First, let's organize all the key points we might discuss.
Directly mentioning my knowledge of his past is pointless, as Sheng's actions just now have proven. However, setting that aside, I don't know much about it anyway, because it's Sheng, not me, who knows the specific details. I've only indirectly obtained a little information, which hasn't even formed a complete understanding.
So, where is the breakthrough? Should I directly question his behavior in the train carriage, or ask why he chose to let us go afterward?
But neither of them seems like the best option.
The former has a very high probability of escalating from a verbal argument to a violent incident, while the latter, where the other party has already given a fairly straightforward explanation at the time, would easily appear foolish to ask further questions, and would also escalate into a fight.
I'm confident I have a chance of winning, but if possible, I still hope to avoid such an event from happening.
Why not start the conversation by mentioning that he came with a new person? That would be a good topic.
In Sheng's introduction, the arrival of the newcomers is a probabilistic event. The most likely scenario is that the protagonist doesn't go to the nearby safe zone, and the newcomers are ostracized there. Then, those newcomers will move along the uninterrupted railway tracks and receive reception and assistance from the side that has already been suppressed by the protagonist.
However, given that the protagonist was already in the vicinity of the safe zone, rather than here, the movement of those people should not have occurred.
But the reality is that those people came from the ground, along with this nominal protagonist.
So what happened? I need to confirm this.
He must have been delayed on his way there, just like when he first went mad.
They even replaced his equipment.
Then, after making sure he was calm enough, I talked about where he was going.
Sheng's understanding and analysis of the current situation largely stemmed from knowledge gained from the game he called "Tartarus." Assuming it was part of the underlying system, the events he knew were inevitably as numerous as those of the protagonist he controlled. And the protagonist of that damned underlying game was the man in the black trench coat walking ahead of me.
In other words, the Sword Demon who walks this path aims to complete the breakthrough and obtain the completion rewards before the fourth main quest is released.
According to Sheng's prior planning, it should be a large exhibition hall with many famous paintings from the same period—which is why he prepared a large number of sharp weapons and Molotov cocktails in advance. This is the most efficient way to deal with highly flammable things like oil paintings.
All we need to do is set fires along the way, slash through all the canvases we see, and then rush straight to the end of the level to take the reward.
The cost of destroying a work is no heavier than the cost of losing one's life, because only the living have time to consider this issue afterward.
Our goal isn't the completion reward, so we can avoid arguing with that jerk as much as possible.
Our goal is something called the "golden apple".
It may have originally been just a splash of paint on a flat surface, but in this current situation, everything becomes unreal and takes on a special state.
It wouldn't be surprising if even pigments became real things.
I'm pretty sure I heard Sheng use the word "underground city" when he was talking about that place.
Admittedly, the environment we are in is also called a dungeon, but it is not as dangerous as a real dungeon.
To use an analogy, it could be viewed as a hierarchy of different levels of danger, but this hierarchy is constantly changing and, if left unchecked for a long time, is prone to overflowing into a gray area.
There is such a place underground in the academy, but it has always been under the extra care of the academy's teachers, and senior student teams with permission are allowed to explore the surface layers under the supervision of the teachers.
By the way, I haven't been there much; I've only heard about it occasionally from my advisor.
I didn't know what awaited me in that large exhibition hall, but it didn't seem like the right place to relax and unwind, or to deal with emotional issues.
We need to get this sorted out before that bastard gets in.
With that in mind, I quickened my pace.
Then, as I rounded the last corner, I saw a dark figure standing quietly in the shadows not far ahead.
Just a few steps away from him was a clean hall with bright, gentle lighting.
A transparent door separated him from the interior, making it seem as if he was being kept out.
I wouldn't presume that he was waiting for me to catch up; it's more likely that he was simply being stopped.
Sheng said: Subsequent tasks were all required to reach a certain number of participants.
This is a necessary step up to the tenth round of missions.
This was also one of the reasons that stopped that crazy bastard from continuing his killing spree.
I quickly glanced at the promotional posters illuminated by the dim lights in front of the door. It was indeed a large exhibition hall, but its name was obscured by some kind of stain. Even when I brought the fireball that was illuminating my way closer, I still couldn't get a clear confirmation, as if some mysterious force didn't want us to know.
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