Pass it on across time and space." Winter snow from West Lake fell on the wool scarf, yet could not cover the purity of the snowy mountains. In the distance, Leifeng Pagoda stood in the snow like a silent guardian of the snowy mountains. Muhammad knew that the Young Heritage Vanguard Team's journey would continue-their next stop might be the Inca ruins in the Americas, or perhaps the Congo Rainforest in Africa. But wherever they went, the moral principles of A Deadly Secret and the warmth of patterns from around the world would remain eternally pure, like the snow-covered mountains of the Alps, forever lighting the path of humanity's cultural inheritance and continuing a new cultural chapter that belonged to all humanity and would never end. A new chapter of A Deadly Secret: the awakening of the Inca Terraced-Field Irrigation Pattern. Around the spring equinox, the Young Heritage Vanguard Team's plane landed at Cusco Airport in Peru, South America-the organization responsible for protecting the Inca ruins had invited them once again, hoping they could further bring the Inca "terrace irrigation patterns" and "woven Constellation Patterns" to life. Although the team had previously designed the Terrace Wave-Treading Step, as the global pattern heritage network expanded, the preservation organization hoped to uncover the deeper wisdom of "humans and nature coexisting in the mountains" within the patterns, so that the younger generation would not only learn to "walk on the terraces," but also understand the Incas' reverence for both the land and the starry sky. Muhammad led Soka, Karen, Marco, Lucio, Kam, Diego, Karu, Lina (a tribal girl), and the other members along the Inca Trail toward the Sun Terraces near Machu Picchu. Standing at the top of the tier upon tier of terraces, the Inca scholar Kino pointed to the "channel patterns" between the field ridges and said, "These patterns record the Incas' irrigation wisdom-the curves of the channels precisely match the speed of the water, allowing them both to irrigate the fields and prevent soil erosion. But most children today only marvel at the grandeur of the terraces, without understanding that these patterns were the language the ancients used to 'speak with the mountains.'" Lina (a tribal girl) stroked the Alpine wool scarf she carried with her, recalling her experience using "snow accumulation patterns" to identify safe areas in the snowy mountains. "Perhaps we could turn the irrigation patterns into 'farming lessons'? Just as we used snowy mountain patterns to find safe routes, we could let everyone understand the Incas' view of the land through hands-on irrigation." The suggestion made Kino's eyes light up, and the Inca Terraced-Field Irrigation Pattern Awakening Plan officially began through the blending of experiences from different civilizations: first, a mountain resonance between martial arts and farming: letting patterns "nourish the land." Lin Xiaowu gazed at the "terrace irrigation patterns"-the differences in height between the field ridges and the courses of the channels formed a "stepped water route," which perfectly matched the principle of "following the natural flow" in A Deadly Secret's Flowing Cloud Step. Combining it with the Incas' traditional farming footwork, he designed the Terrace Water-Drawing Step: guided by the channel patterns, the youngsters had to walk along the edges of the field ridges, adjusting their center of gravity every three steps to imitate the curve of flowing water, and slowly tipping the buckets in their hands along the channel patterns to feel how the water matched the patterns. Kino added from the side, "Our ancestors drew 'irrigation patterns' to tell us, 'Follow the patterns, and the land will nourish us.' Every step in this footwork follows our ancestors' farming experience." Karen, meanwhile, combined Great Zimbabwe's Rock-Firm Fist with the "terrace outline patterns" to choreograph the Mountain Guardian Fist. He used lime to draw "terrace outline patterns" on an open patch of ground beside the terraces: the upper lines of the terraces corresponded to the height of each punch, while the lower lines represented the range within which the fist was drawn back. Punches had to be as steady as reinforcing a field ridge, while drawing the fist back had to be as flexible as guiding flowing water.
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