Transfiguration Level: 1 Lock onto the enemy in advance, clearly form the intended transformed image in the mind, and release a colorless beam that changes the shape or appearance of the struck enemy. The greater the mass, the more complex the structure, and the stronger the Magic Field of the transformed object or creature, the more magic power it consumes. Under equal conditions, inanimate objects are easier to reshape. Magic Power Cost: 2–∞ Transformation Database: Needle (No Limit) Damage: 2–∞ Note: Ordinary transformations do not deal damage. Excess damage only extends the duration for which the enemy unit remains transformed. More dangerous transformations, such as the Vanishment Charm, which turns an enemy unit into nothingness, deal damage equal to the enemy unit's magic power plus health. Effective Range: 20 m. Beyond 20 m, the spell's damage decays by 1 point for every additional meter. Note: Damage is equal to the magic power cost. For example, disregarding an enemy unit's mass and structure, an enemy unit with 3 magic power requires a Transfiguration spell costing more than 3 magic power to be transformed. If that Transfiguration spell deals 4 damage and the enemy is 21 m away, it cannot transform the enemy unit. Grimoire Level: 2 (1000/500)
This was Transfiguration's Spell Card. The Vanishment Charm and Conversion Charm all belonged to Transfiguration; one card had many uses.
It could rival Boggart, that god-tier card.
In class, Basil had also relied on a Spell Card to shine, turning a matchstick into a needle before Hermione did.
He received praise from Professor Cat, along with a pat on the head.
Unfortunately, an explosion suddenly caused by Seamus brought that happy head-patting time to an end.
Still, it was not without benefits.
No longer immersed in the joy of being patted on the head, Basil noticed something different as he recalled the details of casting.
He had noticed before that casting a spell was like throwing a punch. The fist of magic power was not consumed, but the act of throwing it used up stamina.
But with Transfiguration, an intangible power of the spirit replaced part of that stamina.
Perhaps rational spells used mental strength, while emotional ones used stamina?
Before casting, the clear image of a needle he formed in his mind disappeared the instant the spell was fired.
As though it had been loaded in as ammunition.
For subsequent casts, he had to form it again.
Though the process became faster after he had formed it once.
And whenever he thought of the concept of a needle, the corresponding image surfaced automatically.
Still, that was far too troublesome.
Unless he cast through the Grimoire, merely "consuming" magic power would not do.
But that was only what he thought before the other classes began.
That afternoon, the next class was Charms.
The diminutive Flitwick first startled Basil with his appearance.
He did not have the white hair from the earlier films. Instead, he looked as he did later on: dressed in a little formal suit, with black hair neatly combed.
The lesson that followed greatly surprised Basil, who had taught himself several spells.
Some key points were not covered in the books at all.
Professor Flitwick explained the concept of charms: changing the inherent properties of the target.
All charms involved pouring one's own feelings into the spell, altering the nature of the target.
Take the Levitation Charm, for example.
When casting it, besides pronouncing the incantation properly and following the wand movement accurately, it was best to cultivate a light, floating feeling in one's heart.
In the language of wuxia novels, it was like executing the sword form precisely while calling out its name, all while possessing the corresponding sword intent.
Take the Lumos spell they were actually learning in this lesson.
The key to casting it was to imagine a point of fluorescent light in one's mind and send it out along with the spell.
When chanting [Lumos], where to speak lightly, where to emphasize, where to slow down, and where to speed up.
The little flick of the wand as it was swung did not really matter.
As long as those two conditions were met, the spell could be cast successfully.
But only by finding the corresponding intent could it become a true charm.
A perfect "sword technique" with both form and spirit.
Harry and the others did not feel much about Professor Flitwick's words.
Hermione merely wrote them down in her notes.
That was because Professor Flitwick had only mentioned them in passing.
For the rest of the lesson, Professor Flitwick focused on pronunciation and the accuracy of wand movements.
He explained the importance of incantations: they were psychological cues, limiters that restrained a charm's power.
That was why some young wizards born with profound power did not turn Lumos into a flash spell.
Harry and the others also mastered Lumos easily through those latter two points.
But Basil was different.
Though he had not made Lumos into a Spell Card, he possessed the Grimoire.
When preparing to make it, some of the spell's data appeared as well.
The Grimoire marked the spell's magic power cost as 2.
But when he tried casting it with that more intuitive, depletable "magic power," imagining the point of fluorescent light in his heart—
The "magic power" consumed was 1.
So whether a spell was rational or emotional, it actually required spiritual power as well?
For wizards without "magic power,"
Their magic power was spell strength and magic resistance, an inseparable whole.
If a beginner's magic power was too high, even a Stunning Spell could kill someone.
Only when their proficiency—that was, their magical cultivation—was high enough could they control the force they used when wielding the fist of magical power with stamina or mental strength.
That was also why the first lesson of Charms taught Lumos.
It let young wizards with weak magic power cast successfully and gain confidence.
It also let young wizards with strong magic power unknowingly learn to regulate their output.
In class, Basil had noticed that Harry's pronunciation and wand movement were actually both inaccurate.
He seemed to have forced the spell through by brute force with magic power greater than everyone else's.
Basil suspected that this was how he had first succeeded in teaching himself spells as well.
This was the oft-spoken advantage of Pure-blood Wizards.
Young wizards with lower magic power had to painstakingly correct their accents and wand movements before they could cast successfully.
But young wizards with high magic power could succeed simply by casually chanting a spell and waving their wands.
Still, that only applied in the early stages.
For the spells taught in higher years, even young wizards with high magic power had to get those fundamentals right.
By then, young wizards with low magic power would have built up their magic power through repeated practice and growing older.
With solid fundamentals, they would find the higher-year classes equally easy.
Meanwhile, young wizards with high magic power who had relied on talent needed to correct the bad habits they had developed in the lower years before they could improve.
It was like when Chenxiang fought Erlang Shen early on in Lotus Lantern. He was just a little worse at everything, but those little gaps added up until he was worse at everything.
Wait, could this be another reason why Slytherins tended to be sturdier?
Their innate magic power was high.
Used to wielding magic power's fist with stamina and even neglecting the fundamentals,
They kept exercising their stamina, and combined with heredity, their builds remained broad and sturdy.
Then, when they reached the higher years and suddenly realized they were weaker than Muggle-born and half-blood young wizards, they could not help feeling dejected.
Coupled with the Proficiency in Dark Arts talent most of them seemed to possess, they could only gain confidence through Dark Magic, which could be cast through malice alone.
And because Dark Magic made people's personalities gloomy and evil,
Was that why Slytherin produced relatively more Dark Wizards?
Among wizards good at Transfiguration, there were relatively fewer Dark Wizards too.
Was that because it required wizards to use spiritual power from the very beginning?
Young wizards with high magic power and bad habits could, in the higher years, fully rely on adding spiritual power instead of correcting those habits or falling behind.
Thus avoiding the embrace of Dark Magic.
Ridiculous. Truly ridiculous.
These were things one could never feel without truly transmigrating into this world, becoming a young wizard, and receiving an education.
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