Madoka is located. Drifting in suspended animation is transported to the location of the last of the three pillars, where his consciousness will be restored.

The last pillar of the London Repeater's Three Columns, when he was still a human, his teacher was once a "wheelchair man" who was regarded as the "strongest conscious walker", a monster who once consciously penetrated into the collective human subconscious with only his own strength. And after the death of this reliable old man because he was too close to the "monster in the collective subconscious of mankind", one of the "three pillars" took over the mantle of "the strongest consciousness walker".

It is precisely because he is almost the "strongest consciousness walker" that when he became the "Three Pillars", he has surpassed his teacher and become a veritable "strongest consciousness walker". Like his teacher, the "wheelchair man", he has done many things that are unthinkable in the eyes of others, and he has a mystery that Dorothy, who has long since turned her eyes away from him, cannot know.

One of the keys to Omi's ability to avoid Dorothy's eyes and ears and arrange all kinds of back-ups in a situation that can be called "no one knows" is because she has the help of this person.

Omi never doubted that the fire would be revived and even sublimated in his hands.

Dorothy must still not be able to remember the existence of one of the three pillars, right? She actually knew it, but this perception was forcibly eliminated by the other party. If Dorothy is still the Dorothy shown by the original data, then, as long as that person does not take the initiative to revoke the ability, then, even if someone tells Dorothy again that one of the three pillars is such a character, she herself will forget it later, and basically, there is no possibility of automatically retrieving this cognition.

However, in this sudden moment, some kind of change happened to Dorothy, which made her now and her past like two people. Omi had to consider that now she has a new understanding of the existence of one of the three pillars, the "philosophical ghost". Once she remembers, then many of the past arrangements are likely to fail.

When the "ghost of philosophy" is most threatening, it can only be used in the face of the ultimate enemy, when "no one knows its existence". It's like an assassin who only strikes a single blow when it matters most, and it may not be fatal, but it should be a turning point.

It was precisely because Dorothy in the past was also aware of this that she took the initiative to accept cognitive elimination and was manipulated by Omi.

However, Dorothy does not know this now, and will continue to pursue this clue to find out the truth. When she didn't have any possibility to figure it out, she could not care at all, but when that possibility came out of her again. Omi felt that it was necessary to reduce this possibility from other directions.

Moreover, preventing her from recognizing the existence of the "philosophical ghost" is even more important than keeping her inside the London Repeater.

In the end, Dorothy's buff to the London Repeater is visible, and she will also play a huge role in Omi's plan as part of the London Repeater. Dorothy doesn't care who the enemy is, but analyzing Dorothy's behavior from the point of view of the enemy will lead to a not-so-good conclusion. So, before things turned out like that, Omi took the initiative to interrupt her plan and graft his own plan onto hers.

Omi was well aware of the potential of the final weapon, Dorothy, and analyzed its mechanism of behavior. She knew that once Dorothy was allowed to leave the London Repeater, it would be unlikely that she would ever come back. The loss of Dorothy was undoubtedly a major loss for Omi's plans.

However, in the current situation, it seems that only part of it can be discarded and part of it can be saved.