Carl had mixed feelings about Hattings' answer.

He subconsciously wanted to ask, "Isn't it because of the feelings between us?" But thinking of Hattings' attitude towards emotion, he wisely chose to keep his mouth shut.

Hattings didn't continue, he seemed to be aware of his gaffe.

"All in all, Carl, don't invest too much in your feelings, it's not good for you." Hattings said, "I don't want you to end up ······"

He suddenly said that he didn't speak, but smiled bitterly: "This is emotion, how annoying it is." ”

"Hattings ······" Carl stared at the person in front of him, "Emotions are not something to be annoying. It's not vain either, he'll ······"

He couldn't think of any good adjectives.

"He's going to make certain people, certain things, special. Just like you, Hattings, when I see the night falling, I think of the smooth fur on your body, and I look forward to the flowers I see tomorrow morning, and the cold wind seems to warm up, carrying with me a sense of security around you. ”

"And the night was just a time for me to sleep."

"Fred, George, Angelina, Alya, Lee Jordan, Cedric······" Carl said the names of the friends he knew, "It's because of them that my life is so different—even the same dinner will be better when you and your friends fight it than if you were alone." ”

"Carl ······"

Hattings looked at Carl, who was serious, and suddenly realized that the person in front of him was no longer the little boy who cried because of his coldness at Christmas.

It uttered something he had heard a few times.

"You've grown faster than we thought you would, Carl."

He didn't say anything, not because Carl was right, but because Hattings realized that the child in front of him was no longer the real child.

It's not because of cleverness, it's about the amount of knowledge, it's about the imitation of Hattings, it's about Professor Caro, it's about the old-fashioned imitation of the adults.

Instead, the young man in front of him gradually gained his own views on the world.

Maybe it's wrong, maybe it's immature, but that's the opinion chosen by teenagers after all. It may only change when he hits his head in the cold world and breaks his head.

Of course – there are those who don't change, and that's the case with the great legends in those stories, who refuse to change themselves and choose to change the world.

After that time, Hattings became even more silent.

At first, Carl was a little worried, but after observing Hattings for a few days, he was a little helpless about Hattings's stubbornness, and he was completely relieved, and soon devoted himself to his life.

Of all the professors, Professor Flitwick is a unique presence – not only in terms of his height, but also in terms of his strength.

As Ravenclaw's dean, Professor Flitwick kept a low profile at the school.

But that duel trophy is enough to show how brilliant he once was.

Although Hogwarts is the best (and only) school of witchcraft and wizardry in the UK, Flitwick is the only one of the teachers to have truly proven himself in numerous duels.

Incidentally, the other was none other than the obnoxious Snape - but that experience almost led him to Azkaban.

Theoretically, this is a wizard who should be feared more than Professor McGonagall, but his form is destined to be difficult to gain the respect he deserves outside of Hogwarts.

However, he himself has more respect for Professor McGonagall, who he believes is the true master of dueling.

He was very enthusiastic about Carl's arrival, and to be honest, far more enthusiastic than Carl had imagined.

Maybe the rules of Hogwarts suffocated him, or maybe he really took a fancy to Carl, in short, Carl learned a lot of things that Hogwarts no longer taught.

Not a magic spell, but a duel technique.

From the original rituals, to the spell casting techniques, to the pace frequency, and Carl's unheard of concepts of "rhythm", "loop", "combination", and so on.

Before Flitwick told him about this, Karl's impression of wizarding duels was still at the stage of chanting spells to each other - which is why he wanted to learn the silent spell, and the covert and quick chanting of the spell obviously allowed him to get a head start in the duel.

It wasn't until Flitwick revealed the mystery that he realized that the release of magic was not a simple breath, but a rich exercise.

Most wizards struggle to cast spells in a row - not because of the number of presences, mana, or cooldowns like in the game, but simply because mental power is hard to concentrate all the time.

In order to deal with such problems, it is only natural that wizards who have studied the art of dueling will come up with various methods.

For example, using a unique wand to duel, some wands will make wizards calmer, and even guide wizards in the occult sense.

As Flitwick said this, Karl couldn't help but clench his wand in his hand.

For example, although drug abuse has been banned in many competitions, taking appropriate drugs can indeed solve these problems very well.

Karl jotted down a few of the potions that Professor Flitwick had mentioned—elixirs, rejuvenating potions—and then, after checking the prices, quickly dismissed the idea of getting a few bottles.

For example, targeted training, "rhythm", "loop", "combination" and so on are the objective laws that wizards gradually master in duels.

The concept of "rhythm" is complicated to say, but it is simple to do.

In summary, don't throw all your mantras out in one go, but play them smoothly, always have room for them, strike a balance between chanting mantras and moving, and use the window period to move and rejuvenate your spirit.

Of course, this is the most basic.

"It's like dancing, but both sides try to break the other's beat." Flitwick described the duel between the most brilliant dueling masters, which was undoubtedly beyond what Carl could currently understand.

"Loop" and "combination" are actually similar things.

The former is the one that the wizard is expected to have a skillful set of routines - the kind that has been practiced to muscle memory, which will greatly reduce the burden on wizards when dueling.

The latter teaches wizards how to find such skilled routines.

"Carl, you don't need to know a lot of spells to fight a duel - I don't deny that mastering more magic can help you deal with more situations - but in reality, four or six spells are basically enough to duel."

"One or two spells to attack, one or two spells to defend, one or two spells to disrupt someone's rhythm, and one spell to help you move and dodge." "Find these spells, and all that's left is to keep cross-using them to help you win." ”