Beginning with disqualification, the Growing Magic Guide Road! - Spell Development Sometimes War Jou

Episode 55: Create new magic!

- The book is not something to read. I'm looking for something.

These are the words of [a certain man] 's father, whom Arcs experienced in pursuit of his life.

He says that humans must always act on books to look for them.

First, people look for the book itself that they should read.

Find the information you need from the line of characters.

He said he had to find the last place in real life where that information could be used.

That's why the book is not something to read, it's something to look for.

I'm in a world blessed with reading, but it's your word.

When I calm down and ask, I also feel like I'm talking unscrupulous, but I know what I'm trying to say.

Whatever the influence of such a man's father, the man began to read books often.

As for Arcs, who has greatly benefited from it, I am grateful.

(Really, you're crazy)

Previously, the information obtained by a man has served a variety of things.

That's not only magic.

For everyday life and also for mundane driving.

The ability to absorb them efficiently will also depend on your ability to do so.

The power to remember exactly what you read and saw once.

It's a force similar to the so-called instantaneous memory capability.

Because of this, the book a man has read, even if it was a flush read, can be remembered precisely and vividly.

And that power, even when it's not a chase experience, is being used properly.

No, I'd rather say it's effectively utilized.

... Currently, I have a chronicle in front of me.

When it comes to books in this world, this is the first thing to mention.

It will be described in dozens of thick books, over many articles [Ancient Arts].

If you are a normal person, it is first and foremost difficult to remember all of this, and even if you could remember it, it is first and foremost an impossible substitute, such as remembering it accurately word for word.

The main use of such a substitute would still be the creation of magic.

Techniques for creating spells and causing various phenomena, using [Ancient Arts], which make up the book.

That's not only to enrich people's lives.

Naturally, it is also used to attack others.

There are three kinds of magic, in large part.

Attack the opponent directly [Aggressive Magic].

Defense-related [defensive magic].

Finally, magic of an auxiliary nature is called [auxiliary magic].

Arcs is in the garden of the Arvent Mansion, lifting a single book.

It's written down words, idioms, and meanings that have been excerpted from the Chronicle.

The reason I brought that up in the garden of Arvent Mansion is nothing more than to create new magic.

It will naturally take a lot of magic to make it happen in the future.

The same is true of the powerful magic, but so is the magic that made it right on the spot.

In some cases, it must also be assumed that an interpersonal match will take place.

But the exercise of magic really makes chanting time a neck.

So is the interpersonal match between the Mage vs. the Mage, but if you fight an opponent who is not the Mage, that's all you'll see gaps in the opponent when the spell is long, and you're defeated while this one chants.

To avoid it.

Ogata focuses on melee combat, poking at the opponent's gap and chanting.

Or place an avant-garde and chant while the avant-garde is fighting.

We need to do these things.

The latter is unrealistic, as avant-garde is not always available.

Therefore, the option in that case automatically becomes the former.

"I knew it was a sword..."

... reminds me of a man's remembered swordsmanship.

Swordsmanship using a simulated sword made of bamboo was common in the country of men, but men were part of spiritual cultivation, mainly those using serious or dedicated practice knives.

The technique of pulling a knife out of a sheath while sitting down.

Practice the predominantly determined moulds repeatedly, or sometimes slash the fixtures.

It doesn't cultivate a lot of interpersonal skill, but it doesn't mean the guy doesn't have any skill at all, as he was also taught footwork and so on by an older swordsman who had his hands on multiple genres there.

So I've been practicing the tricks and tricks of what I remember for over four years now, and I've already made some movement into one, and the technology that often appears in readings is in the realm of being able to reproduce it in a little while.

Whatever, it's magic now.

Melee combat techniques.

Avant-garde placement.

To cite other means, it becomes a review of the magical form and the spell itself.

Making persistent magic.

Making magic with short chanting times.

any of them.

Persistent magic is not single-shot magic that ends in a single blow, such as [Flash Spear (Flame Rune)], but magic that once used can maintain its protective magical effect for a long time.

The magic used by my uncle, Crave, and Noah's [Jacqueline's Ice Sword] can also be said to hit this.

These, on the other hand, require tremendous magic.

So it's hard to say if you can get your hands on it.

Because I have less magic, if I exercise magic more than once, I have a limited amount of magic that I can use at a time.

Powerful magic can take most of your magic just once.

This is still not realistic either, as we have not yet found a means to increase magic, an alternative to it.

If we are to pursue practicality, we will have to shorten the spell.

Naturally, the shorter the spell, the better.

But even if it is extremely short, this time it falls into the dilemma that the desired effect will not take effect.

The magic spell.

What phenomenon do we use?

What form will it take to show off?

What effect does it have?

If you don't specify them properly, it won't be sophisticated magic.

If you reduce the number of words used too much, you can't specify them, and even if it works, the magic becomes monotonous. Naturally, if magic becomes monotonous, it cannot add effects, so it becomes weaker.

But still, I want the spell to be shorter, and I want the right amount of power.

So this time, instead of [idioms] to help the magic increase in power, we went to the trend of finding a way to live on words that we normally supposedly can't handle.

[Flame] [Flame] [Thunder] [Lightning] [Ice and Snow] [Avalanche]

These are words themselves that are powerful and usually difficult to mix with spells.

When you poorly incorporate these words into a spell.

Or rampage uncontrollably.

Or a knockout results in weakening the other way around.

But these can never be used for spells.

If you can discover a word that you can control and even come up with a combination, in theory, it becomes a magic that can withstand use.

... drop your eyes on books that write down words and adults.

"[Explodes]..."

I shrugged about a word I found the other day while researching.

The Chronicle is also a word related to explosions and bursts, described in the Sixth [Demon King at the end of the century].

Says "The flames explode. When it pours like rain, it's loud. The fierce fire runs through and fiercely extends beyond the horizon. The mourning is endless. The voice of sorrow never stops. Burn down everything and return everything to fine dust. The Demon King is a pillar Ganzardi. There's nothing left to march on, just a mournful wilderness."

... This depicts the manifestation of Ganzardi, a pillar of the Demon King who was supposedly to destroy the world of men.

Demon King Ganzardi said when he manifested himself, he blew up the civilization built by man with flames and shocks, turning it into a blurry wilderness.

If you look at this statement alone, you can see that a significant number of powerful words are used.

[Boom] [Heavy Fire] [Burn] [Fine Dust] [Endless]

These are just words that you can't handle easily, no matter which one you take.

The word [blows up] would definitely be similar to that.

But simply saying the word [blows up] simply because it's powerful doesn't make it magical.

To make it magical, you still have to specify the results here to some extent and fit them into the template.

But if you don't prepare and control words and idioms that [explode] can't beat to specify, then magic runs wild.

"If you stand over there, this one won't stand..."

I want to shorten the spell, but I also want to increase its effectiveness. But to use powerful words, the spell needs to be lengthened.

However, if you still use it routinely, you want to deliver the spell to about five verses, and you want to keep each verse as short as possible.

There, spellmaking techniques are utilized.

[Iterative method].

This is a technology that uses the same words repeatedly and intensively.

It's not in magical texts or anything, it's a technique I found myself in searching for the legality of spells.

This is simply a matter of overlapping the same words more than once in a row.

By doing so, the effect is concentrated and reinforced, and its perhaps magic becomes more powerful.

When I repeat about three things, I like the spell the most.

What more must we be aware of, is simplicity?

It doesn't make sense to add words and adults poorly elaborated.

Based on them, cast the spell you made.

"- Fine. Fine. Fine. Blow it up. '

The image is a blast on the ground ten meters away.

Shortly after the chant is over, [magic letters (arts glyphs)] scatter around and eventually concentrate towards the target point.

As soon as the [magic letters (arts glyphs)] came together, it was thought that an imaginary phenomenon would occur - while still emitting a sound reminiscent of the incomplete combustion of puffiness, only black smoke would rise more.

The explosion doesn't even show signs of happening.

Failure.

"No..."

I roar, but it's not something I'm sorry for.

This is the usual thing. That can't be the case, for example, when the spell you created succeeds in one shot. The making of magic is done by preparing a number of candidates for spells, extracting the ones that work best and making further improvements.

If it's shallow enough to make it easy, it can't be used in a wide variety of ways.

Perhaps the current failure was due to too much power to contain the power.

The excessive overlap of the word finesse has outweighed the power of the word to weaken it.

Because the language is not very good in the first place, even if it works, there will be improvements.

Then we get back to another spell chant than we did earlier.

(If you want to muzzle because you overlapped the same words -)

Now I try to improve my power more than I did earlier while weaving in another word.

"- Fine. Fine. Transfer. Blow it up. '

Chanting.

Until the effect occurs, the [magic character (arts glyph)] shows approximately the same movement as earlier.

Eventually it rolls forward, a small rupture. That's like a firecracker could have bounced, something small. There is little combustion or heat, and the offensive side is not as good as it sounds.

You can't do this. You can't even act as a surprise to the other person.

Besides, the magic of that role is unnecessary at this time because there is a magic called [astonishing bubble balls (astonishing bubbles)] that I made before.

"Well, it's more like an explosion than it was earlier, and it's not a complete failure..."

Then should we make this place thoughtfully and without being imprisoned by skill?

Naturally the power needs to be suppressed, so it is necessary to overlap words.

But just using the repetitive method in a monotonous fashion will overwhelm the power of magic, as you did earlier, and it will no longer be the result you wanted.

So what do I do?

... we must make the effects and power somewhat smaller so that we can control the magic. For that reason, we need a few words to lower our power. Hence the anomaly, while replacing all three repetitive parts with another word, it brings in tone and rhyme, adding words that weaken the power to the last [blast] part.

In time, a little more, I decide to work out the image.

Instead of the bulk [magical characters (artsglyphs)] gathering together unconstitutionally, they come together and tie each other together, constituting a magical formation. That creates a precursor to the explosion. Eventually it shrinks gradually, limiting the target of the blast. Causes a small explosion.

Imagine one subject, about four or five people involved.

Now the stone placed unwrought at the garden tip shall be the target.

(How about this!

With a wish for success, chant.

"- Extremely micro. Bonding. Focus. Boom small!

When you cast a spell, an unmade splash of [magic letters (artsglyphs)] came together and formed a circle to form more formations. Magic pulls ink, lines, circles and polygons around the letter to tie the geometry and build the magic formation.

As you narrow your grip to hold your hand as you visualize the target squeezing in the magic formation, the magic formation contracts as you imagine.

At the end of the day, squeeze your hands tighter and harder, and at the same time crush the magic formation.

It was right after.

The exploding flames of red and orange swell together the black clouds.

The roar and shock of the explosion join together to strike down the body.

It was also during this time that I felt the heat, instead of the sound breaking plump from my ear, the tinnitus sound of Keane came from the other side.

The scorching smell that drifts and the ground between my eyes as if I had also been subjected to shelling. Crushed stone.

When I looked up, the crushed [magic letters (arts glyphs)] were crossed by black smoke and rose to the sky.

"Yay... Yay...!

I whine over and over again that I did it, caught in the indulgence of success.

It's hard to say it's still powerful and controllable, but this is a definite success.

Only four verses. In just four verses this power will be unparalleled.

Because it contains no idioms, the result remained the simple phenomenon of just generating an explosion, but this alone is powerful enough.

The power is comparable to the time it takes to be effective, and the distance it can be effective, if it does not extend to [Flash Spear (Flamler Rune)].

In addition, the amount of magic consumed can be reduced to some extent.

For this, I guess three words worked.

I feel a definite handful to having produced practical magic, and the joy comes in.

Magic is still interesting. There are trials and errors like this that make me happy when I succeed.

... In the future, we should create magic that consumes less magic and is less burdensome to chant.

But still, the explosion comes to my ear.

"I'd have to make earplugs or something with engraving"

I was putting my mind to the aftermath of success, but I was putting my arms together to give thought to the production of earplugs, that was when.

"- Hey Arcs. I'm sorry to bother you."

"Yes, Uncle, what is it...?

Looking back at the familiar voice, there was a good smiling uncle there.

Yes, a very nice smile.