Harry Potter's Bastard

Perhaps Snape had torssed Harry's mind too hard, and he had dreamed of the hallway and the dark door that night.

When Harry woke up, he felt his scar hurt. Truth be told, Harry was used to it, so used to it that he didn't even want to think about it. It turned out that his scars had hurt too, and he was like a headless fly at that time, trying to figure out what was going on.

Normally, whenever the scar starts to hurt, something happens on Voldemort's side. Harry had experience with this, but this time he didn't have the slightest urge to figure it out.

He was so tired. He was so tired that he didn't even bother to write his homework, even if he was in the same state as he had been in Quidditch training, he could still continue to do his homework when he came back, but after a night at Snape's, Harry couldn't do anything because his mind was a mess.

Looking out the window at the dark night sky, Harry felt a little better after a nap, at least his head wasn't so dizzy. But when he thought about the torture he had to endure every week, he even felt that Umbridge's confinement was more bearable.

Quidditch is out of action now, and the only thing he can look forward to is D.A's events. Harry seemed to have shifted his passion for Quidditch to D.A.'s activities, and at least Harry felt he was doing something meaningful.

Although objectively speaking, this meaning is almost the same as not.

Like Harry, there were still many people at Hogwarts who didn't sleep at this time. Solim was now writing in his bedroom, the framework of his own spell had been set up, and all that was left was the tedious work of simplifying and revising.

To Solim, creating your own spells is a bit like factoring. And it takes a lot of time to fix it, because getting the answer may not be perfect or as expected, so you need to start all over again and find out what the problem is with the whole spell. In short, it is a very tedious job. It is necessary to have a clear understanding of the structure of the spell, the combination of spells, the theory of the spell, and the estimation of the effect in order to be qualified to use the spell.

St. Mungo's daily hapless spirits are hospitalized for spell development errors, and some die as a result. Developing a new spell can be a risky thing to do, as there is a high chance that something will go wrong when experimenting with a spell, causing some irreparable damage.

Of course, the level of danger depends on the purpose of the spell being developed.

Unfortunately, the spell Solim is working on is an extremely dangerous offensive spell. One could even be more precise: lethal spells.

What is a "lethal spell"? The Curse of Death is a typical lethal spell, and the Flame Curse is also a lethal spell. Spells that have a high chance of killing a wizard after being hit by a spell are lethal spells.

Suffice it to say, what Solim is doing now is no different from Muggles making bombs at school.

Everyone, Muggles and wizards, had to wear clothes when they were out and about, even Voldemort.

But Solim was curious that there had never been a spell that had been applied to a person's clothing—except for life spells like the Cleansing Charm or the Ironing Charm.

Maybe it's because of the brains, the wizards in the wizarding world have always been a little conservative, and the target is on people when they duel, even if they are restrained or interfered, they will only use transfiguration to conjure up cats and dogs. This made Solim wonder if wizards had such an imagination as well.

Solim had certainly looked at a lot of information before developing his own spells, but all spells had been designed in the same way for centuries, unchanged and uninventive. In some ways, the design idea of this magic spell has stood the test of time and endured. But from another point of view, it is a bit disappointing, there is no innovation, no breakthrough, and the old way is stubbornly adhered to.

Spells are mostly used by wizards, and the number of researchers and developers is very small. Because the bar is too high, there is not a lot of expertise and even the structure of the spell is not clear. And a large number of wizards among the Spell developers are the kind of "mediocre" who can only do the same, and it is tantamount to a fool's dream to expect them to innovate.

But Solim is different, he has a brain, and most importantly, he is fundamentally different from traditional wizards in terms of thinking. This allows him to see certain issues from a different perspective than traditional wizards.

Transfiguration is an esoteric, powerful form of magic and the essence of European magic. Solim's last sneak attack on Umbridge on the pitch was to test the feasibility and maneuverability of clothing deformation. The results of the experiment undoubtedly satisfied Solim.

Almost all dueling spells are directed at people, and Solim takes a different path, choosing to start with the wizard's clothing. Through the effect of Transfiguration, the soft clothing on the wizard's body turns into sharp spikes, and then pierces the target's body, so to speak, as long as this spell can achieve the effect that Solim expected, then it is a proper lethal spell, and the effect is amazing.

However, it is not easy to achieve the desired effect, the degree of deformation, the duration of deformation, and the deformation effect on what clothing and where it will be produced are all carefully studied.

Solim developed a spell, and the spell was extremely rigorous. Any spell, its effect is determined before it is cast, and it must be perfect everywhere to be a full-fledged spell.

Many of the spells derived from Transfiguration, such as "Flock of Birds" or "Orchids in Bloom", can be achieved using Transfiguration alone, but what is the difference? Why do you have to spend time and effort inventing a special spell to achieve something that can be done with Transfiguration?

It's not a complicated question, but most people don't know, or I should say, most wizards don't realize it.

Transfiguration is magic with an indeterminate effect, and you can use Transfiguration to conjure chairs, animals, and cups made of metal...... And so on and so forth, as long as your magic and mind can support that.

But a spell is different, a spell is magic that determines the effect. Achieving a certain effect through a series of processes such as spell structures, pattern combinations, and so on that ordinary wizards don't understand is the concept of spells - of course, this is Solim's own summary, and there are never any of these conceptual things in wizards' spell theory.

If the magic of a wizard is plasticine, Transfiguration is the hand of a wizard, and what kind of work it is made into depends entirely on the wizard himself. A spell, on the other hand, is a mold that the wizard only needs to pour mana into - simple and effective.