Upon returning from the historical projection, Liang En immediately checked his belongings. Unlike his first entry, he conducted some simple experiments this time.
Through the experiments, he discovered that all physical damage incurred in the historical projection would cause corresponding damage to those items in the real world. The degree of damage was identical in both instances.
If there was any difference, it was that all physical damage would manifest in the real world as time-related decay. Anything that left his hand would disappear and be subjected to the power of time.
For example, the two gold brooches originally in the pit and in the silver box had returned to the card-formed space, showing obvious signs of wear. This was mainly because gold is one of the rare materials resistant to the passage of time. However, even gold brooches appeared worn, as if they had been worn for decades.
This proved that the changes were due to the eerie power of time in the historical projection, not the result of rapid oxidation as he had previously thought. Rapid oxidation was merely a manifestation of the time power.
Additionally, the return of the two brooches indicated that the historical projection was indeed just a projection of history, not a rewind of Liang En's current timeline.
As for consumed items, like the kerosene used to light lamps and ignite fires, they disappeared entirely. This meant the consumed items were truly used up and could not be returned.
After a brief inspection, Liang En confirmed that the ring from this time had disappeared like the last one. It should appear beside the historical follower as a token.
After completing his inspection, the two of them, accompanied by three ravens, quickly reached the large pit they had dug earlier and began to dig down.
Sure enough, after some digging in the humus-filled soil, they found the previously buried items. Liang En used his card to manipulate the asphalt wrapping the box to remove it.
Considering that Elizabeth Báthory was most concerned about revealing the true story, these jewels could naturally be utilized.
Liang En soon figured out the contact number for the Slovak archaeological department through his connections and made a call. To his surprise, just over four hours later, a group of more than twenty people appeared on the mountain road.
Everyone took the discovery seriously. Compared to the Czech Republic, Slovakia was relatively remote in ancient times, so there were fewer cultural relics. Hence, upon learning about the treasure of the legendary vampire lady, Elizabeth Báthory, the head of the national archaeological department and several experts in the field rushed over.
After some greetings and photo-taking, Liang En and the others completed the handover. Some archaeologists stayed behind to clean the treasure pit, while others took the revealed silver box back to the capital to open it in a lab.
"When do you think they'll open the box?" Jeanne d'Arc asked Liang En quietly after watching the group leave with the box.
"It won't take more than a week," Liang En replied after some thought. "You know, this should be their most important task at the moment. Opening this box isn't complicated, so with everything prepared, they should move quickly."
With everything proceeding smoothly and no reason to stay, Liang En and his companions headed back. After spending a night in Paris, they returned home the next afternoon.
For Liang En, he still had many tasks at hand, like transporting those novels and providing feedback on character settings for people in Japan.
Of course, he also needed to work on paintings and stained glass creations. Even though he hadn't received direct requests for these, he still had to meet certain social obligations.
Fortunately, he could complete a series of these tasks through his cards, saving a lot of time and effort. This allowed him to finish in a short time what would take others much longer.
However, when giving these finished products to others, Liang En naturally wouldn't mention that he completed them in less than an afternoon. Instead, he claimed they were meticulously designed and crafted.
This way, the work he did in an hour could placate friends and pushy editors for at least a month.
Everyone was naturally satisfied with these works, especially the almost refurbished Orient Express. The vintage-style posters and carriage decorations added a lot to the train.
As for his new book, "Twilight," it had already been submitted to the editor. However, the editor suggested delaying its release for a few months to avoid conflict with the current book.
The editor also noted that "Twilight" was a very good popular novel with significant short-term economic potential, possibly even a movie adaptation.
Speaking of which, the editor mentioned that some people might want to buy film adaptation rights for certain stories in "Grimm's Fairy Tales." However, selling them now would be unwise.
Just like the publication rights of previous works, it was best to partner with powerful film companies rather than just anyone, as this would significantly impact the final product and the promotion of the work.
After listening to the editor's advice, Liang En sincerely thanked him. Although he had already considered this, it was important to acknowledge others' goodwill.
Unlike when he first started writing, Liang En now had enough capital and connections. He even had a small legal team dedicated to his needs, so he didn't have to worry much in this area.
This small legal team was provided by the previous law firm. As Liang En's business grew, so did their cooperation.
Trust was key, so long-term partners could deepen their collaboration step by step, leading to the current situation.
From occasional hiring to a fixed three-person team, and now to a small legal team, this law firm had witnessed Liang En's journey.
Of course, Liang En had a series of insurance measures to prevent the law firm from acting against him. When faced with such wealth, being cautious was not a bad thing.
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