Sometimes, Rikka Fujimaru really couldn't say which thing made her feel more exhausted: whether it was spending a hundred years in the fantasy world ruling a rotten planet, leading the legions to conquer the galaxy, and being killed once in the final Great Rebellion, or realizing again that the mental age of the original creatures was generally no more than five years old.

Among other things, Conrad Coetze and Ferus Manus in front of them are very good examples.

"Two gentlemen. Although it is true that there is nothing but golden light, and there is no distinction between the top and the bottom, left and right, there is indeed some lack of references, do you think I can't tell that this has just passed through a typhoon? Fujimaru Rika cupped her forehead and said, "Also, the last time I came, I obviously got some basic furniture here, even if no one wants to use it, it would be good to use it to mark the specific location - where are those things now?" ”

"What kind of typhoon passed, we just had some 'friendly exchanges' between brothers who had been reunited for a long time, and we didn't do anything out of the ordinary."

Konrad Coetze, who was already unstable in shape, and was now about to lose his silhouette and turn into a black mass of sticky body under the attack of his opponent, pleaded and laughed indifferently. He was used to being a villain in the last stage of his life, so in a sense, he has set his bottom line very low now, and it is not surprising that he has this kind of performance. However, when Ferus Manus, who had not yet subsided and still looked menacing, heard the latter question, his face, which was completely composed of the golden flames of the Emperor's spiritual energy, suddenly showed a little embarrassment.

"My father took them away the last time he came to inspect them." Ferrus answered the second question selectively and directly, "Using psionic energy to create things out of thin air is a very rare spell, and he wants to know how you do it." ”

Fujimaru Rika stared at the two primordial bodies—or two somewhat erratic phantoms in terms of the form they received visually—for a few seconds, and finally decided that it was still for the sake of her mental health, and on the premise that her spirit needed to rest, it was better not to investigate why they were fighting again for the time being.

As the only person present who had a physical entity and could return to the real world at any time with the idea, she felt the need to be magnanimous.

So she sighed, reached forward—and then "plucked" some large, colorless and translucent crystal cluster from the empty position, as if it were hanging there, and she just made a normal gesture of taking it down: "That's it, it's hard to make it on our side at once, but it's not difficult in terms of technique alone." ”

While it is understandable that she is giving an explanation with a practical demonstration to answer Ferus Manus's (or the Emperor's) question, even in subspace, the scene is a little too inexplicable for the two primordial beings who have only the most basic understanding of psionic energy. This kind of thing, which is difficult to understand by pure reason and logic, may be difficult to understand the principle no matter how many times you watch it.

"In principle, it's to gather the escaping aether around it as if you were going to use a plastic spell, but don't give any specific direction to what they're going to form. If the project can be completed safely and successfully, the result will be this aether block. Fujimaru Rika waved the crystal cluster in her hand, "This thing is useless, but because the ether itself is a type of energy, and the things that come out of this way also conform to the law of conservation of mass and energy, so it can-"

She turned around suddenly, and threw the crystal cluster out like a shot put—

"—That's it!"

Without warning, the translucent crystal exploded in the air under the golden canopy.

"But it's very cost-effective." As if she knew what the two people next to her were thinking, Rika Fujimaru turned around and added, "In special cases, when playing tactics, it is said that under normal circumstances, using this kind of magic product as an explosive is far less effective than directly using magic to make an explosion."

"Then, based on this basic theory of molding, if you somehow attach a corresponding concept to the aether when it is restricted—"

Rika Fujimaru reached forward again, this time "plucking" a ceremonial dagger decorated with a ruby at the end of the hilt of her sword from the empty place: "—it's the so-called 'creation out of thin air'." ”

Ferus Manus stared at the short sword for a second: "This...... Spells, what's the limit? Do factors such as the volume, mass, or complexity of the creation affect the completion of the final product? ”

"My case is not." Rika Fujimaru replied, "Among the magic techniques that can achieve the effect of 'creating things out of thin air,' the most common method is to use the artist's own imagination to attach the concept of ether, and this molding technique is called 'projection magic.'" But that method, which requires the practitioner to understand what he wants to create at the atomic level and reproduce it perfectly with his imagination, is too difficult for me to learn. I'm basically a summoner, so my method of 'making things' is strictly a séance. ”

Conrad Coetz showed some interest in this: "Séance? The kind of spell that uses various rituals to capture and communicate with the souls of a specific deceased? ”

"Well, it's normal for the spirit of séance to think of the human soul first, but in a broad sense, séance applies to animism, which is roughly the kind of thing that has its own soul in a stone, grass, or something that has been used for a long time." Rika Fujimaru explains, "For me, the process of weaving objects with magic is to first draw the magic that needs from the surroundings or from oneself, and then select the corresponding concepts or legends from the 'database' that can be used as the 'soul' of the object, and let the two parties combine with each other, and through the influence of the immaterial soul on the natural existence of the material form, the ether will naturally solidify into what I want. ”

As she spoke, Rika Fujimaru pulled out a blaster from mid-air and crookedly threw the weapon, which was too big for her, to Ferus Manus, who looked a little eager to try.

"Because the process of forming the object is basically automatic, there is no need to consider the accuracy of the spell, as long as the magic is enough, everything can be made, and if the concept itself is not wrong, there is no difference in strength from the real thing, which is very friendly to my half-bucket of water. Where is the limit...... Why don't you ask the Emperor if he can try it here? Anyway, I think it's time for the emperor to think about the living environment of his employees! ”

The Iron Hand Prototype, who looked down at the blaster that seemed to have just come off the production line, looked up and said suspiciously, "What do you want to ask?" Do you use psionic teleportation? ”

Then he found that Fujimaru Rika had another golden scepter in his hand that appeared out of thin air - it seemed to be gilded throughout, ornately carved, and the top statue was like a standard imperial Aquila with wings ready to fly, inlaid with broken diamonds at the lines, and the whole was very "imperial".

This kind of item with a special symbol and a special symbolic meaning is obviously not something that Rika Fujimaru, who does not consider herself an "imperial person", would choose to make it herself, so ......

"The Emperor did it." The girl complained, "I just asked him what kind of architecture he wanted, and he shoved it into me." He's definitely been peeking around. ”

"What's that?" Conrad Coetzes asked, a little curious.

Of course, he wasn't asking about the shape of the scepter or what it meant, so Fujimaru Rika's answer had nothing to do with the above question: "Something like administrator privileges in the subspace realm to which the Emperor belongs, it seems that with this I can invoke the Emperor's psionic energy to use as aether - although I know I shouldn't complain if I take this, I also really hope that he can make his appearance a little more low-key......"

The girl sighed and closed her eyes in order to concentrate on meditation.

Almost in the next instant, the two primordials present immediately understood why, as soon as Rika Fujimaru broke free from the illusion, he clearly described the aftermath of the battle between the two of them as "typhoon transit".

When the turbulence formed by the accumulation of the ether begins to surge violently, it feels like a typhoon.

It's a hard process to describe, as if the space they're in is indescribable. The scenes created by the waves of subspace are often difficult to explain with reason and logic, and the same is true of what is happening now. Fujimaru Rika just closed her eyes and held the scepter she had received from the emperor, her face calm, as if she had done nothing, but the waves of the ether washed over her surroundings with a strange pattern.

The first to appear, or rather, the first change to be noticed, was gravity. At one point, both of them felt a definite sense of drape, and just as they adjusted their posture and prepared to fall because of the random drifting, the white and smooth marble floor was just right under their feet—followed by thick and ornate carpets, beautifully carved columns, frescoes of virtue, and solemn and elegant furnishings...... Everything around it appeared out of thin air like a holographic projection that spread, creating a golden hall in a few breaths, and the building itself continued to stretch around.

Conrad Coetzes first began to move curiously through the seemingly familiar building. He didn't seem to be far from where he was, but what he did was far from restraint: after a seemingly ordinary moment of looking around, he came to the edge of a wall painted with a mural of a great victory led by the emperor during the Great Expedition. He stared at the painting for a few seconds, as if to discern which battle it depicted, and then, a second before the frowning Ferus Manus was about to give a warning, he suddenly reached out and used his fingernails in a tooth-aching scraping sound—given his current form, which was not entirely certain to be fingernails, but certainly something exactly the same—with a few scars, he accurately peeled out the solemn and glorious face of the Emperor God in the fresco.

It's hard to say exactly what he had in mind when he did this—whether it was a mere prank to vent his grievances, or whether he was genuinely resentful of the Emperor, or both. Anyway, after he had done the bad thing, he immediately smiled with satisfaction in the angry roar of Ferus.

…… Or perhaps, the emperor's frescoes were just a reason, and he just wanted to constantly provoke Ferus in various ways.

However, before this provocation was truly escalated into conflict, they were also surprised to find that the destroyed part of the wall was rapidly being restored to its original state.

"The 'concept' I've given to magic here is 'Terra's Palace at some point in the thirtieth millennium.'" Fujimaru Rika had stopped meditating at some point, and poked a staff about the same height as her on the ground, "Because the concept is a frozen 'moment', the internal scene will not change. Even if it is temporarily destroyed, the aether in the environment will attach itself to the concept, turning the destroyed place back to its original state. ”

Ferus Manus didn't react to this, but Conrad Coetzes snorted with clear displeasure. Before he turned around and used the mural on the wall as a scratch for some kind of large beast to sharpen its claws, Rika Fujimaru added in time:

"Besides, the Emperor wants to speak to you alone, Mr. Conrad. He seems to have something to explain to you. ”

She strode towards Conrad Coetzes with her scepter, her golden double-headed eagle glittering in the glittering palace.

"Psionic communication?" Without healing, she held out the scepter, with its strong symbolic meaning, to Conrad Coetzes, who unabashedly showed a very disgusted expression: "Can I refuse?" ”

He asked.

But from the fact that he was already reaching for the scepter as he asked, it was clear to him that the answer was no.