Vol 3 Chapter 24: Towards Chaoyang (Part 2)

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Meng Chuan wrote the pen, and in the center of the whole painting, he painted the "world entrance" in thick ink. A monster is coming out of the world entrance densely and spreading in all directions.
He drew slowly, only drawing a rough phantom outline.
Then focus on painting one of the monsters spreading on all sides in all directions, that is a mantis monster, the mantis monster was painted very carefully, because that was the most impressive monster when he was chased by the monster when he was six years old.
...
When Meng Chuan was painting, the translucent villain began to glow spiritually again in the space of the eyebrows. For so many years, this is the second time that the translucent villain has changed since the "Life".
...
Meng Chuan was immersed in the paintings. He mainly painted the mantis monster and a family of three who were pursued by the mantis monster.
The father ran on his back, and the mother rushed towards the mantis monster with a sword.
In this picture alone, Meng Chuan drew very seriously for more than two hours. This is just a corner of this huge painting.
When he stopped writing, Meng Chuan discovered the change in the space of his eyebrows.
"The villain in my eyebrow space would glow slightly?" Meng Chuan was surprised, but gradually the spiritual light was weakening.
"The emergence of this eyebrow space is actually related to my painting." Meng Chuan was surprised. When he was sixteen, he painted the picture of "The Living Beings", which was also his most outstanding painting in many years. One night, he discovered the space between the eyebrows and the heart and soul. But at that time he did not dare to be completely sure about painting.
I'm afraid it's just a coincidence.
But this time painting, the strong emotions are no less than the painting of "The Living Beings", the scene where the villain in the eyebrow space shines, let him be completely determined.
Related to painting!
"I've never heard that painting will produce a mysterious power of heart and soul?" Meng Chuan wondered for a long time, and didn't want to understand, "Well, when we enter Yuanchu Mountain, we must investigate and understand."
At least for now, it seems that the power of the soul can help you a lot.

From this day on, Meng Chuan fully integrated his strong emotions into the painting. This painting also takes a long time, ranging from one hour per day to two or three hours per day.
After spending more than six months, Meng Chuan finally finished painting.
This is a set of group pictures divided into three pictures.
The first one is six feet long.
In the center of the scroll, dense monsters came out of the entrance of the world and spread around.
Monsters chase everywhere.
Some parents want to protect their children, but they are all pierced by monsters with sharp tails.
There are scenes of dead bodies.
There are children standing there crying, and the old man confronts the monster scene.
There are also fathers who are carrying children and mothers holding swords to resist monster scenes...
Meng Chuan drew a total of thirty-eight scenes, each of which clearly depicts monsters and people. Those are the scenes he has personally experienced or witnessed. Each painting... makes the "flame" in his heart even hotter.
...
Then peripheral.
A little further away from the monsters, the disciples on the road, the street vendors, and the ordinary pedestrians all panicked.
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Outermost.
There is the Yuyang Palace, and the three gods and demons are standing by.
There are other places everywhere.
In the Daoyuan, the weak disciples all entered the tunnel, and the more powerful disciples looked at the monsters in the distance either with perseverance or with anxiety. Under the leadership of the dean's instruction and others, these teenagers, together with some retired adults, are preparing for the battle.
Ordinary houses, restaurants and other prosperous places, the family of gods and demons... without exception, women and children, old and weak, and other weak people are lining up to enter the tunnel.
And each one is strong, regardless of men and women, regardless of the old and the young, all facing side by side.
...
The sun in the scroll has just emerged from the edge, clearly indicating that the demon invasion was in the early morning hours.
This is just the first painting.
The second painting is eight feet long.
It's much cruel and bloody.
The core area invaded by monsters in the center of the screen is a corpse, which is common to men, women and children, and some young people wearing Taoist robes.
But in all directions, it is fighting everywhere.
One human warrior holds a shield against the monster, and another human warrior shoots an arrow at a distance.
A humanoid's abdomen was pierced, but he still hugged the monster tightly. Another companion cut the monster's head with a knife.
Human races set traps and successfully killed monsters. There were other monsters rushing by.
A father and son joined forces to deal with the monster.
Veterans with disabilities are dealing with monsters.
...
All kinds of tragic scenes, that Meng Chuan had seen with his own eyes, are all common occurrences of the invasion of demons in Dongning. He just drew all of these in his memory. In the eyes of those who died together with the monster, the companion's pain continued to fight...
"What are they trying so hard for?" Meng Chuan was confused.
But in the process of his painting.
When he drew out the living people, he understood.
They are for hope.
For the loved ones who care about the most, there is hope. You can also see the sun rising.
They need to fight and give the family a way to live.
...
Daoyuan is also fighting there, the demon clan has entered Lieyangbao, and a veteran soldiers, soldiers, and young children are resisting frantically. Using life to build a wall to protect the weaker teachers and sisters who are hiding in the tunnel.
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The demon family is also fighting, an elder is rushing to the front to resist the monster, and the younger juniors and teenagers are also fighting. An old bald man rushed to the front, but his chest was penetrated by tentacles, but he still killed a monster with a knife.
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Yuyang Palace is also fighting, a demon has fallen, a female demon is struggling to support, but only a male demon is still fighting against four demon kings.
They only have one and devil left with enough combat power, but they are still fighting.
Also for hope.
...
The sun in this painting rose again, higher.
The whole picture is fighting everywhere. Meng Chuan painted this picture for three months.

The third painting is six feet long.
The situation on the entire battlefield reversed, and people from all directions began to attack the monsters, and the monsters began to flee.
All monsters are at large.
They will also fear, be embarrassed, and be killed one by one.
They rushed frantically towards the central'world entrance', that's where they came from, and now where they escaped.
And the periphery.
In Yuyang Palace, a sword of light fell from the sky to the demon king, and other demon kings also fled in embarrassment.
In the Taoist hospital, everyone was treating those severely injured companions, including adults and teenagers.
At the same time, there are people who died in war, men and women, young and old, who are still dead, or still very young, or very beautiful, or very old. Many people beside the people who died in battle were crying and sad.
Everywhere.
Ordinary dwellings, restaurants, teahouses, demon families, etc. have all begun to treat the wounded and conquer the dead bodies of the war dead.
There are also many monster bodies scattered around, but people are too lazy to take a glance, they are more caring for the wounded, and grieving for the war dead.
Although the victory was over, the whole painting did not feel joy, but the feeling of ‘war of intent’, which was even stronger! The hero is dead, but people who are alive will continue to advance and fight, and never stop.
In the east of the city, the sun rises even higher.
The color of this painting is also the brightest of the three paintings.
...
After Meng Chuan's painting was silent for a long time, he only wrote four words on the last painting-"Towards Chaoyang". He didn't write a name for the first painting and the second painting.