The people were all somewhat baffled. Little Sister said, "People from the Immortal Demon's Tomb use demonic arts; their specialty is demonic arts."

Old Man Sun said, "The specialty of the Mountain-Gazing Emissaries, of course, is robbing and building tombs… and they specifically collect antiques passed down through the ages."

Fatty said, "Who cares who they are? I don't know what their specialty is, but what Fatty is best at, and what he most wants to do, is raid his tomb and strike it rich."

Among these people, only Shirley Yang had a clear mind and offered the most reliable assessment, which aligned perfectly with what I was thinking: "Mountain-Gazing Emissaries… Mountain-Gazing points the way through confusion (Guanshan Zhimi)."

When Professor Sun heard Shirley Yang utter the four characters "Guanshan Zhimi," his head snapped up in sudden realization: "How did I not think of that? The Great Ming Mountain-Gazing Emissaries specialized in Guanshan Zhimi. Guanshan Zhimi must be a geomancy technique. Could the clues to finding the ancient tomb of the Earthly Immortals be guided by the esoteric art of Azure Crow geomancy?"

I said, "That might not be the case. The latter few phrases can't be judged right now, but the line, 'A great king, possessing a body but no head,' is definitely an allusion hinting at storing wind and accumulating water, guiding profound secrets. Previously, I only thought the unique skill of the Gold-Touching Captains (Mojin Xiaowei) was the ultimate technique for locating tombs through their Fendingshu (dividing stars and determining locations), often overlooking that the Mountain-Gazing Emissaries were also highly skilled tomb robbers with a knack for seeking dragon veins."

Professor Sun suddenly grew worried again: "The techniques of Guanshan Zhimi are extremely profound geomantic arts. Today, true examples are rare compared to the fakes. If the entrance clue to the ancient Earthly Immortal Tomb truly adheres to the ancient Azure Crow arts, I fear I may not be up to the task... unable to decipher these riddles."

While gazing up at the ceiling studded with layer upon layer of hanging coffins, I said to Professor Sun, "Don't worry about that. The Dragon-Seeking Arts of the Gold-Touching Captains cover all the mountains and rivers of the world; Guanshan Zhimi is merely a side path. No matter how skilled they are, can they escape the palm of the Buddha? If the ancient Earthly Immortal Tomb doesn't involve geomantic ley lines, then so be it. Otherwise, it cannot escape the fiery discerning gaze of the Gold-Touching Captains. I don't fear their thousands of tricks; I only fear they have no tricks at all."

I began to piece things together. I saw the towering cliff face densely packed with hanging coffins. Due to the immense age, most had weathered away and decayed; one touch and they would likely crumble to dust. No one could say clearly why there were so many pile-style hanging coffins in "Coffin Gorge," nor could the dynasty of the remains within be known. But by our discerning eyes cultivated in tomb raiding, these were all ancient surface relics predating Qin and Han, certainly not items from the Ming Dynasty just a few hundred years ago.

As early as the Western Zhou period, the arts of Yin and Yang geomancy already existed. There is a passage in the Book of Songs describing how Duke Liu selected the site for building Zhouyuan: "Measuring the setting sun, observing the Yin and Yang..." This indicates that as far back as the Shang and Zhou dynasties thousands of years ago, attention was already paid to the geographical environment corresponding to 'heaven and man.'

Before the Qin and Han dynasties, although detailed and rigorous geomancy theories had not yet fully formed, later concepts of 'form and flow, structure and aura (Xingshi Liqi, Long Sha **)' all evolved from these ancient geomancy techniques. In other words, the criteria for selecting the sites for Yin and Yang residences (tombs and dwellings) during older eras like the Western Zhou and Spring and Autumn periods were consistent with those of the Qin, Han, Tang, and Song dynasties: 'Within the realm of creation, heaven and man are one body.' However, in terms of emphasis on the direction of dragon veins, there might be differences due to the changing times. For example, ancient tombs of the Spring and Autumn Warring States period were often in open plains, whereas during the Tang and Song dynasties, high mountains were frequently chosen for imperial mausoleums.

Even regions surrounding the Central Plains civilization and various minority groups were deeply influenced by this. Although they might not have specific geomantic concepts, their tombs and mausoleums were often located in 'secluded places' where mountain formations provided shelter and flowing water circulated.

I looked at the steep ancient cliff where countless hanging coffins formed the outline of a headless giant, like a celestial being suppressing the mouth of the gorge, its feet treading on the surging, tumbling water. Just as the Dragon-Seeking Art states: "If the mountain formation resembles a gate and the water resembles a dragon, where the mountain is high and the water narrow, the dragon desires to leave; within the great gate, there must be suppression, allowing neither mountain nor water to escape." This enormous complex of hanging coffins, though their age is unknown, was arranged in a manner that secretly followed ancient methods, not arbitrarily placed here, having continuously guarded the geomantic dragon energy within "Coffin Gorge" for millennia.

My mind cycled relentlessly through every detail of the Sixteen-Character Secret Art of Yin and Yang, trying to locate the position of the "great gate dragon energy" suppressed by the coffin cluster. I noticed that the seated posture of the headless giant had several slightly incomplete areas. On its left hand, a section of hanging coffins seemed missing, causing the giant palm to split into two fingers, mimicking a finger gesture used in astrology, pointing directly at the opposite ancient cliff face. If we hadn't observed the gorge bottom for a long time, we never would have noticed this detail.

We knew instinctively that the location pointed to by this coffin cluster must be unusual. We all turned to look at the sheer cliff face behind us, but the cliff was sheer and overhanging. From our angle at the bottom of the gorge, we couldn't see what was up there without crossing to the other side. However, the torrents in the gorge made it impossible to approach the side densely packed with hanging coffins, and although iron chains connected the two walls, they were only passable by apes.

If we wanted to see what secrets were hidden on the cliff face opposite the coffin cluster, the only way was to circle up via the narrow bird trail carved into the cliff face. Seeing that the path deep into the gorge ahead was cut off, preventing any further forward movement, we immediately turned back and ascended the treacherous bird trail. This section of the path was even more perilous. We walked straight until the sun began to set, and the bottom of the gorge was shrouded in darkness, with only a dim light remaining high above. Looking across at the dense hanging coffins, we finally reached the area indicated by the fingers of the headless giant.

Here, the cliff was sheer, almost vertically straight up and down, opposite the side covered with hanging coffins. Not a single coffin was visible—only thorny vines and creeping foliage covering the entire mountain. I looked down into the dark gorge beneath my feet and felt a pang of despair: "Although it isn't fully night yet, the bottom of the gorge is already like midnight. It's impossible to feel our way back down in the dark now. Are we forced to spend the night clinging to this cliff face?"

Just as worry set in, I spotted a cave entrance on the stone wall below the bird trail ahead. A few clumps of withered vines and wild grass grew around the opening, sprouting in a strange, jagged manner, perfectly corresponding to the location indicated by the arrangement of the hanging coffins—a spot hard to find even with binoculars from hundreds of meters below in the gorge. Although we weren't experts in the methods of the Mountain-Moving or Ridge-Unloading schools, such as 'observing mud marks and distinguishing grass colors,' we had heard of their Mingtang (hall of reception) concepts and knew that dense wild grass on a sheer cliff face was not an ordinary sign.

I wanted to climb down to investigate, but Shirley Yang stopped me. Relying on her agility, she clung to the cliff face and bravely descended to scout. She discovered traces of artificial carving inside the cave and, looking in, saw a massive stone gate. The exterior was covered with a lot of soil, causing the weeds and grass to grow thick, completely obscuring the stone gate. In front of the stone gate passage, there were many stone troughs and broken timbers, suggesting a wide plank walkway once connected here, now entirely gone, leaving only scattered remnants.

I turned to Professor Sun and said, "It seems our direction was correct. The hanging coffin cluster really did point to this stone gate hidden in the cliff. It must be the necessary path to the Earthly Immortals. Let's go inside and check before it gets completely dark."

Fatty and I, along with the others, immediately climbed down from the bird trail, squeezing through the opening carved into the rock. Turning on our flashlights, we saw that the massive lintel of the stone door was carved with ferocious and bizarrely shaped 'Black Sheep' exotic beasts. The stone door inside the cave had collapsed years ago. The corridor inside was winding and deep, too far for our 'Wolf's Eye Flashlights' to illuminate the end. I retracted the 'Flying Tiger Claw,' had everyone quickly check their portable lighting equipment, and prepared to enter the passage behind the stone door.

Just as we were about to move, Little Sister suddenly exclaimed, "Hey... is that the Yuan Yu? Has it been following us all along?" I pushed aside the weeds in front of the stone door and looked in the direction Little Sister pointed. In the lingering glow atop the gorge, a dark figure with unusually long arms was leaping back and forth among the hanging coffins on the cliff face, climbing down the mountain. It was the Yuan Yu we had encountered earlier in the 'Green Stream Air Raid Shelter.' Given the crisscrossing valleys of 'Coffin Gorge,' it was likely not a coincidence, but that it had trailed us from afar.

Fatty grumbled about what good intentions it could have, concluding, "No good news comes with an uninvited guest." He lamented that his repeater rifle wasn't close; otherwise, with one shot, he could send it reporting to the King of Hell right there.

Old Man Sun quickly interjected, "This Bashan Yuan Yu is quite intelligent and never harms people. I never thought this fellow would still be alive after so many years. I wonder if Commander Feng is still alive? Since it followed us from the air raid shelter, it might want to lead us to its master. You shouldn't lay a hand on it."

As the sun sank lower, the entire "Coffin Gorge" plunged into complete darkness, and the Bashan Yuan Yu vanished from sight. I told the others, "The Bashan Yuan Yu certainly didn't follow us into the mountain for nothing. But it was quite frightened in the air raid shelter, so it won't easily approach us again. Capturing or killing it now won't be easy. However, Coffin Gorge is no peaceful sanctuary; we must treat everything with caution."

I instructed everyone to remain vigilant and secretly watch for the Yuan Yu's movements. If we found its intentions malicious, we were to kill it without hesitation. Conversely, we shouldn't harm it lightly. But for now, finding the 'Ancient Tomb of the Earthly Immortals' behind the stone door was the priority. As soon as darkness fell, the gorge and the mountain interior became indistinguishable—all were pitch-black and deathly silent, save for the occasional eerie sound of strong winds howling from deep within the cave.

The passage carved into the sheer cliff was deep and wide. To carve into the mountain here required divine creation, far beyond human effort. Yet, the interior of the passage was extremely smooth and orderly, unlike a naturally formed cave. The vaulted ceilings on both sides were adorned with ancient bricks, and there were many stone lamps and stone beasts. The stone lamp bowls were all dry; it was unknown how many years ago the flames and oil had vanished. On the floor of the passage, which was over ten meters wide, we could occasionally spot animal bones, carapace fragments, and decayed wood. Judging by this, this bottomless passage resembled an ancient stone alley, or perhaps a tomb approach leading to an underground palace.

Fatty became instantly invigorated upon seeing this. This scene suggested it was likely a tomb passage, meaning they were probably close to the "Earthly Immortal Village" brimming with ritual artifacts.

Professor Sun, however, said, "Don't get excited yet. In my life, I have never seen a tomb passage arranged like this. I suspect this setup is far from a common tomb passage."

Fatty retorted, "Old Man Sun, you lack experience. Fatty is intimately familiar with places like this; I guarantee this is a tomb passage. If we go further, we’ll most likely find a triple burial chamber, with side chambers on the left and right, and a giant outer coffin right in the middle… Let's wait and see."

Professor Sun, always uncompromising on academic matters, immediately pointed at a pile of animal bones on the ground: "While human and animal sacrifices were indeed present in ancient tombs, those were in auxiliary pits, sacrifice trenches, or sometimes in the antechamber of the tomb. From ancient times to the present, there is no historical precedent for sacrificing people within the main passage. Look at the scattered, messy bones in this corridor; therefore, I am certain this is not a tomb passage."

I was leading the way, and the further I walked, the stranger it felt. Hearing Fatty and Old Man Sun arguing behind me, I considered chiming in, but at that moment, illuminated by the beam of the Wolf's Eye Flashlight, I saw the end of the passage. On either side were stone walls, both as white as chalk, on which were painted, like two ghostly gatekeepers, two grotesquely bloody black pig heads.

Beneath the stone walls were rectangular stone altars, piled high with thousands of scattered skulls. The flesh and skin had long since rotted away. Based on the teeth and cranial shape, they somewhat resembled human heads, but they were not normal human skulls—they were the skulls of primates similar to the Yuan Yu. Standing in this ancient passage now, it seemed one could still feel the bloody atmosphere of the mass slaughter and sacrifice from a thousand years ago.

A thought flashed through my mind, and I immediately stopped, turning back to Old Man Sun and the others: "Stop arguing. This isn't a tomb passage. I think we've walked into a meat processing plant."

Shirley Yang hadn't heard the term and asked, "What is a meat processing plant?" I explained, "Where there is a flash of blades and a sea of blood, that's a meat processing plant—a place where pigs are slaughtered. I think this is a remote mountain slaughterhouse."

Shirley Yang, following closely behind me with Little Sister, said when she heard me call it a 'plant,' "Old Hu, you're spouting nonsense to scare people. Coffin Gorge has been deserted for ages; how could there be a slaughterhouse here?" But when they reached my side and shone their flashlights on the dense cluster of Yuan Yu skulls, and saw the vividly painted, unblinking pig heads on the stone walls, their faces also changed color. What exactly was this cavern?

Fatty and Old Man Sun also arrived shortly. Seeing the scene, they were equally bewildered. Professor Sun said to us, "This makes it even less like a tomb passage. With Yuan Yu bones and pig heads, could we have stumbled upon the Tomb of the Monkey King?"

Fatty and I shot back, "Professor, you always claim to approach history objectively. How did you come up with the Monkey King's Tomb? Who is the Monkey King? Sun Wukong? He became a Buddha long ago; how could he have a tomb?"

Professor Sun realized his slip and quickly added, "That's not what I meant. I just thought that with mountains of ape bones here, I coincidentally recalled the matter of the Monkey King's Tomb. The story of Sun Wukong's journey to the West is fictionalized by novelists, but there really is an ancient site called the Monkey King's Tomb in Zhejiang; I didn't invent it. Unlike you folks, who can speak freely and then just dust off your hands and leave without any responsibility, can I, as a professor, do the same? When I keep silent, others will go to great lengths to cause me trouble. That's why, over the years, I have refused to utter a single word without foundation."