I Created Cthulhu In Naruto

Yamato once taught Sai that only those with emotions can be called alive.

Whether it is happiness or sadness, only if the heart can feel these emotions, will it not be reduced to a walking dead.

At this moment, Sai finally understood what Yamato said and understood human emotions.

However, what Sai experienced was not happiness or sadness, but the oldest and strongest emotion of human beings.

just fear...

In this "Eating Ghoul", what Saii saw was a frightening painting that used a humanoid monster as a close-up model.

In this painting, Sai could clearly see that the skin of this humanoid monster was shining faintly in the moonlight like rubber.

It holds a human head with its sharp claws, and the human head that has been bitten through the scalp, exposing the white skull below, still retains the horrified expression before death, as if the vivid expression on it is about to pierce the canvas .

Thanks to Pittman's extreme realism, Sai has never seen such a realistic painting, as if Pittman really created this painting facing such a scene on the spot.

It's no wonder that Ike ran away immediately after seeing the painting. As long as the thinking and aesthetics are basically normal, people will not continue to stay in the studio where the painting is placed majestically.

Compared with Pittman's paintings, Sai's paintings can only be regarded as pale in comparison, not even the most basic gloom.

In addition to this horrific painting, most of the canvases on the other panels depict this kind of humanoid monster with rubber-like elastic skin, but these are distant paintings, depicting the daily life of these monsters Scenes.

It depicts them appearing in groups in sewers, cemeteries and other dark and decaying places, waving their hunting claws at each other to compete for prey under the moonlight, or squatting on the edge of the victim's bed at night, holding The sharp claws are ready to bite the throat of human beings at any time.

There is also a hideous painting signed "Class" in the lower right corner, but the so-called classroom is not a human classroom, but a group of dog-like humanoid monsters squatting in a circle, and those who are bigger The tear monster is showing the "students" below how to eat.

As for what food they were using for demonstration, Sai would never try such food in his life, or even put it in his mouth.

The content described in the remaining paintings is also full of profanity,

But it can completely connect the dots in these small life story-like scenes.

Sai can even see from the clues in the painting that a monster is born as a child, learns to eat, then hunts alone, and finally becomes an adult ghoul.

How did I come up with the name Ghoul?

Sai was sure that he had never heard the word "ghoul" before hearing Pittman's story.

But at this moment, even though Sai wanted to deny their existence vigorously, in his heart, through these extremely realistic paintings of Pickman, Sai believed that this monster named ghoul might not be a complete fantasy.

These Pickmans cannot be romantic daydreams, and what he paints is not those wobbly, colorful, floating dreams, but a cold and profound display of an unshakable horror.

Sai was convinced that these paintings could only be drawn with such a remarkable technique after observing that world for a long time.

Sai didn't know where he got the glimpses of the figures crawling, running, hunting, but of the sources of inspiration that Pittman couldn't explain, only one thing was certain.

That is Pittman is portraying a horror walking on real land!

[Get 800 trembling points from Sai! 】

Where?

Where?

Sai kept scanning the sweeping studio, looking for some unusual places.

Although the rental receipt on the table showed that Pittman's lease on the place had expired, Sai believed that Pittman hadn't left here.

Pittman hasn't taken these outstanding horror paintings with him, so Pittman must not have left here!

Saii's heart beat faster, and when his eyes scanned back and forth, his eyes suddenly stopped on a painting with profound meaning.

This is a picture depicting cracks in the floor of an old room. Unlike other paintings, there are no humanoid monsters in this painting, just a very ordinary portrait of an indoor scene.

But unlike other ordinary interior paintings, the time in this painting is night, and the moonlight shines on the floor from the window, which looks a bit eerie.

And the crack on the floor is not actually a crack, but a piece that has been opened.

Beneath this lifted floor, an even more chilling darkness spreads across the canvas, making one wonder what lies hidden in the darkness.

This is a means of painting with blank space, but at this moment Saii feels that this is more like a hint.

And looking carefully, Sai found that the old room in the painting was somewhat similar to the layout of Pittman's studio.

Could it be?

Sai suddenly raised his head to look at the window, and quickly ran to him and lifted the old curtain hanging on the window.

The moonlight shined on the floor of the room through the window, and Saii really saw something tricky on the floor.

These long strips of floorboards were connected together, and Saii easily inserted his fingers through the gaps in the floorboards and lifted the floorboards up.

Under the floor is a huge black hole.

From the dimly illuminated stone wall, Sai saw wooden steps that looked like simple steps.

The dark and low entrance did not restrain Saii's determination to enter it. Saii immediately ran to the cabinet next to him, lit the kerosene lamp, and walked down slowly with the lit kerosene lamp.

Although this basement is dark, the space is much larger than expected, and even the musty smell in the air is much smaller than the studio on the ground just now.

With the dim light from the kerosene lamp, Sai saw an indescribable shadow drawn on the wall of the spacious basement. Perhaps this was Pittman's idea of ​​other terrifying monsters.

But these are not important, because on the wall, Sai saw a painting again.

This painting was framed extremely delicately, even more delicate than the stunning paintings in the studio just now.

And on this painting, what Pittman drew was not those ugly humanoid monsters, but an ordinary human being.

Judging from the stable sitting posture and expression of this ordinary human being, this may really be a portrait of an ordinary person.

Pittman's self-portrait, painted 10/21/62.

It is the note on the lower right corner of the canvas that identifies the painting as Pittman's own self-portrait.

If there is no exaggeration of the facts, it must be said that Pittman's eyebrows do have a unique temperament of an artist, and his natural curly hair also makes him more eye-catching than many people in the crowd.