Rustle Rustle –

The tip of the pen rubbed against the drawing paper, and Valeera fully showed her leap forward in the art of painting, and soon corrected her previous sketch, which had been refined for half a month, but still felt a little discordant, to a natural and vivid level...... Well, that is, ignore those obsolete lines.

After returning from the mirrored space, Valilla really began her first painting after her promotion.

As for the exploration of the "mirror world", in addition to the illusory and distorted crack, her other gains are more than confirming the knowledge attached to the potion.

By adjusting her previous sketches, Valera tried her hand at painting and verified that her painting skills had indeed improved dramatically.

After that, instead of refining the sketch, she changed to a drawing board and began to sketch a sketch on a blank canvas sandwiched on it, ready to paint the oil painting.

This is because Valeera's newly awakened abilities rely on oil painting as a medium, many of which rely on oil painting.

For example, after the completion of her self-portrait, she naturally has a unique connection with herself, which can carry her senses;

This is more suitable as a means of prevention and control in the dwelling than the "invisible thread".

Valera can also summon herself in the painting as an entity, as a temporary stand-in for her own outing;

This is also a more suitable means of concealment than "mirror illusion".

In addition, Valera can also master a temporary burst of combat power through a ritual magic she calls "Possession Technique", based on a self-portrait -

This ritual magic can make her own shadow a container for the "transcendent diversion", allowing her to accumulate strength in normal times, and when the time comes, she can become inseparable and burst out beyond the limit.

These are the powerful blessings that a self-portrait can bring to Valeera.

In addition to self-portraits, Valera also uses ritual magic from portraits of others, which is a bit more troublesome than self-portraits, but equally powerful.

The trouble is that it is difficult to establish a unique connection between the portrait of the person and the person after it has been completed.

However, this unique and corresponding connection is the key to the effectiveness of the ritual.

Of course, there are solutions, and there is more than one:

One of the easiest ways is to directly obtain my own recognition and admit that the characters in the painting are myself;

In addition, it can also be recognized by many others who have a certain understanding of the characters in the painting as a substitute;

The most difficult way is to complete the painting purely on your own, through long-term visualization, at the cost of greatly extending the painting time, and at the same time establishing a unique connection.

It's a ritual magic, and Valera calls it "the art of shadowwriting."

In fact, the art of shadow writing is used more in still life painting to help establish unique connections, but it can also be used in figure painting.

Once she had the figure drawings that met the requirements, she could perform the other three ritual spells.

One of them is the "Art of Innuendo";

Through rituals, she can use paintings to represent others, and guide each other to a certain fate in the future in the way of rehearsals.

The other is the "Shadow Invasion Technique";

Through rituals, she can exchange the souls of the other party into the painting, and can choose to permanently occupy the other person's body and identity.

The other is the "Shadow Evoking Technique".

Through rituals and with the help of related objects, she was able to embody the "regrets" in her own and others' hearts, and awaken them into corresponding "paintings".

Unlike the "real shadow" she summons through self-portraits, the "shadow painting" has a certain degree of autonomy.

Although they are not the same as the original deceased people, because they have "regret" as the core and have sustenance, they are not completely empty puppets.

The first painting Valeera was going to paint, of course, was a self-portrait.

She sketched with charcoal and completed the sketch in just a few minutes, far faster and more quality than her previous sketches.

The modulation of pigments, because she has never practiced, she is somewhat handy.

But with the help of the veteran Assassin's body coordination and awakened knowledge and experience, she didn't have to wait too long to complete it and began to paint large colors.

When this step was also largely completed, Valera withdrew her hand.

She had to wait for the paint on the canvas to dry before she could make finer adjustments and depictions in detail.

Next, Valera changed to a new drawing board, and on a new blank canvas, she drew a new painting again.

This time, she is going to paint the "Nightingale of Despair" Panatia.

Because the "Shadow Writing Technique" requires a special "Shadow Lamp", this time she will only sketch a general outline.

These two paintings were the focus of Valeera's next period.

She plans to strengthen her strength with the "Shadow Attachment Technique" and weaken Panatia's combat power with the "Shadow Technique", so as to close the gap between the enemy and us, and when the time is right, cause some trouble for the demigod witch.

This is not only to avenge Qili, but also to minimize the casualties of civilians in the Middle East during the "Great Smog" incident.

Of course, this is certainly a risk.

Valera has already thought about it, and the worst outcome is nothing more than being sent to the "hidden town" by the goddess of the night...... It's not a dead end.

Since "Mr. A" was able to survive until Crane appeared in "Hidden Town", she believed that she could do the same.

What's more, it was only the worst she expected.

As long as she "hits with one blow and escapes thousands of miles" and does not entangle too much with the "Desperate Nightingale", she may not be specifically found by the goddess and sent to the "hidden town".

……

After coming out of the studio, Valeera wanted to tell Ria about her "transcendent diversion" ability, but after careful consideration, she chose to give up.

This is tantamount to forcing her to make a choice.

What's more, the known transcendent powers have a price, and she doesn't feel that her "transcendent diversion" will be an exception.

Therefore, it is more appropriate to designate the object of the "transcendent diversion" as an item with extraordinary effects, so that others can obtain and use the extraordinary abilities that have her as the source in a similar way to magical items.

That's how to be safer and more secure.

Valilla was going to do this in conjunction with the attempt to craft a courier token...... Because I need to borrow Professor Portland's "craftsman" magical items, I still need to wait for the right time-

Valeera's plan is to replace the original investors when the inventor Repard gets the patent for the bicycle and starts looking for a suitable second round of investors, and use this as an opportunity to establish a relatively normal relationship with Professor Portland, and then consider borrowing magical items.

In this way, the attitude is more gentle, and it is more reflective of the goodwill that she has repeatedly claimed.