Boundary Labyrinth and the Foreign Magician

When it comes to making magic props to combat immortality… After everyone has discussed what form of object is good, Tsubaki will take the method of writing the art ceremony on paper from that knowledge, engraving it into the demonic stone by Komachi and finishing it as an accessory by Princess Elkham.

In other words, the core part of the demonic prop is Hitaca style. Auxiliaries such as letting demon stones have attributes are done by Valentina. Equipment incorporating demonic stones, their decorations, etc. are the same as always. So we're going to build them out of Brightwell workshop equipment and materials.

Labyrinth Demon Properties with regard to Demon Stones, etc. Being able to use materials for Lunzawa is a thankful story for the craftsmen, and Komachi seemed to enjoy working for the price.

Alfred and Viola, on the other hand, will make air combat gear tailored to Tsubaki and gear about Teal. Whether it's teal or obsolete, it's more efficient to go ahead with it if it's training.

Teal first decided to have air combat gear, protection and defensive fields. Magic Shield magic props are also effective in the water. In addition to normal swimming, it is easy to use the shield as a scaffold for rapid movement changes, acceleration using leg force, defense against attacks from the rear, and if land leaves high above the water in the distance, it is possible to escape to the safety zone without choosing a location.

It is important to be able to move while calculating wear and tear while using these equipment. It would be good to lecture on various other methods of warfare using ice, such as the use of fighting spirit. Fortunately, there are quite a few faces who are wearing a way to fight that goes well with Teal. The same goes for Ashley and Lavine, as well as Corliss' crystal armor and his substitute moves with it.

Besides, Oboro also participates in training for his body... That's how Oboro asked me if I could help with the fight as I worked out the training plan.

"Right. In the case of Oboro, it is still the main thing to be deluded by the agility of the movement..."

I have one problem. It's good to touch it and inhibit the opponent's movement. From there, it would also be possible to launch an attack using electric magic props and the like.

However, even if the ability to evade is high, it is not excellent in terms of attack, endurance, so obstruction in the direction of inhibiting the opponent's movement on the front line can be dangerous.

"Mmm. I wonder if it's a good idea to remotely inhibit their movement."

"Looks like you've got some good ideas."

Alfred seems happy to ask me how I reacted.

"Right. I think it would be a good idea to fly the phantom split over a distance and start there with a fairy illusion, appealing to their senses. He said that Oboro's own form of magic props would remain in the safe zone and act as a disincentive to action."

What I'm assuming as a demonic prop for Oboro is the technology we use in Phantom Theatre.

Originally, it is a technique of manipulating the sound of serafina, or the illusion technique of appealing to the five senses used by the fairy queen of the kingdom of Drafdenia, Robelia and others...

"Robelia... the fairy queen... she draws into the art of illusion by, for example, making her sing, flying balls of light, making her listen and show it. Yes, she does. Essentially, they use it when someone falls out of the woods, losing sight or sense of direction."

Explain how it works and the concept to Alfred and Oboro.

It triggers the art of illusion by showing or making heard of some phenomenon.

In that way, he lures some sense to those who have been subjected to the art of delusion. The magic of Robelias is such a substitute. Seylane and Harpy can do similar things with curses and curses.

In other words, it triggers the visual capture of Oboro's unleashed mirage body in its application system, and it's the art of delusion. It attracts the feeling of being touched by a rub.

"I guess that means it becomes a phantom to be touched by the other person"

"I wonder if the phantom that only has a touch feeling...... is the exact place. The entity is not there. After that, interlock the magic props... and create a golem in the position where the phantom exists, or something like that, and you can remotely set up what you can do and what you can't do anymore."

For example, do you expect the golem to occur at the required location?

Because it is the main body of the rub that interrupts the movement by identifying the position of the target's trunk and center of gravity.

Additionally, the Oboro body is in a defensive position even if it is breached by the opponent of the illusion technique, so it does not pose a risk.

Where we have seen the art of illusion, the Mirage Body is skipping the split of light, so it will in any case look visual, and if it is possible to create an entity in that position, we cannot decide to ignore it completely. I can tell you that being able to set up these sorts of operations from the side in the midst of a mass battle... has more inhibitory effects than I thought.

However, it takes a lot of training and mastery to fly the mirage body remotely and move it as if it were there.

Communicating those concepts and caveats to Oboro and asking him if these pieces of equipment were, Oboro nodded, distorting the edges of his mouth in such a way as to be motivated.

"Then I guess it's settled. I'll write down the procedure."

Mirage bodies should be able to have some complex control. When that happens, do we need to grant the attributes of light to the Demon Stone? You'll need to ask Valentina for this.

"Mm-hmm. I'll do that later."

Alfred nodded. Later...... right. When the emperor of Hitaca contacts us, we will move on to the installation and construction work of the transfer gates. Since the elders of the Seven Houses help us, the personnel working in the workshop are in a form that allows us to continue our work as is.

Until then, let's say we all go ahead with our magic props making and training.

"Right. Feel the flow of vitality inside your body and concentrate it, should I say? Being a warrior and all that intense emotion should also help boost your struggle."

"Using fighting is difficult at first. Once you know what it feels like, just train later."

At the same rate I said, Teal was practicing dealing with fighting with Grace and Sheila's advice. I wear the art of using ice, so magic manipulation is not a problem. It's an exercise in dealing with fighting within the limits of not being able to produce magic tools.

Teal looked like he was working hard inside trying to focus his eyes on the flipper and pull himself together.

Beside it, Oboro is a practice where Tsubaki slips through Aquagolem and his combat training in the air.

Run through the air watching your buddies move and slip through to avoid hitting the fighting Aqua Golem. Even if it clashes, Aqua Golem won't hurt you, so you can feel safe.

As for Tsubaki - he has excellent reaction speed and physical ability, and can fly in the sky with immortality. For this reason, the challenge was to master aerial manoeuvre by kicking the shield, but I had the impression that I was already using it quickly on this. Kick the shield to the left to the right and jump, step in avoiding the water bullet released by Aqua Golem, and snap Aqua Golem's neck with a fighting knife. Even without a shield, I can ask that it is quite skillful.

That's how Aqua Golem moves as Tsubaki moves, and Oboro runs around in the air.

Everyone also trains their golem opponents in turn, taking a break, and proceeding with the feeling.

"No. That's what's going on, Lord Theodore's manipulation ceremony... No, it was a golem. It won't be a problem if I hit it. This is certainly going to be training."

And, after training, Tsubaki was squeaking like that.

Teal has the impression that he is slightly handy in mastering his fighting skills. I have seen Tsubaki's moves and have Grace and Sheila demonstrate them because the use of others' fighting temper can also be helpful, but it seems difficult inside.

Because you don't seem to be racially very belligerent, and you don't seem to be going through a battle-like battle.

I feel a lot promising just to learn how to fight because it feels like I've heard about Teal and he's driven well and has a lot of nerve... Hmm.

"Can I help you a little?"

and touch the back of the teal and perform a circulating smell.

"Pull out a little shoulder strength. Yes. Do you see the flow of power in your body?

Instead of magic, he tells Teal to emphasize the flow of vitality.

"I said will for battle, but... it's good to remember how I felt when I stood up to a giant squid trying to protect my people"

Courage, if that will be expressed in words, I guess. It must also be willing to give strength to the struggle.

I feel Teal's vitality shake and increase. If that's how you concentrate your power - the flipper was hosting the glow of the struggle.

"And unleash it, targeting -!"

With that said, create a targeted aqua golem. It makes you look like a human-sized squid. Teal hit Aqua Golem by trying to tap the flipper from the top of the diagonal as he kicked his target and jumped back up.

The top half of the aqua golem is smashed to extinguish. Powerful enough for the momentum of excessive struggle to slap and crush the ground.

Based on my physical abilities, I expected that if I could use my fighting skills, it would be considerable... but this is amazing inside. Because even a simple beating by a flipper is this.

What surprised me was the teal himself who did it. I look at the destruction marks and blink my eyes.

When Mallane and Claudia laugh and applaud, everyone around them follows suit. Teal raised his happy voice as he finally got a sense of reality. Corliss may be snorting.

"Nice. After that, you can train them to use them for fast travel, defense, or with magic tools and tricks."

With that said, Teal moved his neck wide and vertical to bow to me as he honked.