Note: I've been getting a lot of notes regarding people saying they want to collaborate with commissioned artwork (and a few on updates for In a Mess with a Succubus) and I've heard that many of these are outright scams.

Not to sound pretentious, but if anyone wants to make something based on this, as long as credit is given, then by all means, go ahead.

Palace of Sin-Upper Levels

"All right, which one of Mother Nature's delightful children is on this door?"

"Oddly enough, it looks like something the last guy would probably want for a snack. Only…"

"Only what?"

"I don't know. There's just…something off with this one."

At first, X was convinced that the intricate design etched into the dark door depicted either a frog or a toad. Though it still appeared to be one of those creatures—or perhaps a curious blend of both, as some tales suggested—the more he examined it, the clearer it became that his initial thoughts had not been off the mark.

"And that would be?" Roll inquired, puzzled as to what exactly her contact meant by his wording.

Again, X studied the relief, and while he seemed to have been right, there was still a lingering sense of doubt, as if he could perhaps be wrong. Still, there was only one way to find out.

"I guess we'll see when I get inside."


As X stepped into the next chamber, an overwhelming sense of familiarity enveloped him like a warm embrace. The atmosphere pulsated with an essence that tugged at his memories, evoking the nearby country that shared a rich and intricate history with Japan—one woven with both remarkable triumphs and profound tribulations.

The room was steeped in the elegance of ancient China, specifically the illustrious Han Dynasty. X quickly realized that this era acted as a vital bridge connecting the archaic traditions of record-keeping with the emerging practices of the modern age, all while coinciding with the rise of a notable religious figure in the Middle East.

Having embarked on a journey that began at the very dawn of time, X now found himself in a transformative period where the ancient and modern worlds began to intertwine.

In keeping with the grandeur of the era, this chamber exuded an aura reminiscent of a magnificent palace or an opulent religious sanctuary, echoing the splendor of China's ancient dynasties. Lush terra cotta figures adorned the space, depicting not humans but an array of humanoid amphibians—each one elegantly clothed in flowing robes that mirrored the royal garb of their time, their eyes made of shimmering pearls that seemed to glint in the soft light. The walls were embellished with intricate stone carvings, each echoing the chamber's unique theme, featuring frogs and toads meticulously etched into the surface, their forms alive with detail. Even the representations of bodhisattvas took on an unusual amphibious quality, as though these creatures alone had been granted the sanctity to inhabit this hallowed space.

While examining one of the elaborate carvings, X noticed a striking commonality among the figures—they all bore the same distinctive trait as the creature that adorned the door. This revelation dispelled the confusion that had previously clouded his mind.

"The frogs in here," X informed Roll as he approached a particularly captivating idol that reinforced his initial observations. "They all have just three legs."

At the rear of the room, his gaze was drawn to a diminutive figurine that, despite its modest stature, commanded attention the moment it was discovered. It rested atop a foundation of coins artfully arranged, each coin featuring a rectangular cutout at its center, forming a unique pattern. Perched atop this impressive stack was a remarkable three-legged amphibian, gleaming with the luster of pure gold. The figurine displayed flared nostrils and eyes adorned with genuine rubies that sparkled magnificently. In its mouth, it delicately held a golden coin, imparting an air of opulence and intrigue, as if daring any onlooker to covet its exquisite treasure or attempt to seize it for themselves.

"Three legs?" Roll responded, momentarily shattering the ambiance of the chamber. "Hmm," she pondered aloud. "It could just be a hunch, but it sounds like you found a room dedicated to the Jin Chan."

"Jin Chan?" X questioned, a sense of recognition flashing through his processor, yet his Navigator saw fit to relay the creature's other name to him.

"Otherwise known as the Money Frog, or Golden Toad," she answered. "It's an ancient symbol in feng shui that's meant to bring prosperity and good fortune."

X couldn't shake the ironic twist of fate that accompanied the mention of good fortune. The only bit of luck he had experienced thus far was his careful navigation through the labyrinthine floors, managing to evade any encounters with hostile forces. Yet, this small blessing did little to ease his tension; the ominous atmosphere of the Boar's Room served as a stark reminder that perilous traps lay hidden, waiting to ensnare the unwary.

Amid the swirling thoughts, a fragment of Roll's statement echoed in his mind, catching his attention. "Feng Shui?" he questioned, his gaze meticulously scanning the room, taking in the assortment of figures that inhabited the space. Each detail seemed to pulse with significance, compelling him to recall his sister's sharp observation. "That requires everything to be arranged in a specific order, right?" he inquired, intrigued by the possibility that the arrangement of these objects held deeper meaning in this foreboding environment.

"Indeed," Roll answered. "I remember attempting Feng Shui once to bring 'better balance' to Light Labs," she recalled. "Of course, it wasn't as if I believed in it myself. Rather, it was more of an excuse to try some more traditional interior decorating," she continued. "Although, speaking of the Frog or Toad, which direction is it facing?"

"Direction," X repeated, studying the placement of the Jin Chen. "From where I am, it looks to be facing the way in."

"As in, the entryway?" Roll inquired.

"Seems so," X answered. "Does that mean anything?"

A small moment of silence followed, Roll recounting both the information regarding feng shui and her own experience dabbling in adhering to its specifications once. "Actually, yes," she answered finally. "It's not supposed to be facing that direction," she explained. "For the good luck of the toad to work, it has to be positioned in the 'lucky corner' of the home or space that it's in, and then turned to be facing inward to supposedly draw luck into the area."

X glanced at the Jin Chan figure and then went back to the entrance. "I take that you'd recommend that I move it to where it should be?" he questioned, all the while trying to spot any hint of some sort of trap or device set to deliver a nasty surprise.

"With caution, of course," Roll answered. "Although," she began, but then paused, wondering if such a detail would even be necessary to bring up. Still, given the situation, nothing could be left up to chance. "Does the frog have anything around its neck?" she inquired. "Like a red ribbon or string?"

Red ribbon or string…

From what X could see, there was neither of these present, yet the Jin Chan appeared to possess some sort of decoration around its throat, it just wasn't a physical object that could be removed. There was indeed a red band that encircled the amphibian's neck. Yet, it appeared to be painted on instead of serving as a separate feature, three round, brilliant rubies situated on the toad's chest and going down to its abdomen.

"There's…some red features, but no string," he answered. "Let alone a ribbon."

'Nevertheless, maybe the way to the next floor requires you to put it in its proper position?" his impromptu Navigator suggested. "Can you remove it in any way?"

X reached and took hold of the golden toad (or frog, although he supposed it didn't exactly matter in the grand scheme of things), and attempted to wrench it from its place, yet found the figurine was quite intent on staying put. "I can't lift it," he informed his guide. "But, you said that it's supposed to be facing away from the entrance, right?"

"From what the rules said, yes."

"Well, if the statue is here, and there's already something of a 'red string' around its throat, then maybe where I'm at is intended to be the 'lucky area' of the room," he concluded. "Which means, all I would have to do is…" he began to see if there was some flexibility on the platform of coins the toad rested on.

Sure enough, there was.

It seemed that the solution to this chamber's particular puzzle was right in front of him. After all, with the approval of his Navigator, things seemed to be going well so far-

"X, STOP!"

The blue Hunter jumped back slightly, the sound of his sibling's voice blaring through his audials taking him off guard and retrieving his hand from the Jin Chen figure. "What?!" he questioned, voice somewhat pained as the sudden volume gave his processor a bit of a jolt. "What is it?"

"I'm sorry!" Roll cried out, urgency in her voice. "I'm so sorry! I was wrong! Don't touch the toad!"

"Wait, what? What do you mean? Didn't you just say-"

"Yes, I did, but I was thinking from the perspective of the property owner!" she exclaimed, fraught with concern. "But they're the enemy! This place is their home! We're the intruders!"

X's core raced as she suddenly grasped the significance of her discovery. His eyes widened in astonishment when he heard a faint, rhythmic beeping emanating from the golden toad, its sleek body glinting under the flickering light. A subtle red glow pulsed from the ornate band encircling its neck, casting an eerie illumination across the room.

One by one, the three rubies began to shimmer, the first sparkling brightly before the second followed suit, each radiating a mesmerizing light. Just as X realized the potential danger, she sprang into action, leaping out of harm's way just in time.

At that crucial moment, the final gemstone ignited with brilliance, unleashing a deafening explosion that rocked the room and sent a cascade of priceless treasures rattling against one another. The very foundation of the structure quaked as if acknowledging the ferocity of the blast, filling the air with dust and a sense of impending chaos.

"X?! X! X, ARE YOU ALL RIGHT?! CAN YOU HEAR ME?!"

A profound silence enveloped the area, and the blonde android felt a growing sense of dread. The cacophony of chaos that erupted when the trap was triggered gradually diminished, ebbing like the retreating tide. As the clamor faded, the soothing sounds of the ocean slowly reclaimed their rightful place, restoring a serene ambiance to the surroundings.

"...despite the ringing in my ears, you're coming in loud and clear."

She couldn't care less about the small bit of sarcasm in her younger brother's voice, Roll would take letting him off the hook if it meant she could hear him again, better yet, come back. "Oh, good. You're not damaged are you?" she questioned, biting her lip as she realized the futility of her inquiry. "Or rather, not too badly?"

X stood up from the tiled ground, rising to his knees. "I have some scuffs, but overall, everything is in place and intact," he replied, turning to assess the damage caused by the small explosion. "Unfortunately, the frog didn't fare as well, it seems."

The Jin Chen figurine had been completely decapitated, although its body was completely destroyed: only its head remained and the golden coin still held in its mouth. It almost seemed as if the figurine was mocking its own fate as if it could stick out its tongue and latch onto something nearby. Of course, the figurine was not alive. However, where the frog had once been, there was now a small circular space shaped like an ancient coin. X's green eyes once again focused on the single unit of currency in the amphibian's mouth.

He wondered…

"Roll," X spoke up, reaching for the coin and gently grasping the round object between two ivory digits. "Wish me luck."

With a swift movement, the Hunter found that, with some pull, the currency managed to come loose. As X further examined it, he realized that the small item appeared to be completely devoid of any further alterations. Placing the small coin in the space, a sudden shift was felt as X realized that the furthest corner of the room had revealed a hidden door.

The lucky corner.

"What happened? Is everything all right?"

Despite her inability to see him at that exact moment, X nevertheless nodded in response to her inquiry. "Going up."


X scrutinized the barrier with keen interest, his eyes tracing the contours of the creature within. It exhibited a notable level of evolutionary sophistication that surpassed its predecessor. "It seems we're evolving to mammals," he mused aloud, directing his thoughts toward Roll. "The head; I think it's a lion." Indeed, the animal presented resembled the majestic cat's, complete with a powerful jaw and a regal, flowing mane.

"Hmm," Roll mused aloud. "I just hope it isn't too disgusting there," she added. "Given its predatory nature and all."

X pondered for a moment. It might have been even darker than the previous ones. "Alright, I'm heading in."

Upon entering the obsidian door, the blue Hunter discovered that he had been transported several centuries into the future compared to the previous chamber. Although the interior still exuded an ancient aura, there were clear signs of the beginnings of modern civilization. In particular, the Hunter observed elements that would be crucial in developing the Western world.

"What do you see?" his sister's voice asked, all the while her contact scanned his environment, surveying the structure and design of this particular space.

"If I didn't know any better," X answered. "I'd say that I stumbled onto some sort of old church," he paused, glancing around at the collection of artifacts and artistic works hung out in the open for view. "Although, I can't exactly pinpoint the exact period."

"Well, can you maybe give a general description?" Roll inquired. "After all, you said it looks like a church, so maybe it's based on the days after the Roman Empire fell."

"It is certainly that time," X replied. The issue lies in its focus on everything predating the Renaissance. As X surveyed the scene before him, he observed a collection spanning from the Early Christian and Antique movements to the conclusion of the Gothic era, encompassing the Fifth century to the Fifteenth. Despite the variety of styles on display, a common theme tied them all together. However, X himself didn't entirely understand it at first.

In the farthest western corner of the chamber, there was a display that honored the artistic movement of Early Christianity and the Antique Age. These two movements had united to further the spread of the religion. The artwork in this display was characterized by symbolic representations of holy figures and themes, with a notable absence of naturalistic elements commonly found in non-Christian cultures of that time. Frescos, mosaics, and illuminated manuscripts adorned the walls, depicting scenes ranging from the creation of man in Eden to the apocalyptic Last Days. Despite the influence of their Roman oppressors, the artists of Early Christianity chose to focus on their own beliefs rather than the Pagan deities and legends of the Romans. This dedication to their faith was evident in their work, even at the potential risk of their own lives.

A clash between beliefs, X mused. Guess not much has changed in some regards of human existence. Then again, his current situation spoke of the same thing.

Adjacent to the display is a depiction of an era that unfolded following the decline of the Roman Empire. This period can be more aptly described as the transformation and rebranding of Rome. Emerging from the remnants of the once-mighty human-led government, the Byzantine Empire came into being. This empire was a melting pot of various creeds and ethnicities, encompassing early Christians, emerging Christian Greeks, Armenians, Slavs, Georgians, Coptics, and Jewish communities.

While the convergence of such diverse groups may have eventually led to conflicts, as history has shown, initially it appeared that those who had been oppressed by the Romans were finally able to step into the light and assert their freedom. Not only were they liberated, but they also showcased their talents and abilities with pride. Instead of mosaics made of limited materials and colors, the artists created icons that gleamed with brilliant gold and vibrant colors. They spared no expense in depicting their savior and His followers with the divinity they deserved. The style maintained similarities to the previous period, emphasizing symbolism and representation. However, the decorative appearance of these icons demonstrated that the Christian religion was no longer viewed as undesirable or heretical. One of the most significant developments in religious history was the establishment of a new church, particularly the emergence of the beliefs followed by the Eastern Orthodox Church.

"Buried underneath the earth, sealed away from the rest of the world, only found due to vague whispers and a happy accident," X pondered, remembering a small conversation he had heard once during his somewhat forced stay at Fujiwara's lab. "Maybe this is a sign that beings such as those Light made are ready to come back to the world."

The blue Hunter bit his lip. If Ray B. was indeed who he thought he was, then perhaps Cain's statement should've been reserved for another. Still, that brought to question how, if he was indeed…"him", then how was he here? How was he alive?

Better yet, did this reemergence, if it was indeed one, mean good or ill?

"How is everything so far?" Roll's voice brought X back to the present, prompting him to move forward with his observations.

"No hostile activity so far," he answered. "Although, I'm not seeing any hints as to what the puzzle might be either."

Adjacent to the artifacts showcasing the Byzantine Empire lies the Romanesque Age, a period marked by a profound exploration of architecture and sculpture. Similar to the Early Christian and Antique eras, there are common elements shared between these movements and the subsequent one, including the prevalent use of columns, religious structures, and the remarkable achievement of the era - the construction of cathedrals. Characterized by its solidity and weightiness, the extensive use of stone was particularly appropriate in the construction of rounded arches, thickened walls, and relief sculptures that embellished the church facades.

During the Early and Byzantine periods, the ideals of union and fellowship were highly valued. However, as recorded history progressed into the first millennium, there was a shift in focus towards the power of community and the importance of spreading the word of the Christian God through pilgrimage. Art played a crucial role during this time, serving as a didactic tool for a largely illiterate population. Visual storytelling became a fine compromise, allowing for the dissemination of religious teachings and messages.

As the Hunter was preparing to move on to the next section, he noticed a particular object that caught his attention. In the center of the display, there was a shield adorned with the same majestic animal as the door, but it was glistening with a brilliant gold hue, giving it an almost sacred appearance. A perfect place for some sort of switch or other device to be hidden from view.

"Roll," X said firmly, reestablishing communication with his guide, his voice steady despite the tension in the air. "I've spotted a shield on the wall that bears an image similar to the one we saw on the door earlier." He focused intently on the intricate decorations, noticing every detail. "Interestingly, the motif of the cross continues to be a significant feature in its overall design."

"A similar image? Is it depicting the same animal?" Roll asked curiously, her engaged tone revealing her interest.

X leaned in closer to scrutinize the shield more carefully, his brow furrowing in concentration. "The design is stylized, but from what I can discern, it seems to represent a lion or perhaps a creature resembling a cat-like dragon. The features are somewhat ambiguous."

"Lion…" Roll murmured thoughtfully, processing his observations and considering everything her brother had shared up to this point. "I think this room has a double meaning," she concluded. "You're familiar with the Knights Templar, right? Their legacy holds significant historical weight."

"The order that was formed during the European Crusades?" X responded, curiosity piqued. "Yes, the Romanesque period aligns with the time they started making their mark, doesn't it?"

"Exactly," Roll affirmed, her voice animated with discovery. "But I suspect the lion symbolizes more than just their order. The imagery is very deliberate," She paused, weighing her next words with caution. "If the opportunity arises, you should attempt to remove the shield, but only after ensuring it's safe to do so," she advised earnestly. "Its presence here can't be purely coincidental."

"Technically speaking, this entire place isn't exactly safe, but I'll take every precaution," X reassured her, his resolve strengthening as he stepped back to assess the shield. He aimed carefully, taking a moment to steady himself. "Alright, here it goes," he said, determination in his voice as he prepared to act.

Indeed, their shared assumption proved to be correct.

As the shield was struck down and plummeted to the ground, a hidden compartment within the wall was unexpectedly activated. Panels above each art display flipped over, revealing the severed heads of X's victims. From a Road Attacker on the far left to a Dig Laborer in the center, the heads displayed the gruesome results of X's buster. The head in the far right corner bore a striking resemblance to Marth, though X could not be certain. This chilling display served as a grim reminder of the consequences of X's actions, even with what little choice he had.

The heads were frozen in expressions of rage or extreme fear, with mouths hanging open in bellowing cries for war or terrified screams. It appeared as though the source of their demise was right in front of them before they met their end. In contrast, Marth's head seemed completely still, with a smooth and unblemished expression, as if he was devoid of such emotions. This lack of emotion seemed to be a characteristic of his even in life.

"I heard movement going on, what happened?" Roll questioned, concern infiltrating her tone as she wished to know the status of her sibling.

"It looks like this room's turned into a trophy room now," X observed. "Although, I doubt I'll get to leave them unscathed."

"Has anything else changed?"

"From what I can discern," X replied, his gaze shifting to the various displays below the suspended heads, each seemingly symbolizing a distinct artistic movement or less perilous method of creation. "Regarding the Crusades, wouldn't they be somewhat incongruous in this setting?" the Hunter inquired, curious about his Navigator's perspective. "After all, wasn't the objective to reclaim the Holy Land? That hardly aligns with what is typically deemed sinful."

Roll was quiet for a few moments, as if not entirely sure of how to answer. "...as with everything, it started out as something with good intentions," she informed him. "But, with time, it became more brutal and blood-filled," while he couldn't see it, the blonde's optics lowered, the more unsavory history of humans presented in full before her younge brother. "Corruption seeped into places that were meant to have no leaning, and several ended up as unfortunate casualties as the War for God became such in name only."

X contemplated the shift from the Romanesque era to the Gothic Age, which emerged in the aftermath of the Crusades. Initially viewed with disdain by Italian writers, the term "Gothic" was used to characterize this period as primitive and uncultured, alluding to the ancient tribes that were believed to have brought about the downfall of the once magnificent Rome. However, it was during this epoch that iconic structures such as Notre Dame were constructed, showcasing the architectural brilliance of the era. Nevertheless, it was also a time marked by the devastating onset of the Black Plague, resulting in the loss of countless lives.

Furthermore, the era was marred by the persecution and execution of individuals deemed undesirable or perceived as a threat to the established way of life. The advent of the International Gothic Movement signaled the dawn of the transition into the Renaissance, with the violent conflicts and executions of the past gradually receding into the background as the cross emerged as the predominant symbol of faith across the Western World.

As X surveyed the portraits adorning each exhibit, his thoughts turned to his companion, piecing together the clues to determine the solution to the current conundrum.

"Slay the heretics." he mused aloud, although he took no pleasure or joy in doing so.


"So, each of those heads had the same symbol on the wall behind them?" Roll inquired, relieved X had managed to come to the next chamber in this infernal palace, yet the details in how he did so caught her attention. "The Cross of the Templar?"

"It appears that way," X replied. "However, the path revealed itself when I reached Marth's head." he admitted. In all honesty, he had hesitated to destroy the bust of his friend, shooting the faces out of order initially. But when he reached the last face and nothing happened, he thought that was the necessary action. Fortunately, sparing Marth seemed to be a crucial part of the puzzle. Unlike the other faces on the wall, Marth had remained faithful to the Maverick Hunters and humanity until the very end.

Execute the guilty but spare the faithful, just as the Knights had done.

"Hmm…" Roll pondered aloud, considering these new details. "I think that we have a bit of a clue as to what awaits you next," she answered. "Have you reached the door?"

"I have." X answered.

"And what's on it?"

X carefully examined the imposing black barrier in front of him, noting the relief of a creature that appeared to be harmless. However, he couldn't help but wonder if the room of the snail was the only truly safe space, devoid of obstacles, traps, or puzzles.

"I would venture to guess it's a bighorn sheep," X said to his guide, as he scrutinized the intricate details etched into the surface. The cloven-hoofed mammal depicted was clearly a vegetarian and a prey animal, characteristics that aligned perfectly with those of a sheep. And yet, there was something about the relief that left X feeling uncertain.

"How about a goat?"

Goat…come to think of it, there were some features that he noticed upon hearing Roll mention such, and citing the small differences between the two and realizing that her assessment was correct. Still, there was something he was curious about. "Is there a distinction between the two? The goat and sheep are interchangeable in some cultures, aren't they?"

"Yes, however, the same cannot be said for the period depicted in the earlier chamber," Roll explained. "According to the general consensus of the Christian faith, there will be a separation between those loyal to God and those who are not. This concept is often illustrated through comparisons such as wheat and tares, and in this particular case, sheep and goats."

Upon reflecting on this comparison, X observed a specific contradiction from the previous room. "However, if the Knights Templar were all employed by the Church, wouldn't they have been viewed as followers of God in the eyes of the Pope, or at least the people?" he questioned. "Isn't that what qualifies someone as a 'sheep'?"

"That was the image they held for a good while," Roll answered. "But then came the accusations regarding the worship of Baphomet."

The blue Hunter paused, his curiosity piqued. "Baphomet?" he questioned, not out of ignorance but out of recognition. Despite being a figure often overlooked and rarely acknowledged during his time (if remembered at all), X was well aware of the infamous association of Baphomet with the occult and black magic. He was also aware of the figure's other name of the "Sabbatic Goat" as presented by Éliphas Lévi Zahed in 1856.

"Yes," Roll answered. "The name reportedly first appeared in the transcripts of the Inquisition that began in 1307, but it began to gain traction in the nineteenth century when their actual involvement with said figure was taken into question." she explained. "With time, it became associated with various occult and mystic practices, the origins of which some occultists have tried to link with either the Gnostics or even the Templars themselves, or it's also been linked to an apparent deity or demon."

X inquired, "If that's the case, then am I to assume that there is nothing positive awaiting me in here from your point of view?" His gaze returned to the door. "Then again, when has any location within this building ever been deemed favorable, precisely?"

"No, it hasn't," Roll agreed. "Still, so far, you've been through five floors, having just reached the sixth," she explained. "After this, you'll have reached the enemy's main chamber."

X nodded in acknowledgment, even if Roll couldn't see the action herself. "All right," he said, taking a step forward. "Here I go."


The sleek, obsidian surface of the door did not instill much optimism in X as he approached it. His already fragile hopes were shattered by Roll's account of the brutal execution of the warriors accused of worshipping a supposed demon. In light of these grim details, X could only anticipate a scene of true depravity and degradation beyond the door. Upon reaching the other side, he was taken aback by what he encountered. The sight before him was vastly different from what he had anticipated, leaving him surprised and intrigued.

"Anything look suspicious?" Roll inquired, clearly still anticipating something gruesome, and was now in full view of the blue Hunter.

"Not yet," X responded, providing an update on the current situation. "But this room…" However, he couldn't resist sharing a personal observation. "It's actually quite beautiful,"

"...beautiful?"

X thought to himself, This chamber is a vast improvement from what I have seen before. In fact, this is the first one that I find aesthetically pleasing.

The Maverick Hunter was presented with a magnificent tribute to nature, rather than images of horror or dreadful practices. It was also worth noting that despite the stark contrasts in their teachings, Christian movements drew inspiration and influence from those who practiced ancient traditions before them. This may be seen as a fitting tribute to the interconnectedness of religious beliefs throughout history.

Similar to Early Christian art, the visionaries of Pagan civilizations and societies utilized various forms of media such as frescoes, mosaics, sculptures, and illuminated manuscripts to honor those they deemed divine. The Early movement also incorporated the styles and forms of their oppressors, resulting in the popularization of the Late Classical style characterized by its emphasis on proportional anatomy. The transition from polytheistic beliefs in deities, spirits, and personified forces of nature to the monotheistic worship of a singular God and the symbiotic Trinity, as well as the veneration of saints who earned their titles through suffering, marks a significant shift in religious practices. The anthropomorphization of natural phenomena into identifiable entities with faces and names has evolved into a more unified and structured system of faith.

And yet, some connections hadn't entirely been severed.

Throughout history, pagan sarcophagi have been known for their intricate depictions of shells. These shells were believed to serve various purposes, including providing protection, bringing luck, symbolizing authority, or even representing deities such as the Roman Venus (known as Aphrodite in Greek mythology) or the Hindu god Vishnu, who is often depicted holding a conch shell.

Over time, the symbolism associated with shells evolved. The motifs of superstitions and ancient gods began to be attributed to figures like Saint James of Spain. Eventually, these symbols were incorporated into the more widely recognized image of the golden halo. It was common for ancient Pagans to depict portraits of the deceased with shells adorning their heads.

As X observed the persistent links and connections, his thoughts turned to the intriguing display showcasing the customs of ancient civilizations. "Hey, Roll?" he inquired, as he approached the captivating exhibit. "The Crusades were mostly carried out outside of Europe, right?" he questioned.

"That's right," she answered. "Much of the conflict took place overseas in the Middle East," she confirmed. "Although, that far from meant there wasn't conflict in their own homeland."

"It is not surprising," X remarked as he arrived at his destination. "During the time of the Crusades, a series of significant trials also began. However, what truly piqued his interest was not a work from the early days of Christian Europe, but rather a piece completed at the turn of the twenty-first century."

In the Maverick Hunter's headquarters, a replica of Francisco Goya's intricate yet controversial painting "Witches' Sabbath" hangs prominently. This piece, one of five related to the practice and depiction of ancient witchcraft, was originally purchased by the Duke and Duchess of Osuna, who were controversial figures in themselves. The artwork itself evoked a mysterious and forbidden connection to the supernatural, depicting a goat-like being surrounded by a circle of women. Was this figure intended to represent Baphomet, or perhaps another forgotten demon or Pagan deity? Considering the title, the identity of the goat could've held a more obvious significance than initially perceived. After all, who were witches said to have made allegiance with?

The scene was set in a lush and mysterious world, where a goat-like being stood at the center, captivating the attention of the women surrounding it. These maidens, dressed in ragged clothing from diverse backgrounds, seemed to be under the influence of the adorned goat, who held sway over all present. It was a striking depiction of ancient beliefs and modern anxieties, as observed by X.

Still, while it appeared to be a decry against what was seen as engaging with demons, the actual context held a different story.

The painting, despite its controversial subject matter, did not glorify or denounce witchcraft or Paganism. Instead, it poignantly reflected how humanity grappled with the mysteries of the unknown. Debuting at a time when belief in such things was still prevalent, Goya decided to showcase such practices in artistic form, symbolizing their supposed power and ability to align themselves with evil for all to see. And yet, the intention was not to depict the witches, nor their unusual friend, as malevolent. It was a stance against the conformity and corruption that had infiltrated the church, celebrating the strange and all that deviated from what was considered the norm.

It called for scrutiny, not only from those it had once startled and unsettled but also from X himself. Leaning in closer, he spotted a tiny crease hidden behind the painting.

"I think I've found something," X reported to his sister. "Wish me luck."

"Be careful." she warned him.

"I'll try."

The blue Hunter carefully lifted the artwork from its place on the wall, uncovering a straightforward switch nestled behind it. With a swift flick, he activated the device, and the wall in front of him began to move. A rectangular panel rotated, unveiling yet another provocative image on the opposite side. Alongside this revelation was the unexpected return of someone he had dreaded was potentially lost forever.

Before him loomed a statue crafted from gleaming ivory marble, its surface glistening with a meticulous polish that spoke of unwavering dedication to preserving its pristine appearance, even in the depths of the water. However, the figure it depicted was anything but "pure" in the conventional sense. The Baphomet towered majestically, its goat head crowned with horns, and a body that melded the forms of both male and female. Each arm bore an inscription in Latin: "solve" on the left, and "coagula" on the right.

"Dissolve and congeal." X murmured, echoing the translations his processor had provided, but his attention was drawn more to the other figure, seemingly ensnared by the very presence of the Baphomet.

Her surface bore the scars of wear and tear, with rips in her synthetic skin and chips marring her vibrant turquoise tail. However, despite these visible flaws, X could tell that Marty remained fundamentally intact. Yet, the fact that she appeared whole did not guarantee her safety. With her arm gracefully arched above her cascading golden hair, which swayed gently in the water, X noticed a set of cuffs clasped around her wrists. The chain tethering her was anchored behind the robust neck of the Sabbatic Goat as if the creature were a guardian keeping the mermaid imprisoned.

In a sense, you might be.

Despite his own circumstances, X immediately set to work on devising a plan to liberate the blonde beauty, scrutinizing the cuffs and observing that they seemed to be quite ordinary in their construction. The thought of shorting out the systems flashed through his mind as he pressed his hands against the metal rings, mentally activating Spark Mandrill's weapon. A tiny Electric Spark surged from his palms, striking the cuffs. After a brief moment of intense pressure, the device shattered spectacularly, the silver rings flying off the mermaid's wrists and liberating her from her bonds. She drifted gently to the floor, landing in a serene and silent repose.

"Marty?" X spoke up, scooping the other Reploid in his arms, gently shaking her to try and gain some sort of response. "Marty?!"

To his immense relief, the mermaid began to stir, her violet optics peeling open and migrating over to face his own. "Kiddo…" she stammered, surprise in her voice. "You….you came."

"Well, yeah, of course I did," X answered. "Are you hurt anywhere? What's your damage percentage?" he questioned, scanning her form for any potential injury he may have missed.

"I'm fine, don't worry," Marty assured him. "You know, you can let me go now."

Apologies for that," X said, gently letting go of the mermaid. As he did, something caught his eye—an intriguing detail he had overlooked until now. "I can see the path to the next level," he remarked, standing up and heading toward the chamber's exit. "Would you mind staying here where it's safe this time?" he asked Marty, now facing the doorway.

The golden-haired mermaid nibbled on her lip, caught in a swirl of uncertainty. This time, her reluctance felt different; it was as if she held a secret that eluded him. X chose not to bring it up, but he could see the glimmer of doubt dancing in her gaze. "Y-Yeah," she replied at last, her voice wavering. "So, you're heading up?" she inquired. "You're really going to confront the one who created this place?"

"I have to," X answered. "Former Hunter they may be or not."

Marty glanced down to the floor, posture reserved and shoulders slumped down. "Well, if that's the case, then…" she began, pausing for a moment. "Be careful."

Recognizing her unease, X offered a reassuring nod before stepping through the door, leaving the mermaid surrounded by an array of artifacts that whispered tales of an era steeped in enchantment and enigma, now transformed into symbols of everything the human soul considered malevolent. Her gaze fell upon the Baphomet. "What exactly are you?" she asked with a hint of sarcasm, fully aware that the statue would remain silent. "Are you man, woman, or beast?"

Then, she turned her attention to her own self. "Or perhaps the real question is, what am I?"


"From what I take it, your little mermaid is all right?"

X was about to retort with how she was mistaken in that Marty was no such thing to him (even if she was a rather appealing mermaid), yet his thoughts soon focused elsewhere. "Yes," he answered. "And for now, she's safe."

"Well, still, don't declare her innocent just yet," Roll informed him. "Let alone safe. There's still the master of this building to deal with."

"Right," X answered. "And I think I'm about to meet them now."

Like the others, this black door showcased an animal design, but this time it featured a striking male peacock, its feathers elegantly fanned out in a display of splendor that captivated X's attention. Yet, as he stepped inside, he found only the vibrant hues linked to the magnificent creature. In this room, another animal seemed to have captured the artist's inspiration, replacing the peacock as the focal point of creativity.

The chamber's interior was notably more compact than its counterparts, taking on a spherical form rather than the elongated rings found on the lower levels. Despite its limited dimensions, every inch was utilized to its fullest potential. The room burst with vivid colors and intricate designs, brought to life by the striking presence of an unusual creature that mirrored the splendor of a peacock, its vibrant image dancing across the walls. This space echoed the artistic brilliance of a bygone era, reminiscent of the Renaissance—a pinnacle of human creativity—while simultaneously embracing a sense of modernity and hints of futurism, seamlessly blending classical influences with contemporary aspirations.

"Like it?"

The moment the voice reached X's ears, everything fell into place: the silhouette he had glimpsed in the water, the intricate details and motifs of each level, and most strikingly, the revelation that the final creature, the peacock, had been usurped by a magnificent eight-legged cephalopod, eager to showcase its own splendor for everyone to admire.

Turning around, the blue Hunter noticed the artist boldly positioned atop the archway at the entrance of the chamber, gazing down at X from his elevated spot. His supple, red tentacles spread out like a vibrant fan, while the crimson dome of his head shimmered under the sun's reflective rays.

"Sigma claimed I was squandering my time trying to revamp this place," the ruby-red Maverick declared. "But I consider it a worthwhile endeavor. After all," he sprang into the air, his surprisingly hefty form gracefully descending until it touched the gleaming floor below. "This is merely a glimpse of what awaits in the world above once everything falls into place."

Note: I WILL be done with this arc soon. Everything has a reason for being here, I promise.

Merry early Christmas!