Translator: SumTLMan
With such fine and compact lines, the task of copying them completely is extremely arduous. In terms of the normal proportion of the “Overture of Death,” it can only be depicted on small and medium-sized alchemy items.
To be depicted on a tiny alchemy items such as the “small golden arrow,” the alchemy wizard needs to reduce the proportions of the magic array. The fact that the normal proportion of the “Overture of Death” is already so complicated, to further reduce its size is maddening. Angel can no longer tell with his naked eye whether or not if even the nib of the pen was as thin as a strand of hair. If this would be considered too thick to depict the magic array?
However, reducing the scale of proportion is in the latter stage of production for him. Before that, he should at least successfully depict the pattern for the”Overture of Death.”
Instead of immediately embarking on depiction, Angel took out the < Complete Collection on Enchantment-Advanced > and continued to flip back and forth.
The pattern for the “Overture of Death” is very complex, but its function is very simple: Once the magic array is stimulated, it can cast a very low audio frequency, which will cause an imbalance and disorder of the internal energy inside the undead. In the end, it achieves the purpose of eliminating the undead.
According to Angel’s understanding, this is an infrasonic attack. This sound wave whose frequency is lower than 20 Hz is a kind of infrasound wave. This kind of sound wave has an extremely long wavelength and isn’t easy to produce in ordinary media.
Angel speculates that the extremely low sound frequency released by the “Overture of Death” must resonate with some kind of energy within the undead. Resulting in an energy imbalance which causes the undead to collapse.
Of course, this is just Angel’s conjecture. He doesn’t have an acoustic spectrum tester, so he can only use logic to analyze.
After Angel finished reading the chapter on the “Overture of Death,” he didn’t stop there but continued flipping back and forth. He wanted to see if, in addition to the “Overture of Death.” There were other enchantment patterns that were simpler than the “Overture of Death” which can destroy the undead.
After spending most of the day, Angel briefly swept through the < Complete Collection on Enchantment-Advanced >. He saw nearly 10,000 magic array enchantment patterns. After reading their descriptions, Angel’s head only felt dizzy and his eyes full of darkness.
Almost all the patterns are as difficult as the “Overture of Death.” Only when he looks carefully can he see the difference between lines. From a distance, they all seemed to be dark ink masses. In the < Advanced Volume >, Angel has also seen 13 kinds of magic arrays against the undead, some of which weren’t specifically for the undead.
For example, a magic array called the “Chapter of Mass” was originally designed to purify the filth and drive out the darkness. But it can also be used to purify the filth within the undead and sublimate its soul.
The effects of the “Chapter of Mass” has wide range of applications. Correspondingly, the number of magic patterns that make up the complete array is also amazing. As many as 36 magic patterns, each of which is extremely complex. Moreover, it is recorded in the book that the “Chapter of Mass” is basically depicted on large-scale alchemy items. The materials that can match the “Chapter of Mass” are also valuable. Once successfully produced, it can be used as a strategic item.
Based on Angel’s current capabilities, not to mention whether he can depict it or not. The cost of materials alone is beyond his ability to afford. It can be estimated that price is equivalent to one hundred years of income from a small Wizard Organization. However, it may not be possible to acquire some of these materials, some of which are close to extinction in the Wizard Plane and Wizard Half-Planes. In the end, even if the materials are bought, there is nothing Angel can do to smelt these materials at his level. When he reaches the level of a formal wizard, perhaps he can give it a try.
To sum it up in only two words from what he’s learned so far: No way!
Most of the other magic arrays that destroy the undead are like the “Chapter of Mass.” Either impossible or more complex than the “Overture of Death.”
Therefore, Angel can only return to the “Overture of Death” in the end.
Before that, Angel hesitated for a moment and clicked on the next folder—< Complete Collection on Enchantment-Complete Volume >.
This folder has only been opened by him when he was sorting out the documents and pictures. After that, he never touched it again. Angel hasn’t read the contents of it either.
After opening the folder, many dense pictures appeared in front of him.
Angel only took a glance and saw about 2,000 pictures. If a magic array occupies two images of space, and one is a pattern and the other is an interpretation. Then there are about 1,000 magic arrays recorded in this folder.
Compared with the previous introductory, basic, and advanced volumes. The complete volume obviously contains much less.
But this difficulty is unknown to… Angel. He opens up one picture.
With just a cursory glance, he had to close his eyes in horror.
What did he see?—Dense lines.
Angel has been used to the simple patterns from before, but the reason why this pattern makes him close his eyes in fright is purely that… it was not simple!
Are these really magic arrays? Instead, are they not really solid geometry?!
This magic array doesn’t look difficult. There are only 16 magic patterns, and the arrangement isn’t too dense with the blank parts visible to the naked eye. But… Not all of the 16 magic patterns are on the same plane, several magic patterns actually appear to have a three-dimensional intersection, three-dimensional overlap and mirror staggered layers.
Alchemy items are three-dimensional, yes. But how can a magic array become three-dimensional?!
“Haha, good-bye my friend.” Angel silently presses the “x” in the upper right corner. He won’t open this folder again, at least… It won’t be opened again until he advances to a formal wizard.
Once again, Angel returns to the “Overture of Death” pattern.
After some twists and turns, when he looked at the lines on the “Overture of Death” at this time. He felt particularly relaxed and thought it was simple. These patterns are so simple and unpretentious. He must know how to be grateful and cherish these patterns by practising them one by one without affectation.
Although the pressure in his heart is much less when facing the lines of the “Overture of Death” because he has read every possible means. How to practice the magic array is still a problem that needs to be urgently addressed.
Angel quickly came up with a solution.
If the normal scale of proportion of the lines are too dense, making them look like dark masses, then he’ll simply scale them up by the same proportion!
Angel adjusts the projected data and easily enlarged the scale of the “Overture of Death” by 10 times, which is absolutely impossible for other alchemy wizards to do. Although both proportional magnification and reduction are indeed the basis of enchantment alchemy. However, other people will only spend a lot of time and energy to try and enlarge or reduce the scale after mastering the normal proportions of the pattern.
Angel, on the other hand, directly zooms in and can quickly find the most suitable proportion for his own practice. As a result, his growth in enchantment alchemy is naturally far from others.
After being magnified by 10 times, the “Overture of Death” clearly shows the blank space between each line. At the same time, the multi-faceted true features of the “Overture of Death” are also revealed.
Looking at the full lines, Angel sighed heavily as he said: “This workload is too large. For just a complete copy, I’m guessing it will take me at least a day or two to copy it in its entirety. No matter what, I have to attempt to copy it first.”
After copying the magic array, Angel only had one goal:
He wants to see if the fit between the two magic patterns can make a smooth transition.
Magic array enchantments involve some mysterious law for operation. For other alchemy wizards, simple rote memorization is not good enough. They need to understand the meaning between each magic pattern and its implications. But Angel just wants to copy it, so his memory shouldn’t appear fuzzy. But just in case, he will take it out to test and make sure it works.
For the first time, as he attempted copying it, his goal was not achieved. When he reached the 69th stroke, the sweat on the tip of his nose fell onto the penholder. Causing him to quiver slightly and making the lines slightly deflect as well.
The second copy attempt and the goal was still not achieved, failing on the 419th pen stroke.
The third copy failed.
Fourth copy attempt… Fifth… The sixth and seventh…
Until the eighth attempt, Angel was finally able to successfully copy a magic pattern. The next step is the critical moment, can he smoothly connect the shaft and transition to the second magic pattern?
One hook, one curl, one turn, and then draw a circle. When it is two-thirds, go back counterclockwise…
After half an hour’s focus on the bearing shaft, the nib finally entered the second magic pattern after a diagonal pull!
At this point, when Angel depicted this pattern, the joy in his heart overflowed and his emotions went out of control. This caused the lines drawn to be delayed and he had to stop to start the next copy attempt.
Although another copy failed, Angel was still very happy. At least he could confirm he should be able to draw the magic array in its entirety by cheating.
But there is another problem.
Even if he can completely copy the magic array in its entirety, but this is only limited to on the white paper.
When the alchemy production is formally established, the depiction of the magic array requires a stable and continuous output of magic power. It takes one to two days just to copy it, not to mention whether he has the energy to persist for so long. The consumption of magic power alone is a huge problem. How can he solve that?
Even if he is able to become proficient in copying the “Overture of Death” to a very high level. It would still take him about a day to depict it.
Angel calculated his ability. He believes if he only outputs magic power steadily for enchantment, he should at least be able to stick to it for half a day.
Where can he find the other half of the total amount of magic power required for the rest of the day? In addition, when depicting. He also needs to ensure that the Heat Blend Art and Magic Power Hand are uninterrupted, which is also a big eater of his magic power.
So… until the problem of magic power is solved, he cannot continue.
……
A week after he disappeared, Angel returned to Promi Alchemy Shop again.
When he arrived, it was the most leisurely time of the day. David was quietly wiping a rough machete with some blended green juice on the counter.
A machete with a style completely different from the ones seen in the Wizard Plane, it is called:
A Chinese kitchen knife.
Angel sold most of his alchemy works to David, and this kitchen knife is his second alchemy work, which was refined for the purpose of experimentation and moulding.
Apart from being relatively sharp, it has a few advantages.
After David completely had covered the kitchen knife with green juice, he noticed that there was one more person in front of him.
“Angel?” David questioned.
David put aside the kitchen knife and said: “You’re here. Master Promi has been waiting for you in the shop these days and didn’t head back until last night.”
After hearing that Promi had been waiting for him for a week. Angel had a faint sense of guilt in his heart. These days he was addicted to practising and couldn’t extricate himself from it. He never thought Promi would be waiting for him at the alchemy shop this whole time…
“There was too much misleading information. Cough cough. Ahem, it took me a long time to find something.” Angel tilted his head, put his fist over his mouth and pretended to cough twice.
Translator: SumTLMan
With such fine and compact lines, the task of copying them completely is extremely arduous. In terms of the normal proportion of the “Overture of Death,” it can only be depicted on small and medium-sized alchemy items.
To be depicted on a tiny alchemy items such as the “small golden arrow,” the alchemy wizard needs to reduce the proportions of the magic array. The fact that the normal proportion of the “Overture of Death” is already so complicated, to further reduce its size is maddening. Angel can no longer tell with his naked eye whether or not if even the nib of the pen was as thin as a strand of hair. If this would be considered too thick to depict the magic array?
However, reducing the scale of proportion is in the latter stage of production for him. Before that, he should at least successfully depict the pattern for the”Overture of Death.”
Instead of immediately embarking on depiction, Angel took out the < Complete Collection on Enchantment-Advanced > and continued to flip back and forth.
The pattern for the “Overture of Death” is very complex, but its function is very simple: Once the magic array is stimulated, it can cast a very low audio frequency, which will cause an imbalance and disorder of the internal energy inside the undead. In the end, it achieves the purpose of eliminating the undead.
According to Angel’s understanding, this is an infrasonic attack. This sound wave whose frequency is lower than 20 Hz is a kind of infrasound wave. This kind of sound wave has an extremely long wavelength and isn’t easy to produce in ordinary media.
Angel speculates that the extremely low sound frequency released by the “Overture of Death” must resonate with some kind of energy within the undead. Resulting in an energy imbalance which causes the undead to collapse.
Of course, this is just Angel’s conjecture. He doesn’t have an acoustic spectrum tester, so he can only use logic to analyze.
After Angel finished reading the chapter on the “Overture of Death,” he didn’t stop there but continued flipping back and forth. He wanted to see if, in addition to the “Overture of Death.” There were other enchantment patterns that were simpler than the “Overture of Death” which can destroy the undead.
After spending most of the day, Angel briefly swept through the < Complete Collection on Enchantment-Advanced >. He saw nearly 10,000 magic array enchantment patterns. After reading their descriptions, Angel’s head only felt dizzy and his eyes full of darkness.
Almost all the patterns are as difficult as the “Overture of Death.” Only when he looks carefully can he see the difference between lines. From a distance, they all seemed to be dark ink masses. In the < Advanced Volume >, Angel has also seen 13 kinds of magic arrays against the undead, some of which weren’t specifically for the undead.
For example, a magic array called the “Chapter of Mass” was originally designed to purify the filth and drive out the darkness. But it can also be used to purify the filth within the undead and sublimate its soul.
The effects of the “Chapter of Mass” has wide range of applications. Correspondingly, the number of magic patterns that make up the complete array is also amazing. As many as 36 magic patterns, each of which is extremely complex. Moreover, it is recorded in the book that the “Chapter of Mass” is basically depicted on large-scale alchemy items. The materials that can match the “Chapter of Mass” are also valuable. Once successfully produced, it can be used as a strategic item.
Based on Angel’s current capabilities, not to mention whether he can depict it or not. The cost of materials alone is beyond his ability to afford. It can be estimated that price is equivalent to one hundred years of income from a small Wizard Organization. However, it may not be possible to acquire some of these materials, some of which are close to extinction in the Wizard Plane and Wizard Half-Planes. In the end, even if the materials are bought, there is nothing Angel can do to smelt these materials at his level. When he reaches the level of a formal wizard, perhaps he can give it a try.
To sum it up in only two words from what he’s learned so far: No way!
Most of the other magic arrays that destroy the undead are like the “Chapter of Mass.” Either impossible or more complex than the “Overture of Death.”
Therefore, Angel can only return to the “Overture of Death” in the end.
Before that, Angel hesitated for a moment and clicked on the next folder—< Complete Collection on Enchantment-Complete Volume >.
This folder has only been opened by him when he was sorting out the documents and pictures. After that, he never touched it again. Angel hasn’t read the contents of it either.
After opening the folder, many dense pictures appeared in front of him.
Angel only took a glance and saw about 2,000 pictures. If a magic array occupies two images of space, and one is a pattern and the other is an interpretation. Then there are about 1,000 magic arrays recorded in this folder.
Compared with the previous introductory, basic, and advanced volumes. The complete volume obviously contains much less.
But this difficulty is unknown to… Angel. He opens up one picture.
With just a cursory glance, he had to close his eyes in horror.
What did he see?—Dense lines.
Angel has been used to the simple patterns from before, but the reason why this pattern makes him close his eyes in fright is purely that… it was not simple!
Are these really magic arrays? Instead, are they not really solid geometry?!
This magic array doesn’t look difficult. There are only 16 magic patterns, and the arrangement isn’t too dense with the blank parts visible to the naked eye. But… Not all of the 16 magic patterns are on the same plane, several magic patterns actually appear to have a three-dimensional intersection, three-dimensional overlap and mirror staggered layers.
Alchemy items are three-dimensional, yes. But how can a magic array become three-dimensional?!
“Haha, good-bye my friend.” Angel silently presses the “x” in the upper right corner. He won’t open this folder again, at least… It won’t be opened again until he advances to a formal wizard.
Once again, Angel returns to the “Overture of Death” pattern.
After some twists and turns, when he looked at the lines on the “Overture of Death” at this time. He felt particularly relaxed and thought it was simple. These patterns are so simple and unpretentious. He must know how to be grateful and cherish these patterns by practising them one by one without affectation.
Although the pressure in his heart is much less when facing the lines of the “Overture of Death” because he has read every possible means. How to practice the magic array is still a problem that needs to be urgently addressed.
Angel quickly came up with a solution.
If the normal scale of proportion of the lines are too dense, making them look like dark masses, then he’ll simply scale them up by the same proportion!
Angel adjusts the projected data and easily enlarged the scale of the “Overture of Death” by 10 times, which is absolutely impossible for other alchemy wizards to do. Although both proportional magnification and reduction are indeed the basis of enchantment alchemy. However, other people will only spend a lot of time and energy to try and enlarge or reduce the scale after mastering the normal proportions of the pattern.
Angel, on the other hand, directly zooms in and can quickly find the most suitable proportion for his own practice. As a result, his growth in enchantment alchemy is naturally far from others.
After being magnified by 10 times, the “Overture of Death” clearly shows the blank space between each line. At the same time, the multi-faceted true features of the “Overture of Death” are also revealed.
Looking at the full lines, Angel sighed heavily as he said: “This workload is too large. For just a complete copy, I’m guessing it will take me at least a day or two to copy it in its entirety. No matter what, I have to attempt to copy it first.”
After copying the magic array, Angel only had one goal:
He wants to see if the fit between the two magic patterns can make a smooth transition.
Magic array enchantments involve some mysterious law for operation. For other alchemy wizards, simple rote memorization is not good enough. They need to understand the meaning between each magic pattern and its implications. But Angel just wants to copy it, so his memory shouldn’t appear fuzzy. But just in case, he will take it out to test and make sure it works.
For the first time, as he attempted copying it, his goal was not achieved. When he reached the 69th stroke, the sweat on the tip of his nose fell onto the penholder. Causing him to quiver slightly and making the lines slightly deflect as well.
The second copy attempt and the goal was still not achieved, failing on the 419th pen stroke.
The third copy failed.
Fourth copy attempt… Fifth… The sixth and seventh…
Until the eighth attempt, Angel was finally able to successfully copy a magic pattern. The next step is the critical moment, can he smoothly connect the shaft and transition to the second magic pattern?
One hook, one curl, one turn, and then draw a circle. When it is two-thirds, go back counterclockwise…
After half an hour’s focus on the bearing shaft, the nib finally entered the second magic pattern after a diagonal pull!
At this point, when Angel depicted this pattern, the joy in his heart overflowed and his emotions went out of control. This caused the lines drawn to be delayed and he had to stop to start the next copy attempt.
Although another copy failed, Angel was still very happy. At least he could confirm he should be able to draw the magic array in its entirety by cheating.
But there is another problem.
Even if he can completely copy the magic array in its entirety, but this is only limited to on the white paper.
When the alchemy production is formally established, the depiction of the magic array requires a stable and continuous output of magic power. It takes one to two days just to copy it, not to mention whether he has the energy to persist for so long. The consumption of magic power alone is a huge problem. How can he solve that?
Even if he is able to become proficient in copying the “Overture of Death” to a very high level. It would still take him about a day to depict it.
Angel calculated his ability. He believes if he only outputs magic power steadily for enchantment, he should at least be able to stick to it for half a day.
Where can he find the other half of the total amount of magic power required for the rest of the day? In addition, when depicting. He also needs to ensure that the Heat Blend Art and Magic Power Hand are uninterrupted, which is also a big eater of his magic power.
So… until the problem of magic power is solved, he cannot continue.
……
A week after he disappeared, Angel returned to Promi Alchemy Shop again.
When he arrived, it was the most leisurely time of the day. David was quietly wiping a rough machete with some blended green juice on the counter.
A machete with a style completely different from the ones seen in the Wizard Plane, it is called:
A Chinese kitchen knife.
Angel sold most of his alchemy works to David, and this kitchen knife is his second alchemy work, which was refined for the purpose of experimentation and moulding.
Apart from being relatively sharp, it has a few advantages.
After David completely had covered the kitchen knife with green juice, he noticed that there was one more person in front of him.
“Angel?” David questioned.
David put aside the kitchen knife and said: “You’re here. Master Promi has been waiting for you in the shop these days and didn’t head back until last night.”
After hearing that Promi had been waiting for him for a week. Angel had a faint sense of guilt in his heart. These days he was addicted to practising and couldn’t extricate himself from it. He never thought Promi would be waiting for him at the alchemy shop this whole time…
“There was too much misleading information. Cough cough. Ahem, it took me a long time to find something.” Angel tilted his head, put his fist over his mouth and pretended to cough twice.
