Not long after the homeless children left, Annan put away the pretentious book in his hand.
He didn't intend to watch it...
I just want to act like "I'm busy, please don't bother me", lest these players come over to chat awkwardly if they have nothing to do, and want to get a mission from him or something.
You ask me why, I don't know what to do
Annan Sighs.jpg
He made himself a cup of tea, brought a plate of nut pastries, closed the door and lit the lamp, and leaned back on the bed happily.
Although Kaizisa was staying up all night in the basement, watching the live broadcast and eating snacks, Annan felt vaguely uneasy.
It may be that the sense of shame that has become extremely thin in his heart is struggling desperately...
But Annan finally turned on the live broadcast happily.
"… Huh?"
Only then did he realize that Jiu'er seemed to be in a copy he had never seen before—
"Hahaha… "
Panting heavily, Jiu'er leaned against the wall and looked back vigilantly.
What she used this time was not Amos' body.
Rather, it was the body of a haggard-faced homeless man in his fifties...
who is this where is this
Annan was a little surprised.
He quickly flipped through the historical barrage, and pulled out Jiu'er's live video, using the barrage as coordinates, skipped and watched for a while, and suddenly realized.
Annan understood what was going on:
Jiu'er entered this level from the second floor of the nightmare.
This theory, in the easiest level in the whole nightmare—
Its title is, [Gallery: Feast for the Hungry].
The way to enter this level is actually very simple... just being chased by Brother Sledgehammer, few people can calm down and think.
Jiu'er realized that the tomato might be a key prop.
But you can't get it at all... And if you go to the next level, you may not be able to come back.
In other words - the thing that can get the tomato must be on this floor.
So she put on the blood-stained windbreaker and turned back.
—Yes, she turned around.
Seeing the crack in the wall that was smashed open by the sledgehammer, Jiu'er walked in directly... which was the entrance to the "Gallery: Alley Morrison" on the third floor.
Inside, she found a bloody long dagger.
Then Jiu'er turned back again and found that the tomato could be taken away with the dagger in hand.
She originally wanted to enter the third floor like this...but under the high-intensity adjustment of the barrage, she turned back for the second time.
This time, at the end of that passage, there seemed to be nothing.
——But when Jiu'er was holding a dagger and a tomato, when she walked to the side of the falling chandelier, the previous death fg here was removed.
Yesterday's player, someone also tried this.
But when they had no tomatoes, turning around and approaching the falling chandelier, they would only be dragged in by the countless shadows under the chandelier and cut into pieces by the broken chandelier.
But when Jiu'er came back with the tomatoes, they didn't show up.
After that, she moved a little further... and the cg was triggered.
It just so happened that Jiu'er was doing a chase here, so there was no nutrition...
"... I still have to watch the cutscene cg."
Annan did not hesitate to call out the CG part of the video.
It's different from the cg I experienced before.
Annan is now observing the painter Amos from a third-person over-the-shoulder perspective.
I saw Amos in a blood-stained white robe, holding a tomato in one hand and a knife in the other, slowly approaching the fallen chandelier under the gaze of countless portraits.
His steps faltered a bit, but he was not as panicked as on the third floor.
Annan saw him staring under the chandelier, panting heavily.
It's like looking at something that ordinary people can't see.
Finally, he sighed in a low voice:
"sorry… "
As he spoke, he slowly cut a slit through the tomato in his hand with a trembling right hand and a knife.
Only then did Annan notice—
The extra red tomato was full of bright red plasma.
It was like a fountain, with blood pouring out continuously—Amos raised it high with his slightly trembling left hand.
Blood ran down his arms and dripped onto the floor. The shadows under the chandelier were like living creatures, constantly drinking the blood on the ground in a low voice.
The blood contained in the tomato was dozens of times larger than its own volume. It seems to be all the blood in the bodies of several adults...
Finally, the tomatoes gradually shriveled.
Inside, lies a tongue.
The tongue and the skin of the tomato cut in half, as if forming a mouth, cracked a big smile.
"Hehehehe..."
Annan heard again... the girl's deep laughter.
It was exactly the same as the laughter he heard before he was attacked by Brother Sledgehammer when he was on the second floor!
Only this time... The laughter was so clear, as if it sounded right behind him.
The blood on the ground was finally completely washed away by the shadow under the chandelier...
No, not fully vacuumed.
There are still a few little remnants.
These remnants of blood squirmed on the ground... forming a series of intermittent words:
"Look... behind you..."
With a hoarse voice, Amos read intermittently.
Immediately, he gasped in panic.
Trembling, he looked back subconsciously.
I saw that at the end of the corridor that I just walked out of, there was a disturbing blood-red glare radiating.
And the wall that became dim because of the drop of the chandelier—the wall where the portraits were hung, also caught some light. At least to the extent that you can clearly see the portrait above:
I saw the portraits of men, women and children with weird smiles behind them...
At some point, they all turned into Amos himself!
They all turned into Amos himself looking up with a panicked expression in the dim environment!
Just like now!
Just as there are not portraits hanging on the wall, but countless mirrors—
But unlike the mirror surface, in those countless portraits of myself. Behind him, there was a silent, tall man looking down at him with a ferocious face.
... Or, this is indeed a mirror.
Amos stayed where he was, staring blankly at the man holding the hammer in the countless mirrors, and slowly raised the hammer.
At this time, all the portraits began to burn.
A circle of scorching marks emerged, burning away the top layer of "Amos and Sledgehammer," revealing another painting on the bottom layer.
It was a tramp with shabby clothes, haggard face, rough skin and unusually thin figure.
The desperation for life can be seen in their eyes.
And the hope and gratitude for a white and neat hand that penetrated into the picture and stretched out to them.
The moment Amos meets the eyes of one of the homeless men.
He felt someone pull his hand suddenly.
The whole person stumbled and took two steps forward.
At this time, the surrounding screen suddenly changed.
The main perspective becomes a homeless man.
And Amos, who was dressed in decent clothes and had a gentle smile, stood in front of "myself", showing me a clean and white right hand as a polite invitation.
Unlike in "Gallery: Alley Morrison".
His brown curls were punctuated by a beautiful strand of blond hair.
One of his eyes was still that deep blue.
——while the other eye turned into a beautiful, jewel-like clear and charming green.
"Good morning sir."
Amos Morrison politely repeated his previous words: "Can I pay you... to be my model?"