我在無限遊戲裡封神 (Eng)

99. Yinshan Village

" Bai Liu" moves forward and he glances back at Mu Sicheng, his face looking as if it has been painted on with an eerie paper-like grin.

"Go to the tomb, find a coffin and carry it to earth."

The other end.

Bai Liu is holding a candlestick and there is no one around him.

When Bai Liu stepped on a flap door on the floor as he was entering the chamber, he stood on it to keep his balance until the ghost of the tiger appeared and chaos ensued, when Bai Liu moved his foot to the side of the flap door and slid through it to the next level.

Before the ghosts could react, Bai Liu disappeared.

Bai Liu stood up, patted the dust on his trouser leg and looked up at the spot where he had fallen.

It is a quadrangular, partial chamber, not very large, Bai Liu estimated the length, width and height to be about three metres by three metres by two metres, and the walls are thickly covered with ash.

But these were not Bai Liu's concerns, and he looked around the room, eventually turning his attention to the flap door he had fallen through - the only exit from this quadrangular chamber.

This is a sealed chamber.

And it's not just that.

Bai Liu lowers the candlestick, the light wavering as if it will go out at any moment, but the faint light is enough for Bai Liu to see what is on the floor of the chamber.

The floor of the chamber is neatly and densely piled with many wine jars, which are sealed with four-sided red paper with a red thread wrapped around the neck, on which is written the word [Dien] in black brush, with two old brass bells hanging from the end of the red thread.

Red thread, bells and red paper, which is clearly the same outer wrapping as the coffin used for Bai Liu's previous wake.

I don't think there is anything in the wine jar that Bai Liu would like to see right now.

In such a small chamber, Bai Liu roughly counted about a hundred of these wine jars, which filled most of the space in the chamber.

Bai Liu stood on the altar and estimated that he would be able to reach the flap door, but there was only a thin paper seal on the altar and it was estimated that the mouth of the altar would break if Bai Liu stood on it, and the mouth of the altar would open if it broke.

On top of that, the flap door was wobbly and Bai Liu couldn't get out even if he stepped on the altar and reached the door.

The situation seems to have come to a standstill for a while, but Bai Liu doesn't panic, he has a vague feeling that there is a solution to everything here.

Bai Liu holds up the candlestick and shines it around, this time looking a little closer.

Bai Liu holds the candlestick up close to see what appears to be painted on the mud and rock walls, keeping his balance so as not to touch the wine jars placed against the walls, and using his clothes to wipe the dusty mud crusts off the walls.

The dust on the wall fell away and a fresco emerged, a faded painted design that appeared extremely old, so blurred in many places that it was impossible to see what had been painted, but with the inscription next to the fresco, it was possible to understand the meaning of the fresco in general.

The paintings on the walls of the tomb are generally used to record some of the events of the owner's life. The tomb Bai Liu came into, judging from the murals, must have been a collective cemetery in the village of Yinshan, commonly known as an ancestral tomb, and was not built for a particular individual, but for a clan.