A Week of Classes, Part 1

[Transfiguration]

[Level: 1]

[Lock onto the target in advance, clearly outline the desired form in your mind, and release a colorless beam to change the shape or appearance of the hit target. The greater the mass, complexity of structure, and strength of the Magic Field of the transformed object or creature, the more Magical Power consumed. Under equal conditions, non-living objects are easier to alter in shape.]

[Magic Power Consumption: 2~∞]

[Transfiguration Library: Needles (Unlimited)]

[Damage: 2~∞]

[Note: Standard transfiguration does not cause damage. Excess damage only prolongs the duration of the target's transformation. Dangerous transfigurations, such as the Vanishment Charm which turns the target into nothingness, will cause damage equal to the target's Magical Power plus HP.]

[Effective Range: 20m. Beyond 20m, spell damage will decay by 1 point per meter.]

[Note: Damage is equivalent to the Magic Power consumed. Example: Ignoring the target's mass and structure. A target with 3 Magical Power requires a Transfiguration spell with a Magic Power consumption greater than 3 to transform it. If the Transfiguration spell's damage is 4, and the target is 21m away, it will be impossible to transform the target.]

[Grimoire Level: 2 (1000/500)]

This is the spell card for Transfiguration. The Vanishment Charm, Conversion Charm, and others all fall under Transfiguration, making it a multi-use card.

It can be compared to the god-tier card, the Boggart.

In class, Basil also showed off his power with the spell card, transforming a match into a needle before Hermione could.

He received praise and a pat on the head from Professor Cat.

Unfortunately, an explosion caused by Seamus brought the happy moment of being patted on the head to an abrupt end.

However, this wasn't without its benefits.

No longer obsessed with the head pats, Basil discovered something different while recalling the casting details.

He had already discovered before that casting was like throwing a punch; the Magical Power, the fist, wouldn't be consumed, but the physical stamina would be.

But with Transfiguration, the ethereal power of the mind replaced some of that physical stamina.

Perhaps rational spells use mental power, while emotional ones use physical stamina?

The clear image of a needle he'd sketched in his mind before casting vanished the moment the spell was released.

It was as if they were used up like ammunition.

Subsequent casting required him to sketch again.

Although the speed of sketching would be faster since he'd already done it once.

And when he thought of the concept of a needle, the corresponding image would automatically appear.

But this was too troublesome.

Unless casting through the Grimoire, just 'consuming' Magical Power wouldn't suffice.

But these were just thoughts before the other classes had begun.

That afternoon, Charms class was next.

The short Flitwick first shocked Basil with his appearance.

Unlike the white hair in the earlier movies, he was like in the later ones, wearing a small tuxedo, with black hair neatly combed.

The content of the subsequent lessons greatly surprised Basil, who had self-taught a few spells.

Some key points were not mentioned in the books at all.

Professor Flitwick explained the concept of Charms: altering the intrinsic properties of the target.

All Charms involve infusing one's feelings into the spell, causing the target's nature to change.

Take the Levitation Charm, for example.

When casting, besides pronouncing the incantation correctly and performing the wand movement accurately, it's best to also cultivate a feeling of lightness in your heart.

In the terms of Wuxia novels, it's like having accurate sword techniques and shouting the move's name while also possessing the corresponding sword intent.

Taking the Lumos spell, the actual lesson learned today, as an example.

The key to casting is actually imagining a point of light in your mind and sending it out with the spell.

When reciting the incantation [Lumos], where to be soft, where to be forceful, where to be slow, where to be fast.

The tremor of the wand during the movement is actually not important.

If these two aspects are achieved, casting can actually be successful.

But only by finding the corresponding intent is it a true Charm.

A perfect 'sword technique' that embodies both form and spirit.

Harry and the others didn't quite grasp Professor Flitwick's words.

Hermione simply jotted them down in her notes.

This was because Professor Flitwick only briefly touched upon these points.

In the later parts of the lesson, Professor Flitwick focused on the accuracy of pronunciation and wand movements.

He stressed the importance of the incantation, calling it mental suggestion and a limiter for the spell's power.

This is also why some naturally gifted young wizards don't turn the Lumos charm into a flash charm.

Harry and the others also mastered the Lumos charm with ease, relying on the latter two points.

But Basil was different.

Although he had the [Grimoire], he hadn't turned the Lumos charm into a spell card.

However, during pre-casting, some of the spell's data would appear.

The [Grimoire] indicated that the spell's Magical Power consumption was 2.

But when he tried to cast it using a more intuitive "Magical Power" that decreased, imagining a point of light in his mind, the Magical Power consumed was 1.

So, whether it's a rational or emotional spell, it actually requires the addition of mental power?

For wizards without "Magical Power."

Their Magical Power, spell attack, and spell resistance are an inseparable whole.

If a beginner's Magical Power is too high, even a Stupefy could kill someone.

Only with proficiency, meaning a higher magical cultivation, can they control the force when using physical strength or mental power to wield the fist of Magical Power.

This is also why the first lesson in Charms class is Lumos.

It allows young wizards with low Magical Power to cast successfully and gain confidence.

It allows young wizards with high Magical Power to learn to adjust their output without realizing it.

In class, Basil actually noticed that Harry's pronunciation and wand movements were not standard.

He seemed to have forcefully succeeded in casting by relying on his superior Magical Power, like a brute-force approach.

Basil suspected he had learned successfully in the same way at first.

This is the advantage of long-standing Pure-blood Wizards.

Other young wizards with lower Magical Power need to painstakingly correct their accents and wand movements to cast successfully.

Whereas young wizards with high Magical Power can succeed by simply muttering spells and waving their wands.

However, this is only in the early stages.

For the spells learned in higher grades, even young wizards with high Magical Power need to master these fundamentals.

And by then, young wizards with low Magical Power, through repeated practice and age growth, will have increased their Magical Power.

With their solid foundation, they will also find higher-grade courses easy.

Whereas young wizards with high Magical Power who relied on talent will need to correct the bad habits formed in their lower grades to make progress.

It's like Chengxiang in the Lotus Lantern, who was slightly inferior in everything in the early stages when fighting Erlang Shen. His accumulated deficiencies meant he was lacking in everything.

Wait, could this also be another reason why Slytherins are generally more robust?

They have naturally high Magical Power.

They are accustomed to using physical strength to wield Magical Power, and even neglect the fundamentals.

Their physical strength is constantly exercised, and combined with genetics, they maintain a sturdy and robust physique.

And when they reach the higher grades, they are inevitably disappointed to find themselves weaker than those from Muggle families or half-blood wizards.

Coupled with their common talent for [Proficiency in Dark Arts], they can only find confidence in Dark Magic, which can be cast with malice.

Furthermore, Dark Magic makes people's personalities gloomy and evil.

So, is this also why more dark wizards come from Slytherin?

Among wizards good at Transfiguration, dark wizards are also relatively fewer.

Is it because it requires wizards to use mental power from the beginning?

Young wizards with high Magical Power and bad habits can also rely on the addition of mental power in higher grades without correcting their bad habits and falling behind in progress.

Thus, they don't turn to the embrace of Dark Magic.

Ridiculous. Truly ridiculous.

These are things one cannot feel without truly transmigrating to this world, becoming a young wizard, and receiving education.