As Fujimaru Tachibana thought of Mash, the Light Screen footage switched scenes, revealing where Mash was.
The girl was sleeping deeply, surrounded by countless vines that completely wrapped around her. Curled up like a baby in its mother's womb, she slept on.
When the camera pulled back, it revealed that the girl was inside a hollow within a massive tree, which stood in a dense primeval jungle.
As the camera pulled back again, a terrifying sight appeared.
Throughout this primeval jungle lived countless twisted, hideous monsters, filling both the sky and the ground.
The entire jungle overflowed with demonic energy because of these creatures. There was no doubt that they were all yokai—the yokai of Yingzhou.
Demons danced wildly, while fiends howled.
This was the sight before them, and it made people in the real world's scalps go numb. They swallowed hard as their trypophobia began to flare up wildly.
Without question, such a scene was rather too much for people to bear.
Especially since these yokai were distinctly traditional Yingzhou-style creatures. Each one looked extraordinarily "unique," like a collection of postmodern art pieces, or a world warped by ancient gods.
Humanity was not ready for this kind of aesthetic.
Of course, some people thought it was incredibly cool, while certain unconventional artists were so excited that they immediately began sketching, determined to capture this artistic scene on paper.
This drew plenty of sidelong glances, and many people began calling the police. After all, these sorts of people were far too dangerous—who knew whether they were a group full of mysterious individuals?
In the Light Screen footage, the camera rapidly pulled back until, at the edge of the enormous primeval jungle, a series of strongholds came into view. Together, they formed a massive barrier that sealed off the jungle