The Wizard: Starting as a Corpse Burial Man - An Infinite Side Hustle

"The 1-star nameless painting that contains the [Skull of the Forged] should be replaced."

Even if we don't change it, we should still make some modifications based on it.

This will improve the painting's rating and the strength of the "Cast Colored Skull" attribute.

In addition... one can also draw more painting-style spell scrolls.

Ansu planned to draw more painting-style spell scrolls that would help improve his strength before the assessment began.

After all, he now has quite a few combat troops under his command.

Shadow Dragon, [Cast-Colored Skull], Piper Ratman, Skeleton Rat.

And the colossal flesh golem that is about to become a vengeful spirit.

There is also a series of ordinary flesh golems that, after a period of time, will transform into undead due to the aura of the dead.

Therefore, Anzu needs some familiars who possess non-combat-related skills to help improve his various abilities.

After confirming that there were no more flesh golems in the vicinity, Ansu left the area.

After a series of twists and turns, they returned to the living area of ​​the burial people in the Rose Cemetery.

Then he began to draw upon a multitude of inspirations related to pigments, using them to formulate new types of alchemical pigments that could be applied to painting-type spell scrolls.

Over time, Ansu has mastered an increasing number of pigment types.

His proficiency in [Knowledge - Alchemy Pigment Mixing] and its mysterious attributes also gradually increased.

Meanwhile, Ansu was also handling other matters.

Activate the "Death Breathing Technique" to enhance physical and mystical attributes.

The analysis reveals the knowledge derived from the numerous corpses buried in the cemetery area, including the flesh golem.

They applied this to the creation of new types of alchemical pigment formulas, thus preparing for the creation of new painting-type spell scrolls.

Every so often, Ansu would use his auditing pass to go to the teaching area of ​​the wizarding academy.

Furthermore, through this, they gained a great deal of mystical and extraordinary knowledge that could be combined with the effects of the entries and professions to enhance their own strength.

...

"Everything can be applied to alchemy."

And all alchemical techniques can be applied to constructing painting-style spell scrolls.

Above the course on "Drawing Spell Scrolls in the Art Style".

The centaur Novak holds a blank sheet of paper in one hand and a paintbrush in the other.

He then casually tossed the paintbrush aside.

The moment the paintbrush touches the paper, it immediately disappears into it.

This was transformed into a pattern on the drawing paper.

"I applied spatial techniques to constructing the canvas."

As the centaur Novak spoke, he shook the drawing paper with its inner space.

The paintbrush, resembling a pattern, also adjusted its position accordingly.

"Without special treatment, even if spatial techniques are used, it can only serve as a visual spatial prop."

However, objects within a spatial drawing can be fixed in a specific area using special methods or specific types of pigments.

Next, apply alchemical pigments to other areas within the drawing paper.

By using this technique to create specific patterns or runes, the combination of the specific object and the pigment can produce a synergistic effect, resulting in a 1+1>2 effect...

Ansu looked thoughtfully at the spatial drawing paper in the hands of the centaur Novak.

Since it is considered a type of painting.

I estimate it can also be applied to the easels in the floating city of the soul space, to help me create undead minions with specific types of attributes.

Since that's the case...

Ansu had a few thoughts.

And I've already decided what materials I want to apply to the spatial drawing paper.

So Ansu continued listening to the centaur Novak's explanation, and his knowledge proficiency improved rapidly.

After the centaur Novak had been speaking for another half hour, the assessment for the course began.

Although no new students attended the class, the centaur Novak still set up assessment rewards.

He wanted to use this method to explore the potential of the wizard apprentices.

If someone, like Ansu before, takes first place in the assessment with an overwhelming advantage and demonstrates sufficient potential, it would be a great achievement.

The centaur Novak would then consider taking him on as his student.

However, since her first visit to this classroom, Ansu's mysterious attributes have been greatly enhanced.

Moreover, it is enhanced by the [Entry - Painting Aura (Blue)].

The higher the proficiency in [Knowledge - Painting-type Spell Scroll Drawing], the higher the corresponding talent level.

Moreover, after completing the painting, it will receive additional bonuses in terms of mysterious attributes.

Therefore, even though most of the students attending the class were wizard apprentices, Ansu still managed to get first place in the assessment once again, as a holder of an auditing pass.

In return, he received alchemical pigments as a reward from the centaur Novak.

And blank canvases in the shape of spaces.

The course ended shortly thereafter.

It's just a pity.

After class ended, watching Ansu file out of the classroom with the other wizard apprentices, the centaur Novak thought to himself.

It's a pity that Sandru discovered such a good prospect first.

otherwise

Perhaps I should also open more businesses that involve non-wizards, like physical hotel-style cemeteries.

If we're lucky, we might even unearth one or two more highly talented prospects.

Although it was included in the plan, the centaur Novak did not think he could find someone as talented as Anzu.

That is precisely why.

Before that, the centaur Novak would discuss with Sandru that if Anzu joined the Wizarding Academy, he would also recommend him to enter the Sea of ​​Truth, the source of the concept of truth.

"Perhaps by relying on the recommender's identity, and by using the eyes of the recommendee."

I also had the opportunity to glimpse the appearance of the ocean of fundamental truth.

The centaur Novak murmured.

He then returned to his laboratory without lingering, preparing for the next large-scale interdimensional war.

Ansu left the academy's teaching area through the vortex-shaped portal, just as before.

He also caught some ants along the way and transferred them to his soul space.

So that the Pied Ratman could select ants as the target of his entry and breed more Skeleton Rats for himself.

They then returned to their residential area.

Then, he took out the drawing paper he had obtained not long ago and used it to draw a corresponding painting-type spell scroll.

The principle behind spatial paintings is the same as that of ordinary painting-type spell scrolls.

They all use alchemical pigments to draw runes, and by arranging the alchemical pigments in different patterns, they can exert additional effects.

However, one is drawn on paper, while the other needs to be drawn in interior space, and it needs to be a three-dimensional graphic.

However, this was not difficult for Ansu.

After all, when encountering combat situations, Anzu often draws three-dimensional patterns on the etheric material.

Therefore, it's not exactly unfamiliar.

Furthermore, it benefits from the support of the [Entry-Knowledge Aura (Color)] which can reliably increase proficiency.

There were no errors when drawing runes in the inner space of the spatial drawing paper.

Not long afterward, the interior space of the drawing paper was no longer completely blank as before.

Instead, a large number of runes of different sizes, colors, and patterns appeared.

However, if viewed from outside the drawing, these runes merely form a background.

They are all arranged to highlight something that should be at the center of the painting.

However, the main character, who should have been highlighted by the runes, did not appear.

But it's not that the other party slipped away from the painting.

Rather, Ansu has not yet transferred it into the inner space of the drawing paper.