Friday 28 August 2020

A Dice Mechanic for Goose-Gold and Goblins

 Here are the older posts on Goose-Gold & Goblins;


Char Gen 

Crappy 1st attempt at Shinto

Shinto in Cumbria 

A World Without Violence 

Monster Brainstorm 

Goose-Gold & Goblins 

On twitter, @spookymeal did this charming illustration;

Now on to the prime reason for this particular post;

I hate designing games, I am terrible at it.

However, Goose-Gold & Goblins requires some kind of dice mechanic to power it, so I will have to either come up with, or, more likely, just pirate something. 

Hence this blog post, in which I appeal to my audience for assistance in either creating, or just stealing, a mechanic to power the game.

Since my desired result is very simple, the constraints which lead to it are rather complex. I will lay them out here.


After reading this illuminating series of posts from Dreaming Dragon Slayer;

In which he runs very simple D&D with his kids, I have been converted to his way of doing things;
The GM, (presumably the parent), rolls one die, then the player (presumably their kid) rolls another and tries to beat the parents roll.

Kids seem to really like rolling "to beat the dm", which I suppose counts for more if the DM is your dad.

I only want singular rolls, one die rolled against one number and you know the number you are rolling for, its open, right there on the table and you roll yourself, the roll is obvious, then you win or lose.
I know binary yes/know results might sound rough on kids but they are much easier to process and understand than more complex "you kinda win but sort of lose a bit" results, and hopefully GM advice and game process can help GooseMasters produce results which respect the nature of challenge and failure but which don't crush the spirit of the players.


Even if modifiers are small they are generally bad, especially for a Kids game. So leaving them out would strongly suggest improvement via die *size*. Having a bigger die to roll is immediately visible and *tangible* to children.

However, the complexities of the various probability curves are somewhat beyond me.


Don't get me wrong the idea of producing a custom set of Zocchi dice, including a GooseMasters D7 with a rabid raging Goose in place of the 7, is tantalising.

Building the intermediate dies into the game also provides more granularity.

BUT, I want the game to be as accessible as possible, which mean no Zocchi.


I really like the probability curve of the D20, especially the fumble and crit results, they are just rare enough that the world still has a feeling of general verisimilitude but *just* possible enough that its worth taking a swing at even an unlikely result.

For me the probability cuve of the D20 with the 5% crit/fumble likelihood helps to create a lot of the storybook, slightly hectic, dangerous but slightly farce-like texture of a D&D world.

Go up the die sizes and I would say you generally get more "pseudo-naturalistic" results. Go down and I think you get something a bit lighter, more storybooky.

obviously my desire for a d20 curve conflicts totally with all of my other constraints.


The idea of players being able to help each other, if that is diagetically appropriate, is pleasing to me.
Do I want it to be; you roll, and if you don't win, your friend can also add their roll (if they can think of a way to help)?

Or - you both roll together?

I think probably doing it sequentially is best? Its simpler.

The question of what to do if the GooseMaster rolls a 1 is still there. If we assume only single die then its always possible a player could also roll a 1. But if we are allowing 'assists' then if the players know the GooseMaster has rolled a one, if they can get help then they can roll without risk as they have two dice?

Maybe that's ok? How soft do I want to be here?


What about complex interacting things which would otherwise use modifiers??

Presumably some classic OSR/Apocalypse World advice/guidance on when to roll, how to describe situations and arrange challenges etc would be appropriate and could cover this ground?


Hopefully most of it should be tied into diagetic elements like additions to your house, improved resources, Goose-Gold (obv) wider alliances etc.

Otherwise the only advancement is hey - get a bigger die for this quality.


Are my concepts for qualities awful? I kinda suspect that they are;


Not necessarily bad for character *creation* but how do you meaningfully roll for being "Old"?
Likewise, the Courteous/Act axis makes sense for character creation and gives a decent image of a person but would I be better just ripping of Ryuutama with STR, DEX, INT and SPI.

What would a kid understand?

Its body parts isn't it? Because you learn to name those first in rhymes.

BIG & SMALL could stay perhaps, with BIG being used as STR and SMALL being used for stealth rolls, sneaking and hiding.

YOUNG or OLD could maybe stay, with YOUNG giving you more Escapes, and Old being a kind of magic-using, book-using score. Like you roll your 'Old' die to do magic and use books.

Also the idea that your Grandma can just naturally do magic seems appropriate, so if you are playing *as* your Grandma, or *a* Grandma, then knowing magic seems reasonable.

HANDS and FEET could be Dexterity, or deftness, or Skill, vs Speed.

CLEVER HANDS or FAST FEET? Is being able to move fast a reasonable exchange for all the ways hands can be useful?

COURTEOUS or BOLD - don't know if I want to put in a 'behaviour' stat, but I feel like this could work?

Maybe QUIET or LOUD? But that steps on using SMALL as a stealth die.

Other questions;



Prospective GooseMasters, I leave the comments open for the no-doubt overflowig wisdom of your replies.

Monday 24 August 2020

Flash Gordon and the Bat Sandwich

 Who could have guessed that the greatest enemy of cinema would be;


In an attempt to lure people back iin, local cinemas have been putting on old favourites at rescued prices. I went to see Flash Gordon, and then bought the first volume of the collected newspaper strips by Alex Raymond.

I enjoyed every minute of the film, the insane pace is accurate to comic, as is a whole lot of everything else; Hawkmen diving, cities riding on ray-beams, baroque rocketships.

In the comic, the whole start with Mongo somehow threatening earth, Flash and Dale in a plane which crashes right next to Zarkovs lab, who then forces them into his counter-attack rocket with a gun for.. reasons? Then a crash-landing on Mongo, all takes place over one page. 

(Flash was a famous *Polo Player* in the original...)

Princess Aura is the best character in the film just as she is in the comic. 

There are loads of mildly-honky effects in the film but no bad shots, lots of very broad performances but no actual bad performances. Maybe the guy playing flash maybe, but he plays a good-natured monodirectional athletic lunkhead pretty well.

The designs in the film, especially the costume designs for Mings Court, are fucking insanely good,  decadence, lushness and questionable transformed Orientalism (the exotic Other!) seen through a lens probably slathered with whatever they used to use in softcore porn shoots.

Not really a surprise that this film did poorly in the U.S. as it’s an extremely, relentlessly, unamerican film in its aesthetic.

In the comic collection the art is lovely, the invention wonderful and the development of Raymonds comic-booking skills charming but even for someone who likes all of that the story is brutally, even oppressively, repetitive.

Flash has gladiatorial duels, fights strange animals, escapes from castles, sneaks into castles, someone has abducted Dale, someone has abducted Flash, friends must battle, enemies learn a new respect for each other, Ming sends out his feudal-tech fleet of ships, a new biome is discovered ruled by a new people with origins in a questionable early 20th century ethnic stereotype.....

Just keep reloading that page basically.


Presumably this has been explained at some point in the long-running comics, or some fan has build a web.. nope I looked it up and apparently it’s just a planet, which I find quite dull, so will be ignoring that I think.

There seem to be a whole lot of moons and planet-fragments bounding and rolling around each other in some kind of aetheric atmosphere. Is it all happening within the envelope of some attenuated gas giant? Or in some solar bubble, maybe a fractured dyson sphere binding the energies of a dying star?
That would probably make more sense for me, it explains the feudal toybox technology in a way familiar to anyone into D&D. A dying red sun at the centre of a fractured sphere the size of a solar system, with wounds and rents the size of worlds, red light leaking out as if from a hooded lantern.
But still holding enough energy that within its both liveable but also fucking HUGE; why it can reasonably call itself the ruler of the Galaxy.

Also explains where all the post-singularity tech and different quasi-human subspecies came from. Remnants of the fall. Also explains Mings super-intelligence.


Flash Gordon also feels like a kind of missing link between the 19th Century Theatre-inspired Walter-Scott Expanded Universe and the post-60's pseudo-feudal Deep Future paracosms.

My timeline would be something like this;

17th to 19th Centuries

Printing and mass literacy begin to create the market and mind-state.

Sir Walter Scott (and others) "pulls a Shakespeare" and jams together historical sources and popular storytelling in a manner exciting to the Audience but also informing and reinforcing their cultural identity.

At the same time the orientalist craze ebbs and flows as the industrialising western empires come into deeper contact with a wide variety of non-Western polities.

Many are, or were, richer than the West. The Other who has more money than you is a *decadent empire*. If they have less money than you they are either *savages*, or possibly *noble savages*, indicating that *you* might be the Decadent Empire. (Tacitus there writing a proto TNG episode).
All of this combines with the "hey we discovered ANOTHER strange island" culture, which dates back to the Tempest and Moores Utopia. Utopia being a combination of proto speculative fiction and the recently discovered island culture being a real-life "what if" story.

So the Wests/Anglospheres imaginative landscape of *The Other* is made up of these fancy decadent eastern potentates and mysterious islands with monocultures.

19th Century

That sets the scene for Walter Scott and the Victorian popular novel.

That feeds into Victorian theatre, music hall etc.

Cinema eats the theatre.


Here comes Alex Raymond with a world based on theatre costumes, circus wear, multicoloured fireworks, rockets, rays, sword fights from theatre and cinema, endless castle escapes and infiltrations from gothic novels and Walter Scott, an evil version of the Chinese Emperor being vaguely but generally ethnically evil, decadence and wealth from a blizzard or orientalist fantasies, single-biome 'worlds' or stage sets like islands in the sea, "primitive" tribes and peoples with Witch-Queens like something from 1000 colonial fantasies and dream versions of real encounters, and, less interesting to Raymond, but more to us, a Feudal social structure combined with super sci-fi Future tech.

Late 1950s/60s

Here comes "proper" Sci Fi, including Asimovs "Foundation", basically "The Fall of the Roman Empire.. in spaaaace". Includes Tech-Priests, predictions of the future, a golden path, and lots of Feudal Empires in space.


Frank Herberts "Dune"

"Dune" is basically a darker-n-edgier Flash Gordon, or an "Alan Moore Does Flash Gordon"
Hey guys guys guys, what if we had an orientalist  19thC lost-desert-prince-returns-to-the-tribes plot _but the tribes were actually the goodies_.

What if we did Asimovs "Evil Psychic Mohammed" plot from the Foundation books, but psychic Mohammed was actually the good guy?

God Emperors, more future visions and crucially, Feudal Space Empires.

And a more clear confabulation of *why* exactly technology and culture produces human-centred Feudal Space Empires and *why* being really good with a knife or sword is more important than having a tank.

Deeper world creation but Walter Scott could have told you why; modern war tech is distant, impersonal, reduces individuality, either annihilates or fails, and broadly, is a fucking nightmare to tell a human-centred story about. Really you need heroes in big families and comprehensible hierarchies fighting with swords over dead fathers and threatened lovers and marriages and crowns and shit, THATS a story buddy!


Star Wars. Lucas does his own Flash Gordon inspired thing. Has some success. Shamefully he takes out the feudal identity structures and swaps 1930s luxury futurism for decayed-new-york worn technology. He does manage to keep the sword fights and the stripe down Hans trouser leg though.


Warhammer. Dune plus Foundation plus Medieval Europe.


Joy is a valid production of art and very few works of art produce joy. pleasure is an emotion as complex as any, though its engines may be atavistic. A pure response, without much alienation or inner "turning about" is more difficult to consider than a dissonant or multi-tone response, but is just as difficult to produce, (seeing that it is produced well so rarely), and has the same 'depth' as a more-apparently complex response.

Imagine emotion as a light, or as a kind of sonar signal pinging out and echoing back from the hidden trenches of the psyche. A piece of art that produces a complex interplay of signals; a deep corrugated terrain of emotion, memory, experience and intuition, that can be thought of as a deeply textured signal, or a jangly dissonant one, but there is also a response, simple and almost surprising in its lightness, like the sense of locating an unexpected object, finding a whale on your sonar perhaps. 

A chime that comes back, largely unaltered, but not without illuminating the depths of memory and experience and emotion first, only that what it illuminates is harmony, oneness, cohesion, "rightness", maybe even playfulness.

Maybe a metaphor I’m looking for is, that while some art is a sonar ping that echoes back as an image of a murky dark, invisible terrain, other art is like a chime or a bell, that echoes back from a house, or a home or a hidden cavern previously unsuspected or ignored, or forgotten and put aside, but returns as a polyphony, its echoes and responses combining into a return signal more complex than the one put out, but coherent, whole within itself, harmonious , and which could not have produced those effects without being, in some sense, emotionally simple to begin with.

Thursday 20 August 2020

To Steal a Sun



 The Wheel towers over all.

Like any Grey City, Glaem is dominated by its megastructure, a unique form created at an impossible scale, the oldest part of the city, the source of the 'reality field' which keeps Yggsrathaal and Entropy at bay. Gigantic, inexplicable and, as in any Grey City, almost totally ignored by the population.

It has been over 5,0000 years and the Megastructures have not changed. No interaction with them is allowed, or even possible, so they fade into the background.

It is a substantial background though. The Wheel lies over the city like a tilted cartwheel half buried in mud. One half arcs into the sky. It is assumed another, equal half, lies underground, balancing out the sky arc.

Through the city runs the Eisen River, and to each side of the Eisen spread out networks of canals and locks, like tarnished silver wings, carrying goods north and south, for the rivers of Blackwater run East-West to an unnatural degree. Emanating from those like the veins of a leaf are the heavy roads of the city, paved, flagged and fit for the cartwheels of goods and the un-ending stream of high-status visitors.

 Harry Morrison

Less physically imposing than the Wheel, but considered much more deeply by all the people of Glaem is Tower of Infinite Calm. Slender and modest against the Wheel, but one of the largest non-megastructure buildings in Blackwater.

This is the centre of the Tolerance, the grey-clad, supra-governmental, near extra-legal inquisition which, ever since the Treaty of Birch Falls two and half thousand years ago, protects Humanity from itself, watching over all, guarding against both Yggrathaal and unrestrained religious or interethnic conflict.

The Tower of Infinite Calm is perhaps the most feared place in Blackwater. The complex surrounding it is huge, millennia old, the size of a cathedral at least, and the secondary and tertiary sites of the Tolerance, some visible, many not, spread out through the city like the mycelium of a Fungus. Grey-Robed priests ride grey horses, locked and barred grey carriages disappear into backstreet compounds, grey barges arrive bearing grey seals of the shattered serpent and disgorge unknown cargo into grey warehouses.

All seen, and not-seen. Though the Tolerance plays a massive, even dominant part in the cities life and economy, at the same time, everything it does happens as if in another world, as if seen though grey glass. No-one speaks to them in the street. No-one visits them. No-one complains. No-one boasts. It is as if they are not there at all.


Giant Castle by Paul Chadeisson

More vibrant are the huge number of Embassies, Hotels, Houses, Compounds and Palaces belonging to every City, Queendom, Corporation, Guild, Society, Conspiracy, Merchant Band, Intelligence Agency and Newsgroup in Blackwater. Safe, connected and with a well-educated populace, Glaem is a city of Embassies. In its central districts few streets are without at least one and its lanes are famously clogged with pompous carriages hauled up by the side of the road and left while their owners attend some vital meeting, (of course, they cannot be moved, the owner has Diplomatic Immunity).

Ambassadors, agents, servants, merchants, clerks, spies, hidden bodyguards and feather-helmeted ceremonial guards, it’s rare to go long in any major street in Glaem without witnessing or bumping into at least one.

Spread out around the borders of Glaem, each equidistant, so that they form a pentangle, are the five Gravatic Slums.

These five districts in particular, Jinwon, Jintuh, Jinfree, Antymat and Mergence, each occupies a strange irregular declivity, a kind of pit in the earth. They are slums because, for as long as the city has existed, these places have experienced magical hauntings, fluxions of natural law, objects floating, falling sidewise or upwards, lenses of light appearing in the air, detritus and even stone material being found ultracompressed or strangely spread about, and many tragic disappearances.

Though such occurrences are uncommon, the slums are not safe, they were built upon last and the poorest and lowest people of Glaem have always made their homes there. It is here that the Theorists and Immunity Gangs wield the greatest power.

The vital centre of the cities deranged civic government, is the Ziggurat of the Tyrant of Glaem. A multi-levelled pyramid full of meeting halls, offices, entryways and always bustling and humming with crowds and chaos.

The Civil authority of Glaem is elected randomly, and at random intervals.

These are the Lottery Lords, the Tyrants of Glaem. As a result of its Great Lottery absolutely any legal citizen of Glaem can be catapulted into the seat of executive power at any time. It is illegal to avoid this service and illegal to leave it (until the lottery decides otherwise).

As an adaption to this state of affairs, Glaem has one of the most politically-educated populaces in Blackwater. Since any random idiot could attain Total Power at any moment, the city culture tries to make sure that there is at least a reasonable chance they might be competent.

Of course, with much of the substance of Glaem being controlled by the Tolerance, who are beyond most law, or by various embassies, guilds or companies, or by the gangs of the Slums, the amount of actual practical power a Tyrant of Glaem actually wields is not necessarily that great, which may be for the best.

Still, the civil affairs of the city do have a lively, hectic, knockabout atmosphere.

Nearly unknown, or at least unconsidered by most, are the estates of the Eld-Kin. Ancient houses of long-lived, wealthy, and very noble Aeth. Secretive, with small numbers, often decadent and strange, the Aeth Houses still wield massive power in the city, through few would realise it.


One final curiosity; the ceramic paths.

These corridors, walkways, tunnels and tubes, form a kind of invisible, slight network running all over the city, each emanating from its direct geographic centre.

Guarded and watched over by the Navigators Guard, often called the 'Forgotten Guard' for all the attention anyone pays them, these amount to a series of clean, silent, empty corridors spread over the city like a fine web.

The Ceramic Paths have been there so long, nearly from the beginning of the city, and do so little, that like the Megastrcuture, they call almost no notice.

The 'Forgotten Guard' in their Verdigris stained armour, stand resolute but ignored in minor archways or guarding small stone or stations in the middle of nothing, like forgotten municipal tombs.

The city is so full of intrigue; the silent terror of the Tolerance, the magnificent guards, parties and ceremonies of the various Embassies and Organisations, the violence and debates of the Theorists or Immunity Gangs, the commercial thrum of trade and manufacture and the anarchic chaos of the Lottery Lords, that no-one notices the Forgotten Guard at all.

The players must learn to notice, because they have been hired to rob the Emperor of Glaem, and the 'Forgotten Guard' are the Emperors Guard, and the plays will have to outwit them to reach the Emperor.

Sunday 16 August 2020

Secret Sunday Whisper-Post

 Something of a miscellany, a secret post, not shared to Facebook or Twitter, for YOU the elect, the TRUE FANNNNNS.

Growth, a Return, an Exchange and a Goose.


A lot more of the World Building I have been doing for Eldritch Foundry has been, and is being, added to the WORLD ANVIL page.

In particular, if you click 'Realms of Uud' and 'Blackwater, there is now quite a lot of stuff there, some of which I think was never blogged.


Behold, the worlds only combined Scouseploitation and OSR meme, my greatest work and all that shall survive me in the end;


At the borders of two Eldritch Realms (non copyright) the white-armoured Knights of the extremely ultra-secret Ordinis Lunam Silens and the masked figures of the Inquisitors Guild eye each other, presumably suspiciously though its hard to tell with everyone helmed and masked.

AYE, the Knights of Eklipsis (that half done setting from 2016 that everyone seemed to like) shall ride (or at least walk), in Zyan, the City of Wishery.

Will the Lunar demiurge Setebos make an unexpected guest appearance? 

Joseph Urban (May 26, 1872 – July 10, 1933) 

Yes He will.

And finally.


This is nowhere near being a complete, or even playable game, but it does at least arrange all the information in something that looks a little more like what a game would eventually looks like = GRAMMAR.

Wednesday 12 August 2020

"I am the Turn-Spitte Dogg"

For the past few days I've been "crunching" (relative to my usual pace).

So this guy;

I'm hopefully joining up with an OSR blogosphere entity to produce a dungeon which will be both the continuation of a well-liked series and the first 'Eclipse Knights' content since the posts of so many years ago.

Also kind of these guys;

And I can't tell you anything about it yet. I'm this close to finishing draft one.

But I can show you the huge stack of images I'm using both as inspiration and as reference;

Thursday 6 August 2020

The Convent of the Crawling Nuns

The ‘White Knights’ are known throughout Zyan, silent, implacable hunters and, on occasion, mercenaries and assassins. It is said no fugitive can escape their grasp and, though they will kill for a price, their speciality is in imprisonment.


For those rare individuals of such danger and potency that they must absolutely be removed from Zyan, yet of such value that they must not be killed, these ‘White Knights’ will not only capture them, no matter how far they have fled or what powers they wield, but will also imprison them in a place inaccessible to the sense or grasp of any prophet, potentate, sorcerer or seer of Zyan.


The Prisoners simply ‘disappear’.

General rumours and information fragments.


These would be enough to draw an investigating party to the Convent of the Crawling Nuns, but alone probably not enough to make them dare the Vault (unless they are very bold).


·        [A High-Status Contact] “The only way to hire the ‘White Knights’ is to send a message to the Convent of the Crawling Nuns. As to where that is, it is said to lie deep in the sewers of Zyan, the last marker being a place called the ‘Vile Confluence’. From there, one should walk ‘a road of glass’, whatever that means.”

·        [A Madam] “They say if you run out of choices you can always go to the Convent of the Crawling Nuns and pledge yourself to the Saint. Of course, sometimes we get girls on the run because their parents were going to send them to the Convent. Never heard of anyone coming back though.”

·        [The Guildless] “I tell you, anyone, even ones such as we, (if they be male, for women are not desired for this service) who can find the Convent of the Crawling Nuns and pass its challenges may become a True Knight! “

·        [A Peon] “Big deliveries of rich, black grain, dragged all the way down into the dark where the streams grow clear, then poured away into some vent. Good money but you wouldn’t catch me taking that contract!”

·        [A Vaguely-Spiritual Idiot] “Oh! The wonderous sacredness of the Saint to whom the Nuns pray is enough to transform even the vile detritus of the effluvia of Zyan into pure crystal water! The Nuns even crawl everywhere to show their penance to the Saint!”

·        [A Thief] “Wild tales attend these Knights. That they are not only silent, but soundless, their tread making no noise, even across broken glass. That they hunt with invisible hounds which leave no trail or secret hidden from them. Perhaps most strangely, that they carry no metal.”

·        [The Heralds]. The arms upon the shields of the White Knights are one half a half-closed purpura eye on a sable field, the other half an argent moon, tentacled, upon a purpura field. Yet I can tell you that the half of the argent moon is only a covering of fabric over that part of the shield which can be removed, and beneath is only the full purpura eye on its sable field. Why this is, or what it signifies, I know not.”

·        [Sewer-Scholar]. “These falls are so caustic that to fall into them is to have the flesh washed from ones bones, as if water spilled across the figure of a man in fresh paint. Indeed, the bones, and golden fragments of unfortunates can still be seen in the mirror-bright pool beneath the waterfall, and only bones and glass sand wash from its flow until other more adulterated fluids mix again with the sad effluvia of Zyan and reduce the sewer to mere horror.”

·        [A Coroner] “I can only say this. The target, a criminal of startling violent capacities, was seen fleeing within and the Pale Knight followed “in great bounding leaps”. After an hour, only the Knight was seen leaving, bearing signs of serious combat. The body discovered was not that of the target but that of an un-named Guildless male with no particular identifying marks. The male body had clearly suffered malnutrition in early life but was currently in peak physical condition. The body had suffered serious, likely terminal recent wounds, clearly not from the sword of the Knight. The body had been stripped and was left naked. The clothes of the target were also found. The body of the target has still not been found. The factotum for the Pale Knights later voided the contract, a highly unusual occurrence. Witnesses say the Knight had a dog with him, but that they could not see it. When asked how they knew this, they were unable to provide clear answers.”



Prisoner Retrieval Generator


(Designed to go with whatever factions you currently have operating in your game.)



Who and why?

Why can’t they deal with the White Knights themselves?


Needed for high-level prisoner exchange with opposing faction.

Can’t afford it.


Poet, Bard, Architect or Artist. Tyrant who sent them off wants their skills again.

Knights already hired by their opponents.


A major figure is on trial for killing the prisoner, needs them visibly alive to get off.

Can’t be publicly seen to ask for them back.


Missing individual has been ‘doubled’ in political ceremonies but the façade is breaking down.

Deeply fears the Knights, thinks they read minds & know secrets.


Religious leader or prophet disappeared by civil authorities but now an actual God has asked for them back.

Has come to hate the Knights and wants to lessen their reputation with an ‘escape’.


Heir to a throne of Zyan, ‘disappeared’ by previous incumbent who has since died. Her now required to avoid civil conflict.

Is secretly member, or unwilling agent of a Moon Cult, seeking to free Setebos.


The prisoner has ‘returned to Zyan’ and is claiming their former powers. Only a small conspiracy of people know this is an imposter and they can’t prove it without the original.

This is not the person or group who originally made the deal with the White Knights, so the Knights won’t listen to them.


Only this person knows the engrammatic chant to keep the Demon-Box closed and the Time-Lock is slowly ticking down.