Curt wasn't surprised that he hadn't been able to learn much from Frick about the tricks of casting illusion books, and he knew the strange nature of his magic. Pen Fun Pavilion wWw. ｂiquge。 ｉｎfo

In fact, Curt Leinster knew that it was almost impossible for him and Frick to learn from each other the abilities they most wanted to acquire. He was more interested in Frick's ability to read information quickly than the illusionary book techniques that almost all scribes had access to.

He had already been exposed to some of the fantasy books that the sorcerers called "book magic" before he first offered the quid pro quo, and knew that Frick didn't have much to tell him - after all, he had studied almost all of the parts that could be made public.

Originally, he was most interested in Frick's ability to be almost "prophetic", but after discovering that even he couldn't tell what the principle of this ability was, his attention shifted to other directions. Originally, the words used by scribes had to be copied on paper in advance with special ink, and then the power of the words could be channeled by injecting magic into the paper on which the sentences were written.

However, in addition to spending some time each morning preparing a short raft that might be used for the day, Frick also makes spare pages on the fly during the battle. While these scribbled sentences won't have the power of a pre-infused magic raft, they can fill in the gaps when necessary.

In Curt's mind, this was a technique that a Level 3 scribe should not have mastered, because it required a great deal of magic to make the carrier of the Illusion Book in a short period of time, and it also required the caster to have a clear understanding of the text. However, Frick used this technique as freely as a matter of course, and perhaps the technique was a little jerky, but it had already shown the effect that the words were supposed to have.

There is no doubt that Frick's mastery of these skills must have been taught by Akuli, who was the director of the Peking University Library, and she had more than normal expectations for the young man. Due to her special attention in various fields, Frick, who was only a third-level scrivener herself, had knowledge that she should not have known.

He had heard that some of the armed scribes, who were close associates of the librarian, had access to special "pages", copies of the Magic Book that had been stored in underground stacks where only a few had the opportunity to read them. The words recorded in the Book of the Demon Dao are already extraordinarily powerful, and these specific texts transcribed by professional scribes can exert no less power in the hands of armed scribes than the original texts.

But just as a sorcerer needed magic and computation to compile a Rubik's Cube, so a scrivener needed a great deal of skill to bring to life the scenes described on the pages. Therefore, even if Frick had a close relationship with Akuli, it was impossible for her, as the director, to grant him a special "page" so easily.

His abilities as a scribe were obviously not mature enough, and although he was able to manifest some of the more difficult characters, he lacked the magic to support them. In many cases, the pages he threw were mostly superficial, and were therefore teased by the sorcerer as "tattered painted skins".

But Curt is also certain that Frick is not, as he himself says, just an ordinary scrivener, no different from other peers. Indeed, he could not be compared to a mage of the level of Urs in terms of combat skills and ability to cast spells, but the reason why he was able to make an "outstanding contribution" to Lemongrass was inseparable from his own talent, in addition to the powerful magic provided by the Moonstone Shards.

The vast majority of the scribes Curt had dealt with in the past, even if they were older than Frick, would not necessarily have succeeded in drawing out the power contained in those words. Even if Frick's fantasy book is only a façade, it is an indisputable fact that he succeeded in turning the pages into a phenomenon.

This was most likely due to the fact that his colleagues had never had the opportunity to cast the illusion book so often, because they didn't need to spend much magic on their day-to-day business until they joined the investigation team or the armed scriveners.

In his opinion, many people have longed to have the power to convince others, but what they lack is not just the ability to act to achieve this desire. The awareness of fighting the enemy, the energy invested in training, and the innate talent all affect the results they can achieve in the end.

Some people put in more effort than others and achieve corresponding results, but I am afraid that only when facing true geniuses will they clearly perceive their own powerlessness. Success requires 90% hard work and 10% talent, but without that talent, it often ends up with nothing.

The world has never been fair, and Frick would be lucky to be judged from that point of view - he has an innate talent.

Curt had not received professional combat training in the past, and apart from some basic knowledge, the method of using weapons was almost entirely self-figuring. But in the continuous training of these unstructured wild paths, he has formed his own style of fighting.

While he has no talent for understanding magical theories and weaving techniques, his talent for hand-to-hand combat is hard to question. No matter what kind of weapon it is, as long as it is exposed to it for a while, it can be used flexibly, and it can always draw out the original power of the weapon in the most simple and straightforward way.

Most of the weapons he took out of the warehouse were mass-produced products that could be bought from the market, but the long knife was a specially selected habitual item. Originally, it was just a defective product made by a craftsman on a whim, but Curt was particularly fond of this unfortunate weapon.

The habit of fighting varies from person to person, and if one is to be asked to contribute to the whole like a cog, then this habit tends to be homogenized under deliberate demand. This is the reason why the tactics of the army, no matter how varied the tactics of the individual, operate according to a fixed system.

There are a lot more things to consider in a group than when you go it alone, and if you're dealing with an enemy who lacks rational thinking, your tactics will naturally change. Curt's brutal swordsmanship, which focuses on fighting alone, was originally developed to deal with large non-human creatures, and although it has a lot of power, I am afraid that only he can use it with physical strength far beyond ordinary people.

In other words, Curt Linester's accumulated experience is difficult to put into words or systematize, and some of the things he can easily do cannot be copied by others. That's the talent he has, it's a completely different direction from Flick, but it's also something to be proud of.

There may be individual differences in the total amount, but each person will have their own talents - just as Curt is shown to have an excellent grasp of cold weapons, and Flick is a strangely active senses stimulated by the imitation of "red liquid". Everyone is different, and Curt has long had a clear understanding of his innate "magic defects", so he will redouble his efforts in other directions.

And just as Frick was struggling with his wonderful magical qualities, he didn't know how to teach Frick the art of fighting. He may be able to teach Frick some of the basics of sword warfare now, but something deeper obviously needs the help of others.

"Let's just say that I'm probably not a qualified trainer, and that's all I can tell you. Curt casually put the weapon back on the shelf, then looked at Frick, "I know you're hungry for power because of what happened to you, but you should think about your starting point as you seek a way to make yourself stronger. ”

It sounded like a casual remark in some scene, but Curt was seriously trying to persuade Frick to put his mind on the right track of wanting to have power. Wanting to be able to protect themselves is the starting point for most people's thirst for power, but this level of consciousness does not make them stronger.

Without restricting certain forms, the so-called "power" can be seen as a convenient tool, and how it is used depends only on the will of the individual. Now Frick's question is not how to get this tool, but what he wants to do with it.

Before Frick could figure this out, Curt could have spent a long time instructing him on how to adjust the angle of the knife. Although his body lacked proper exercise, Frick's excellent learning ability as a scribe allowed him to quickly correct his past defects.

After many attempts, he finally chose a lightweight, one-handed scimitar from his weapon rack, which seemed to have been in the form of a saber that had been heavily used by the Empire's light cavalry, but was now obsolete. The straight blade with a slight arc is easy to handle, and the sharp blade is enough to tear through defenseless flesh, and this weapon that has been on the battlefield for many years is powerful enough even if it has been obsolete by the times.

Again and again, Frick slashed at the target logs, leaving wounds on them. Of course, he couldn't cut through a hard log with a single blow, like Curt did, but if the target was soft flesh, the thin blade had already cut through the muscles and veins of his enemies.

Under Curt's guidance, Flick not only gradually mastered the correct way to shoot the knife, but also became a lot more agile with his steps and movements. On Curt's side, although he is still limited by the nature of his magic power, it is still difficult to weave a spell, but if he just injects the prepared short raft with magic and launches it, then even the magic that is easy to collapse can turn a part of simple words into a phenomenon.

The results may not be obvious, but at least the efforts of the two in the past few days have not been in vain.