"Of course it doesn't consume the magic power of the manipulator" Tom pulled out the rest of the magic silver he had used. He had transformed it into a large magical reservoir, which could be used to draw in and emit a steady stream of magical power.
Tom handed the cylindrical device to Professor McGonagall.
Professor McGonagall took it in her hand and immediately felt the metal: it was slowly eating away at her magic like a whirlwind. Soon, there was a faint surge of magic in the round core, and Professor McGonagall felt a very strange feeling of exhaustion: a sign of magical burnout.
"Is this magic silver? I remember reading long ago that alchemists had invented that metal" The properties of this metal touched Professor McGonagall's memory, "But this is the first time I've seen the finished product."
She looked at the piece of magic silver and thought it would hold some magic: she just had to recharge it when she had a free moment.
Tom took the "charged" magic silver from Professor McGonagall and inserted it into one of the reserved holes in the puppet's chest. At the same time, he pulled a small cylinder out of the silver. The small cylinder was identical to the large one in the magic silver block, but much smaller.
This magic silver battery - or rather, magic cell - was the result of Tom's work this afternoon. He had engraved several groups of frogs on it, allowing it to function as a reservoir, as well as being remotely synchronized, or "resonant."
Both the small and large cylinders had a set of resonant runes, and by carving them, Tom's commands to the small cylinder could also be synchronized to the large one. However, the distance over which commands could be transmitted was limited to seven meters. Beyond seven meters, a synchronization device would have to be placed to transmit Tom's commands.
"Professor Flitwick, I'm going to bug you to add all sorts of curses on the puppet. Of course, to prevent students from getting hurt, you also need to fix their corresponding counter curses."
It is common practice in the magical world to put spells on objects. Merchants would put strange spells on all sorts of objects to make life easier for wizards and sell their wares at a higher price. For Professor Flitwick, it's not hard to do.
He drew his wand, spoke the words and, one by one, the curses and their counter-curses emanated from the tip of the wand, cementing them into the body of the puppet, causing wonderful patterns to appear on the surface of the wooden puppet.
About a quarter of an hour later, Professor Flitwick completed his work. The actual doll, the whole body is covered with mysterious lines, and these lines reveal a slight malice, which makes people shudder just by looking at it.
Tom found a full body armor and put it on the puppet. This armor is used to protect the lines on the surface of the puppet. Tom doesn't want to go to Professor Flitwick to repair the puppet every class or two.
A layer of armor would prevent damage to these lines. In addition, the armor could be covered with various defensive spells.
In about half an hour, the puppet had been equipped with most of the usual magical curses, and several useful protective spells had been added to the armor.
Professor Flitwick wiped a bead of sweat from his forehead, "If the students can block 70% of the curses from this, and then learn the protective spells, I'm sure they will get an E (Extraordinary) in both their Charms and Defense Against the Dark Arts classes. "
Professor McGonagall applied a transfiguration charm to the puppet, allowing it to move flexibly, perform various complex movements, and instinctively attack the creatures in front of it.
This required great skill in the art of transfiguration, and Tom thought there were probably few in the British magical world who could do it. But transfiguration had always been used quite frequently in wizarding duels.
If the power difference was great, a wizard could even turn his opponent into an animal, unlike the animagus, he could not retain his senses and was at his mercy. If the difference in power was not too great, transfiguration could turn surrounding objects into a means of attack. For example, a round pebble can be turned into a sharp point and then hurled at the opponent.
For a wizard of Dumbledore's caliber, a transfiguration spell is used at the start of a fight to cause the sculptures around him to move and become his own fighter and shield. A wizard of Dumbledore's caliber will have exquisite transfiguration skills. When your opponent transfigures a golem, you'd better have one too, or you'll be at a disadvantage.
Staring at the bald head on the doll, Tom looked at Professor McGonagall.
Professor McGonagall sighed: well, something fancy had to be done.
With a wave of her wand, the round wooden head transformed into a white face, as blonde hair grew and a pair of green eyes appeared in the figure's sockets.
Professor McGonagall looked at Tom: Are you satisfied now?
Tom: I'm very satisfied!
"Very good, the semi-automatic combat puppet is almost finished!" Tom was very satisfied, "Can you give it a name? what do you think of the name 'Sister'?"
Professor McGonagall waved her hand, the name was not important to her.
"I thought you were going to call her Knight or something," Professor Flitwick interjected, but he didn't have much to say about it. They were more concerned about the rest of the production, because so far the puppet was still only half finished. The last crucial part had to be done by Lockhart.
Tom also casually said that, if the students didn't like the name, they could change it.
The two saw Professor Lockhart sit in his office chair and pull out a large tool table.
Immediately after, he pulled a wooden stick and quill out of the drawer.
McGonagall, Flitwick: "???"
What will Lockhart do next? And looking at the two materials, it looked like... Was he making a wand?
"I learned a bit of wand making when I was traveling the world" Tom answered the two teachers' doubts without looking up.
"Walnut, fifteen inches, Occamy feathers" Soon, Tom had the body of the wand made. The walnut grove was the subject of several old European legends, and under the walnut tree was believed to be a gathering place for witches. As for the core of the wand, naturally Tom was familiar with Occamy feathers.
It was like building a power plant on the edge of a coal mine.
Professor McGonagall and Professor Flitwick looked at each other: the Gilderoy Lockhart travel experience was rich!
They watched the carving knife in Lockhart's hand, wood shavings flying up and down. Soon, the walnut branch in his hand took the shape of a wand.