The combat artisans of Eteliria always faced one persistent issue—how to further improve the manipulation efficiency of the Flexible Constructs.
The Four-Wing Dance was precisely such a technique, simultaneously controlling four wings, allowing the Clockwork Fairy to enter high-speed flight mode in the shortest ti. It was developed by Roken J Rodlinka, a historical combat artisan from Eteliria. Undeniably, along with short-distance takeoff, it has long been one of the dazzling Twin Stars and a cornerstone of advanced manipulation skills.
After the Stargate Era, these two skills had continually served as a ter for the standards of the Second World's combat artisans, claid to be the basic essential skills for top-notch combat artisans.
In fact, this was the only way Fang Hong knew how to take off.
His skills were almost entirely derived from videos of the Second World and so insights and notes from 'masters'; he certainly had put a lot of thought into it, but these were all unconventional thods—and as for the foundational takeoff techniques discussed in the "Summoners Combat Craftsman Manual."
Sorry, Fang Hong had never read the "Summoners Combat Craftsman Manual."
At that mont, he was completely unaware of how shocking his actions were, as he had entered a state of deep imrsion. Only after surpassing three or four Clockwork Fairies did Fang Hong realize he might have been showing off too much, and he slightly slowed down.
But that was just what he thought was slowing down—
To onlookers, Fang Hong's Clockwork Fairy was like a golden teor, streaking straight into the first obstacle zone. In contrast, the other Clockwork Fairies seed like clockwork snails.
The site fell silent.
Only from the direction of the formal races far away were there bursts of astonishnt, as the first round of the official competition also seed to be underway.
Every Clockwork Fairy exceptionally slowed down when entering the artificial obstacle zone; compared to them, what Fang Hong considered 'slowing down' was like a dog off its leash, wildly running about in the field, liberating itself.
Fang Hong soon noticed this.
Because he overtook three more Clockwork Fairies, still very puzzled—hadn't he already slowed down? However, with the obstacle zone nearing, he had to refocus his mind.
It was only upon actually standing in the arena that Fang Hong realized the barrier had been ingeniously designed. Unlike the spectators' view, from the competitors' perspective, the inner structure of the artificial obstacle zone was in a state of mutual concealnt.
This ant that the operator could only rely on their visual link with the Clockwork Fairy to observe its complicated interior.
This invisibly increased the difficulty considerably.
He then began to understand why so many had failed at the first hurdle. However, this was no issue for him. Fang Hong adjusted the brass outer ring on his Wind Goggles with his left hand.
Most people didn't notice this subtle movent.
Only Blood Night Demon Moon, who had just sat down, stood up again, a look of astonishnt on her face. Similarly, many competitors in the contestant seats uttered a low exclamation, "Wide-Field Mode—?"
This was a movent whose implication only combat artisans would understand.
Clockwork Fairies had three scouting modes—Normal Mode, Narrow Field Mode, and Wide Field Mode.
The Wide Field Mode, sowhat like a wide-angle lens, provided a broader field of vision to the operator through the abilities of the vision linking crystal. However, the circular field of vision was not in line with human visual habits, so it was generally used only in specific tasks—such as overlooking battlefields, monitoring large areas, etc.
In a narrow and high-speed state, it actually wasn't suitable to use the Wide Field Mode. In these conditions, combat artisans needed to maintain high concentration and good reactivity, and excess visual information could only interfere with judgnts, distracting attention.
"So is this guy crazy, doing the exact opposite?"
The competitors at the site couldn't help but exchange looks.
The "Summoners Combat Craftsman Manual" clearly stated that Wide Field Mode should be prohibited in narrow and high-speed tasks, a classic rule. So, was it that this person simply dozed off during summoner training?
However, Fang Hong was neither crazy nor had he ever participated in summoner training.
In fact, he had always believed that the Wide Field Mode was specifically ant for such situations—narrow and high speed. It was more convenient for him to morize the spatial distribution around him. He believed that what was needed under these conditions was not reactivity.
But information—
Once Wide Field Mode was activated, the entire interior of the artificial obstacle area appeared completely different in Fang Hong's eyes. The state of the space, front, back, up, and down, naturally presented itself in his mind.
Every barrier, every dead-end, every trap, and every corridor distribution, were all etched into his mory. He slightly raised his head, fingers together, and swept from the bottom left to upper right. The Clockwork Fairy suddenly soared, diving at an incredible angle into the narrowest passage.
The crowd let out a gasp.
They almost thought that the Clockwork Fairy had crashed, but the touch sensors outside the artificial area emitted no buzzing sound.
The Clockwork Fairy, like a Little Fairy dancing through a dense forest, was incredibly agile; the entangled thorns seed like its own backyard where it leisurely strutted, elegantly and gracefully.
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