Magician in Type-Moon

Page 661

After 'investigating' the area, Matou Ike concluded that he couldn't obtain any more clues for the time being, so he and Arcueid went outside the tower again and left the oppressive crime scene.

The resting place chosen by Matouchi was that open grassland where one could simultaneously see the two giant, tilted shadows of the 'Tower of the Sun' and the 'Tower of the Moon'.

The damp lake breeze rustled by, bringing the scent of grass and earth, which slightly dispelled the bloody smell in my nostrils.

There happened to be a rock of just the right size exposed on the ground, and Arcueid, who was tired from walking, simply slumped down on it, like a large feline that had retracted its claws.

In this ancient magical homeland, even the 'every pebble' on the land is likely imbued with the will of the administrator, Izeruma, woven into that vast magic formula.

However, this open area still felt much better than the enclosed 'inside tower' living quarters,' at least it offered a wider view and made it less likely to be attacked.

After a moment of silence, Arcueid seemed to still be processing the earlier discussion about the Golden Princess's spell. Looking at the two towers, she suddenly asked:

"You seem to know everything about the 'spell' concerning the Golden Princess and the Silver Princess?" Her tone was filled with simple curiosity, rather than an attempt to uncover secrets.

Matou Ike glanced at her, shrugged, and replied in a tone that was half-lecturing and half-teasing:

“While it’s normal that you’re not a magician and ‘not interested’ in this kind of knowledge, don’t be so blunt. Besides,”

He then changed the subject, saying, "The pursuit of beauty is almost instinctive, isn't it? I believe that 'almost' women, to a greater or lesser extent, 'want to become more beautiful,' right?"

He tried to use a common phenomenon as a metaphor.

“I haven’t thought about it that way,” Arcueid replied with utmost 'honesty,' her golden eyes revealing no falsehood; she truly had never considered the matter.

As the True Ancestor, her existence is already perfect and cannot be changed by external forces.

Looking at her pure and innocent expression, Matou Ike couldn't help but sigh deeply.

“Madam,” he said with a worldly-wise air, “if you are not lying, then your life is probably filled with too much direct danger and struggle for survival that you have never considered such trivial matters.”

He gave an example: "Even among those 'Hollywood movie actors,' who are naturally beautiful, there are many who want to make minor adjustments or maintain their appearance through 'plastic surgery.'"

"Moreover, modern 'surgery' comes in a wide variety of forms,"

He continued, “Cosmetic surgery that can be done without incisions is now very common.” His understanding of modern technology seems quite up-to-date.

"Is that so?" Arcueid nodded thoughtfully, as if she had heard something new and interesting.

To her, this obsessive modification of the human body is indeed quite peculiar.

Seeing her reaction, Matou Ike suddenly steered the conversation to a more fundamental level:

"Because the so-called 'makeup' is essentially 'a kind of magic'."

He gently stroked his cheek with his fingers, as if demonstrating a certain area, and continued:

"Among the 'traces' discovered so far, the 'oldest' practice of makeup dates back to 'before we became us'—that is, the primitive period 'tens of thousands of years ago'."

His tone was like that of an archaeologist.

"It is said that the initial motivation was because people were afraid that insects, demons, and evil spirits would enter their bodies through the orifices of their eyes, nose, ears, and mouths. So they used mud, minerals, etc., to paint them with bright colors in order to drive them away and block them."

“In some indigenous tribes in the interior of New Guinea and the Amazon rainforest, this kind of ‘exorcism makeup’ is still done ‘to this day,’ so you might find it somewhat ‘familiar,’” he said, suggesting that this ancient practice may be related to more primitive mysteries.

"In contrast to 'exorcism,' there are also makeup techniques used to 'summon' 'guardian spirits' and 'deities,'" he added. "This part has also been 'inherited' by modern 'mediums' or clergy."

“Then,” he changed the subject, recounting its evolution, “the makeup that was initially used for ‘exorcism’ and ‘insect removal’ underwent a ‘major change’ around the time of ‘ancient Egypt’.”

"A famous example is Queen Nefertiti from the New Kingdom period around the fourth century BC."

He cited a specific case.

"Modern research has confirmed that she used precious lapis lazuli to make dyes for things like eyeliner. This transcends practicality and carries connotations of status, aesthetics, and the sacred."

“Of course, many cosmetics are harmful to the body,” he acknowledged, “but at this point, the value of dressing up is more widely recognized, even outweighing the health risks.”

"Later, even after the 'toxicity' of some makeup techniques became known, 'makeup' continued to spread widely," he concluded.

"This shows that the value of 'beauty' itself contains an 'amazing' power that makes people ignore the risks."

Arcueid couldn't help but show an incredulous expression at Matou Ike, who was usually calm and rational, seemingly indifferent to worldly concepts like 'female beauty and ugliness', now so meticulously explaining the history of makeup and plastic surgery.

The stark contrast filled her little head with huge questions.

Because he usually appears indifferent to physical beauty.

Hearing him, who usually only analyzes magic tricks and discusses life-or-death crises, rambling on about the history of makeup, was truly unsettling.

Perhaps it was because she clearly "senses" Arcueid's gaze that "thinks you're strange."

Matou Ike cleared his throat somewhat awkwardly, then quickly followed up, trying to steer his erudite display back onto a more "serious" track:

"Ahem... Even if we 'limit' our discussion to 'plastic surgery' that requires 'operation,' its 'oldest record' must be 'traced back to 'ancient India.'"

He switched to the more technical field of history.

“There was a cruel punishment called ‘nose cutting’ at the time, used to punish adulterers or prisoners of war. It is said that in order to make the victim’s face look ‘normal’, doctors would perform reconstructive surgery and ‘transplant’ skin from ‘other parts of the body’ to cover the wound.”

“In addition,” he continued, giving examples.

"Back then, they would also perform surgeries like 'piercing the earlobe and stretching it,' which is clearly 'recorded' in the medical book of the time, 'Myo-bun Hon-sho.'" He cited classical texts to prove its long history.

He then skillfully steered the conversation back to the core issue:

"However, I mention these things to illustrate that the 'magic' that the 'Izeruma' family pursued to create the Golden Princess was actually 'established' and developed on this long and tortuous 'history of pursuing beauty'."

He looked at the two towers, “'According to' the existing records, just counting from when the Izeruma family 'launched' this research on this particular land, it has been 'more than ten generations'—”

He did a rough calculation: “Roughly speaking, they have been investing in and spending hundreds of years on this project.”

This is undoubtedly an astonishing time span, demonstrating the persistence and terrifying nature of the magician family.

After saying this, Matouchi paused for a moment, as if digesting the heavy weight brought by the family's centuries-old obsession. A breeze blew across the grassland, bringing a touch of coolness.

Then, he lowered his voice, as if sharing a top-secret discovery, and his eyes sharpened:

"Furthermore, during the investigation, I 'overheard' several rather 'suspicious' 'rumors'—"

He paused, making sure Arcueid was listening attentively, "It is said that the 'Izeruma' family recently secretly 'purchased' 'something' special, an extraordinary 'treasure'."

"A secret treasure?" Arcueid repeated the key word when she saw Matou Ike 'frowning' as she pondered, not even caring that she was covered in the 'earthy smell' from her investigation.

Matou Ike shrugged at her, indicating that she had limited information.

"After all, it was supposedly an underground auction that was 'only for' certain 'members',"

He explained, "The channels are very secretive, so I don't 'know' exactly what the 'treasure' is."

However, he still provided some background information: "However, it is said that many 'magicians' with a keen sense of smell have their eyes on that thing, and the competition is quite fierce. The Izeruma family, on the other hand, almost 'only pursued that one target' and eventually 'bid it' at any cost." This shows Izeruma's determination to obtain that treasure.

After listening to Matou Ike's words, Arcueid asked a very practical question, which was quite 'unbelievable'—

During the time she traveled around with Matou Ike and came into contact with the human world, she had begun to 'understand' the meaning and importance of 'money':

"Is the Izeruma family... really that 'wealthy'?" To be able to secure such a coveted treasure among so many competitors requires astonishing financial resources.

“No,” Matou Ike immediately shook his head in denial, “at least, I have never heard of any rumors that Izeruma is so wealthy.”

On the contrary, Izeluma gives the impression of being a family of alchemists who are engrossed in research, rather than wealthy tycoons.

So, where did the money come from? Matou Ike offered a reasonable guess:

"The auction results have led to the Izeruma family now struggling with cash flow... This possibility is not impossible." He further explained, "Because magicians are inherently a very expensive profession."

Chapter 686 Highly Praising (4k)

Matou Ike's tone carried a hint of mockery towards the very nature of magicians:

"Beautiful principles like 'equivalent exchange' are ultimately just empty words used to make a public statement."

"In reality, to create one gram of gold, one often has to waste a whole swimming pool of gold and go bankrupt – that is the cold-blooded essence of magic."

He emphasized the extreme consumption of resources and the almost obsessive investment.

"Moreover," a complex light flashed in his eyes, "it is only from that kind of costless abuse and extreme obsession that certain fantasies that transcend common sense can be born."

"For example... the ultimate beauty like that of the Golden Princess."

At this point, Matou Ike seemed to suddenly remember something, and her eyes narrowed:

“Oh, right…” he whispered, “that guy said the same thing.”

"He said he had a 'cursed object' that he 'wanted to get his hands on no matter what'..."

Mick Gragillier—the suspicious man who took the initiative to approach Matou Ike and invite him to join forces to 'dismantle' Izeruma.

Because the recruitment itself was so abrupt and 'suspicious,' Matou Ike almost 'forgot' about it, mistaking it for a clumsy joke or a trap.

However, considering the rumors surrounding the treasure, the 'cursed object' that Mick mentioned and the 'treasure' that Izeluma bought are very likely the same thing. This means that the 'treasure itself' does indeed 'exist' and has attracted the attention of many forces.

Arcueid deduced logically:

"So... was the completion of the 'Golden Princess' 'through' the power of that 'treasure'?" She believed that the expensive treasure might be the final key material for creating "ultimate beauty".

“…Sigh,” Matou Ike sighed and shrugged, “That’s what I thought at first too.”

This is indeed the most direct and reasonable speculation.

“But,” his tone suddenly shifted, becoming serious, “if you examine the ‘period’ carefully, there are discrepancies no matter how you calculate it.” He pointed out the key contradiction.

"Period?" Arcueid asked, puzzled.

“Yes, ‘period’,” Matouchi affirmed. “As I just said, the core ‘technique’ of the Golden Princess and the Silver Princess is based on the ‘movement of the sun and moon’ as the most fundamental ‘benchmark’.”

He reiterated this fundamental point.

"In other words, no matter what kind of 'secret treasure' is added along the way as an aid or catalyst, the entire process and adjustment of the technique must be strictly based on that cosmic cycle, and it is impossible to deviate from or significantly accelerate it."

He raised the core question:

“But look at the celestial phenomena of the past month or so—” he pointed to the sky. Although it was daytime, the magician could naturally sense the movement of the stars. “The situation is really not good.”

He explained in detail: "If we only look at the phases of the moon, which are in a single cycle, it is still possible to solve and predict the problem because the moon regularly goes through a cycle."

However, when it comes to the "techniques" that require precise coordination of the positions and forces of both the Sun and the Moon, recent planetary angles and gravitational perturbations are "not so good," and could even be described as being in a relatively "sluggish" or "chaotic" cycle.

Based on these celestial phenomena, it is simply not suitable to carry out major operations that require extreme precision, such as "final adjustments" or "injecting a new core."

Forcing it would be extremely risky and could even lead to the loss of all previous efforts.

.........

The workshop that belonged to Baron Balereta Izeluma was located on the top floor of the Tower of the Moon.

Many magicians tend to set up their workshops 'underground' or 'on the top floor,' and the difference often stems from the core of their magic foundation—whether they draw 'power' from 'the earth's veins' or 'the sky'.