The internal structure of the London repeater began a new round of changes, and there was a clear sense of movement in the corridor where Omi and Dorothy were located, as if it was rotating rapidly around the center of a circle, and the huge centrifugal force was causing the corridor to tumble against the wall with nothing fixed in place, and then both ends of the corridor were broken.

The broken parts fell below, the collapsed walls disintegrated and fell, and the view became open but nothing more could be seen—up and down, left and right, outside the corridor, all of them were a void with no end in sight. In just a few seconds, only the fragments left under the feet of Omi, Marceau, Dorothy, and Father Sissen were still suspended in mid-air.

The huge flow that made up the silhouette of the figure in front of Father Sissen's eyes was still seeping into the void, and the entire void seemed to be driven by this huge sense of flow, and it itself was also showing a corresponding flow trend. However, no one paid any attention to this change, because even if Father Sissen's formless whole were to flow into the repeater, it would not be able to extend its influence to the extent that it affected the entire repeater. Its morphological nature is indeed full of mystery, but even if this level of mystery is compared to "mercury", then the whole repeater has a mystery like "the sea".

The amount of "quantity" that makes up Father Xissen's whole is too small, and even if Father Edward added the black water of the Four Heavenly Courtyard Coconuts to the Nine Hundred and Nine-Nine Disguise, far more than any mysterious expert individual known to date, it still can't compare to the repeater in the same quality.

Mercury flows into the sea, and even if it can exist for a moment, it will sooner or later be crushed by the natural movement of the currents. Even if Omi didn't do anything, Father Sissen in his current form wouldn't be able to stay inside the London repeater for long. While Omi is gradually overriding the repeater authority, Father Sissen's original authority is also being attacked. Omi is trying to find a channel for Father Mori to interact with the repeater, and it won't be too long, and once that's done, she can close the repeater again at any time.

Father Sissen was also aware that in the short few seconds of confrontation between the two sides, he had already engaged hundreds of thousands of times with the probe that Omi had left inside the repeater. From the first few moments of gaining the upper hand, to the current steady downside, the situation has changed faster than he expected. When he first managed to infiltrate the inside of the London repeater, he also felt that he could hold out for a longer time, however, Omi's coverage and integration of the repeater's authority was even faster than he expected—the other party's processing speed was not something that humans could do at all, however, in his observations, Omi's individual existence factor remained within the scope of "human" in common sense.

How could there be such a thing? Father Sissen felt a great contradiction and something terrible behind it. If he could, he would certainly like to take advantage of the opportunity to stay at the London Repeater, however, the current situation must be decided immediately, and a temporary evacuation may be the best option.

The human form of Father Sissen, shaped by the tiny matter that flowed, emitted a large amount of smoke in the eyes of both sides. The smoke particles began to vibrate violently, at first making a muffled sound, then becoming more and more sharp, and the next moment they became inaudible language pronunciations. It's not a human voice, it's closer to a mechanical sound.

"Momo...... Dorothy ...... You have to leave ......" and the vibration became more and more intense, forming a sound that seemed to pierce the eardrum.

In Dorothy's wondrous vision full of "threads", this vibration is even clearer. The "threads" that make up the existence of "Father Sissen" are all vibrating and breaking in the overly violent vibrations. The silhouette of "Father Sissen" in this field of vision is disintegrating, and the "threads" depicting him break and spread out in all directions like a school of fish through the gaps between the surrounding lines and threads.

When she returned to her normal vision, Dorothy saw that the cloud-like humanoid silhouette of Father Sissen beside her was dissipating, as if a huge suction force was coming from around him, sucking away all the clouds that made up his outline. Of course, rather than thinking that "Father Sissen is under attack", Dorothy felt that this was a preparation for Father Sissen's departure from the repeater.

Because, in the world of "lines", she saw that although the "threads" that outlined Father Siessen were dispersing, the process of dispersing was mobilizing more "threads". A "channel" that cannot be described in words gradually emerges from the feeling in the process.

It cannot be directly observed, but it can be felt.

However, before Dorothy could cut the "thread" connecting herself to the repeater, Omi had already jumped backwards.

After the corridor split, the foothold under the feet of both sides was no more than one square meter, and Omi jumped directly out of the boundary, falling towards the seemingly endless void. Dorothy didn't move, because "Marceau" was staring at her. It wasn't until Omi completely disappeared from view that the silhouette of "Marceau" gradually faded and completely melted into the void.

Dorothy quickly confirmed that the "threads" that made up Omi and Marceau had changed, and that even from this wonderful vision, neither could be found anymore.

"They're gone?" Dorothy looked at Father Shissen beside her, and confirmed it again.

The remaining humanoid silhouette of Father Sissen nodded, and the same disappeared from her vision, and the fragments of the corridor that provided a foothold for the three of them completely disintegrated. Now, in the entire void, only Dorothy is left. She could clearly feel that the fragment of the hallway beneath her feet wouldn't last long—about a tenth of a second.

In the hundredth of a second, Dorothy has completely entered the field of vision of the "threads", sorting out the "threads" that make up itself and the other "threads" that are wound around these "threads". This is not something that ordinary people can do, and there are too many "lines" that need to be observed and operated. Even so, Dorothy also has the same mysterious power as instinct in this perspective that is like her own instinct, and she completes the process of "line management" at the same time as she has an idea.

The complex thread structure is combed into a more subjectively regular shape, and then, most of it is cut off by Dorothy. After that, the thread representing Dorothy finally passed through the gap between the threads like a swimming fish, and traveled quickly in the direction where it did not know where it went, along the passage left by Father Sissen, which could only be identified by his senses.

When Dorothy was out of the "line" again, she had already left the void space where the hallway was located, but she was still in a room inside the London repeater. It is impossible to tell whose room it is, as everything that can be observed in the room has been refreshed, and its surface and internal structure are completely different from the style of the room where Dorothy was in charge of the repeater. Moreover, the whole room gave Dorothy a very unstable feeling, as if it would be refreshed again at any moment.

- This way.

Somehow a voice entered Dorothy's thoughts, and she could hear it being Father Thessen's voice. Although its form was not visible, Dorothy sped away in the direction the voice had directed. From the perspective of the "line", her way of being is also changing, and the obstacles to the form and properties of matter from the ordinary perspective of observation are almost all gone. Like a ghost, Dorothy pierced through walls, through structures, through unknown substances, and her speed was so fast that even if the place she passed was refreshing, it couldn't affect her progress.

The guidance that emerged from the level of consciousness was always a line faster than Dorothy's. Finally, Dorothy leaped forward, and although she didn't touch anything, she felt like her whole body was being kneaded and stretched like dough, and she slipped out of a long narrow pipe.

This time, when her vision returned to normal again, the London repeater, which took on the shape of a lotus flower in its material form, was already a hundred meters away. She was finally out of the repeater.

However, the outside environment is certainly not very good. The huge distortion caused all the places that could be seen, those things that were originally just dead things, all of them wriggled as if they were alive, and the scenery in the entire visible area had deviated from the usual style of the ruins of the Ruling Bureau, and it no longer looked like a "ruin", but more like the cavity of some kind of creature. The power of distortion is always there, constantly amplifying, constantly spreading, and after breaking away from the repeater, it must rely on its own strength to resist the effects of this distortion.

However, even in the face of these indescribable anomalous landscapes, Dorothy can still enter the perspective of the "line". In this wondrous perspective, the "line" is still the only tangible presence that outlines these twisted anomalies. The distortion seen in the normal perspective also presents a certain pattern in the perspective of this "line" - because it is too complex to understand.

However, it is precisely the complex regularity of these "lines" that makes Dorothy feel that the core subject of these distorted scenes still stays in an extremely distant place that cannot be directly observed. It is not a distant place that can be described by normal concepts of space and time, but through some kind of movement, the nature of this "remote" will change, and the core subject will directly arrive in this area - this process is not the "movement" in common sense can be described, if you have to make a description, then it is better to think of this core subject as "always here", but "no more contact" is better.

There are many more things that Dorothy can't tell, and her thinking, from a human perspective, and from the perspective of Super Dorothy, is full of limitations. It's something I can observe, but I can't find a correct and appropriate word to describe it.

The more you say, the more wrong it is, the more you think about it, the more deviations occur, and you can only understand it but not say it. Nope-

Even the part that is only realized is full of omissions and mistakes, and perhaps when you use your own limited cognition to feel and understand, deviations have already arisen.

This core subject, which is hard to imagine what its body looks like, should be the source of the "deviation" that the Torchlight believes in, and what the deviation ritual is summoning, right? It was by no means a "monster in the collective human subconscious", because Dorothy could feel that it was not in the human consciousness. It itself presents more of a lot of physical properties that are not in common sense, and exists in a material way.

Dorothy wants to go further and pursue her way of being, and her consciousness is based on the "line" that she can observe, and moves towards the unobservable and distant. However, with the speed of consciousness, it is still impossible to shorten the distance between oneself and the core subject, a distance that "consciousness" cannot convey under the existing circumstances.

The next moment, Dorothy felt an extraordinary sense of fear. Because this fear is so heavy, Dorothy has passively detached herself from the perspective of the "line" before she is completely engulfed by this fear. Then, she only felt that her body had completely stiffened, and although she wanted to do something, it was very difficult to even "think of something".

After getting out of the perspective of the "line", she no longer felt horror, however, this feeling of "nothing terrifying" was completely useless for her to get out of the current situation.

Whenever Dorothy tries to "think", a huge resistance directly interrupts the operation of this "thinking".

Unable to think, unable to move, able to feel, but unable to perceive, Dorothy is completely unable to judge anything or observe herself. Gradually, when she began to have a feeling, it was "fear".

Fear comes faster than any feeling, clearer than any feeling. There is nothing but "fear". Dorothy could no longer function on her own, and she stood like a stone sculpture a hundred meters away from the London repeater. The twisted thing around her, like a tentacle, like a tongue, like some kind of slime, rushed towards her. No one knows if Dorothy is aware of the danger coming from her, and that the shape of her body is undergoing some kind of alienation.

Before this distorted alienation of the body took on more features, the form of the London Repeater had already begun to change directly observable - the original lotus-like appearance was taking on a spiral twist, like a tightened towel, and many of its contents flowed from below like water that had been squeezed out.

No one can judge what these things are just by their physical appearance. When these things come into contact with something distorted in the outside world, it is like sulfuric acid sprinkled on the skin, producing a violent reaction.