Chapter 27, Weekly Lesson:
[Transformation Charm]
[Level: 1]
[Lock onto the enemy beforehand, clearly visualize the image to be transformed, release a colorless ray of light, altering the shape or appearance of the hit enemy. The greater the mass, the more complex the structure, and the stronger the magical magnetic field of the transformed object or creature, the more mana is consumed. Under the same conditions, inanimate objects are more easily transformed.]
[Mana Cost: 2~∞]
[Transformation Library: Needles (Unlimited)]
[Damage: 2~∞]
[Note: Regular transformations do not cause damage; overflow damage only prolongs the transformation time of the enemy unit. More dangerous transformations, such as the Vanishing Charm, which turns the enemy unit into nothingness, will cause damage equal to the enemy unit's mana plus health.]
[Effective Range: 20m. Beyond 20m, the spell damage will decrease, decreasing by 1 point per 1m.]
[Note: Damage is equal to the mana cost. Example: Ignoring the enemy unit's mass and structure, an enemy unit with 3 mana requires a transformation charm with a mana cost greater than 3 to transform it.] If the damage of this Transfiguration Charm is 4. Enemy units within 21m cannot be transformed.
[Spellbook Level: 2 (1000/500)]
This is a Transfiguration Charm card. Vanish Charm and Conversion Charm are also Transfiguration Charms, offering multiple uses with one card.
It can be compared to the god-tier card [Boggart].
In class, Basil also relied on his spell cards to turn a match into a needle before Hermione could.
He received praise and a pat on the head from Professor Cat.
Unfortunately, a sudden explosion caused by Seamus ended the happy time of the pat on the head.
However, this was not without its benefits.
No longer indulging in pats on the head, when recalling the details of casting spells, Basil discovered something different.
He had previously discovered that casting spells was like throwing a punch; the magic power of the punch itself is not consumed, but the process of throwing the punch consumes stamina.
However, the Transfiguration Charm, with its ethereal spiritual power, replaced some of the physical strength.
Perhaps rational spells are spiritual power, while emotional ones are physical?
The clear image of the needle that was sketched in the mind before casting the spell vanished the instant the spell was released.
It was as if they were being filled in like ammunition.
Subsequent spells required re-drawing the image.
Although the speed of drawing it would be faster because it had already been drawn once,
and the corresponding image would automatically appear when the concept of a needle was recalled,
it was still too troublesome.
Unless casting spells using a [spellbook], simply 'consuming' magic power was not enough.
But this was just a thought before the other courses began.
That afternoon, the next class was Charms.
The diminutive Flitwick first shocked Basil with his appearance.
Unlike the white hair in the earlier movies, he wore a tuxedo, had black hair, and his hair was neatly combed, just like in the later ones.
The content of the subsequent lessons greatly surprised Basil, who had only self-studied a few spells.
Some of the key points were not even mentioned in the book.
Professor Flitwick explained the concept of a charm: altering the intrinsic properties of the target.
All charms involve infusing one's own feelings into the incantation, changing the nature of the target.
Take the Levitation Charm, for example.
When casting, besides pronouncing the incantation correctly and executing the spell with precision, it's best to cultivate a feeling of levitation in your mind.
In martial arts terms, it's like having a precise sword move, shouting out the name of the move while simultaneously conveying the corresponding sword intent.
Take the Illumination Charm, which they were actually learning in this lesson, for instance.
The key is to imagine a point of light in your mind, emitting it with the incantation.
When reciting the incantation "[Fluorescence]", you need to know where to be light, where to be heavy, where to be slow, and where to be fast.
The trembling of the wand when swinging is actually unimportant.
Achieving these two things is enough to successfully cast the spell.
But only by finding the corresponding intent can it become a true charm—a
perfect 'swordsmanship' that combines form and spirit.
Harry and the others didn't seem to grasp the meaning of Professor Flitwick's words.
Hermione simply jotted them down in her notes.
Because Professor Flitwick only touched on these points briefly.
In the subsequent lessons, he focused on precise pronunciation and the accuracy of wand movements.
He emphasized the importance of spells, explaining that they are mental suggestions, limiters of spell power.
This is why some naturally gifted young wizards don't use the Illumination Charm as a Flash Charm.
Harry and his friends easily mastered the Illumination Charm by relying on these latter two points.
But Basil was different.
Although he didn't create the Illumination Charm as a spell card using his [Spellbook]
, some of the spell's data appeared during the pre-production process.
The [Spellbook] indicated that the spell's mana cost was 2.
However, when he tried a more intuitive method that reduced mana cost—imagining a point of light in his mind—
the mana cost was 1.
Therefore, whether it's a rational or emotional spell, both require the involvement of mental power?
For wizards without mana,
their magic power—spell power and magic resistance—is an inseparable whole.
If a beginner's magic power is too high, even a Stunning Charm could be fatal.
Only with proficiency, that is, high magical skill, can one control the force when wielding magic with physical strength or mental power.
This is why the first lesson in Charms class is the Illumination Charm.
It allows young wizards with weaker magic power to successfully cast spells and gain confidence.
It also allows young wizards with stronger magic power to unconsciously learn to adjust their force.
In class, Basil noticed that Harry's pronunciation and wand swing trajectory were not standard.
He seemed to rely on his superior magical power to forcefully cast spells.
Basil suspected that he had also learned to cast spells on his own in the same way at the beginning.
This is the long-standing advantage of being a pure-blood wizard.
Other young wizards with lower magic power need to painstakingly correct their pronunciation and wand swing trajectory to successfully cast spells.
But young wizards with higher magic power can succeed by simply chanting a spell and swinging their wand.
However, this is only in the early stages.
Even young wizards with higher magic power need to master these basics to learn the spells in later years.
Meanwhile, the young wizards with low magical power gradually developed their magic through practice and age.
With a solid foundation, they found higher-level courses easy.
However, the young wizards with high magical power, relying on their natural talent, needed to correct the bad habits they developed in their lower years to progress.
Like Chenxiang fighting Erlang Shen in the early stages of the story, he was slightly lacking in everything, and this accumulated to the point where he was lacking in everything.
Wait, could this be another reason why Slytherins are relatively strong?
They are naturally high in magical power.
They are used to wielding their magic with physical strength, even neglecting the basics.
Their physical strength is constantly being trained, and combined with genetics, they maintain a robust and muscular physique.
When they reach higher years and suddenly find themselves weaker than Muggle or half-blood wizards, they inevitably feel disappointed.
Coupled with their almost universal talent for Dark Magic, they can only gain confidence through Dark Magic, which can be cast with malice.
And because Dark Magic can make people's personalities dark and evil,
is this also why there are more Dark Wizards in Slytherin?
Among wizards skilled in Transfiguration, Dark Wizards are relatively few.
Is it because it requires wizards to use their mental powers from the very beginning?
A young wizard with high magical power but bad habits could, in later years, rely entirely on the addition of mental power to avoid correcting their bad habits and falling behind in their studies,
thus preventing them from embracing dark magic?
Outrageous. Truly outrageous.
These are things you can't experience without actually traveling to this world, becoming a young wizard, and receiving an education.
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(End of Chapter)