Chapter Twenty-Four: The Giant's Complete

The final assembly of the claymore began at dawn on the eighteenth day, with filtered morning light streaming through the workshop's windows as Elias positioned the massive blade against his extended anvil system. Three weeks of intensive work had culminated in this moment—the transformation of raw steel into a weapon worthy of legends. The blade itself was complete, its mirror-polished surface reflecting the workshop's lights like captured lightning, but the weapon remained incomplete without its handle, guard, and pommel.

The wooden handle had been crafted from seasoned ash, selected for its combination of strength and flexibility that would absorb the tremendous shock loads generated by a weapon of this scale. The grip measured twenty-eight centimeters in length, carefully contoured to accommodate hands proportional to the three-meter figure it was designed for. Elias had wrapped the ash core in layers of leather, each strip cut and fitted with mathematical precision to create a gripping surface that would remain secure even under the most demanding conditions.

As he secured the leather wrapping with hidden stitches, using an awl that pierced the tough hide. The grip's texture provided purchase without being aggressive, its dimensions scaled perfectly for the weapon's intended proportions.

The crossguard came next, a massive steel component that had required its own dedicated forging sessions to achieve the proper geometry. Weighing nearly two kilograms by itself, the guard featured subtle curves that would direct attacking blades away from the wielder while maintaining the structural integrity needed to absorb tremendous impact loads. As Elias fitted the guard to the blade's tang, the weapon's transformation became dramatically apparent—what had been an impressive piece of steel sculpture suddenly possessed the unmistakable presence of a functional weapon.

The pommel represented the final challenge, both aesthetically and mechanically. Carved from a single piece of steel, it served the crucial function of balancing the weapon's enormous blade while providing the visual anchor that completed the design. The mathematical precision required had been substantial—the pommel's weight and position determined the sword's balance point with millimeter accuracy.

As he threaded the pommel onto the tang's precisely cut threads, Elias felt the weapon achieve its final configuration. The balance point settled exactly fifteen centimeters forward of the crossguard, creating a weapon that would feel manageable despite its enormous proportions. His enhanced strength allowed him to test the balance with single-handed grips that would have been impossible for an unaugmented person, confirming that the mathematical calculations had translated perfectly into physical reality.

The decorative inscriptions came last, tiny details that would be visible only upon close inspection but that elevated the weapon from functional tool to work of art. Using his enhanced burin, Elias carved subtle patterns into the pommel and guard—geometric designs that suggested ancient craftsmanship without copying any specific historical style. The supernatural precision of the enhanced tool allowed him to work at scales that would have challenged the finest engravers, creating details that would reward careful examination.

With the weapon complete, Elias stepped back to appreciate the full effect. The claymore stretched two hundred and five centimeters from pommel to tip, its polished blade reflecting the workshop's lights with mirror-like intensity. The proportions were perfect—scaled precisely for the three-meter figure while maintaining the mathematical relationships that defined effective sword geometry. This wasn't merely a large sword, but a weapon designed from first principles to function at unprecedented scale.

The phone's ring interrupted his contemplation, and Peter's voice carried barely contained excitement as he confirmed the final arrangements.

"Elias? I'm at Maria's studio now, and she's as eager to see the sword as I am. With only five days until the anniversary event, we really need to get everything fitted and positioned today. Can you bring it over this afternoon?"

"Absolutely. I'll need the address and some idea of access—this isn't exactly something I can carry on public transport."

Peter provided directions to the converted warehouse that served as Maria's studio, located in the arts district about two miles from Elias's workshop. The distance was manageable, but the logistics of transporting a 205-centimeter sword through urban streets would require careful planning.

After ending the call, Elias turned his attention to the final preparations. The blade required one last polishing session to remove any fingerprints or dust that might have accumulated during the final assembly, followed by a protective coating of oil that would preserve the mirror finish during transport and handling. Using a microfiber cloth and his enhanced coordination, he worked methodically across the blade's surface, ensuring every square centimeter achieved the same flawless reflection.

The specially constructed carrying case had been another engineering challenge in itself. Traditional sword cases were designed for weapons measuring at most 120 centimeters—nothing commercially available could accommodate a blade over two meters in length. Elias had fabricated his own solution using hardwood panels and precision joinery, creating a case that would protect the weapon while allowing dignified presentation when the moment came for reveal.

The case's interior was lined with velvet, cut and fitted to cradle the sword without allowing any movement that might cause scratches or damage. Brass hardware provided secure latching while maintaining the aesthetic that befitted such an exceptional piece. As Elias carefully positioned the completed claymore within its case, the weapon seemed to settle into place with the satisfaction of a puzzle piece finding its proper location.

Carrying the case proved to be its own adventure. At over two meters in length and weighing nearly fifteen kilograms when loaded, the case presented challenges that Elias hadn't fully anticipated. His first attempt to hail a taxi resulted in the driver taking one look at the enormous case and driving away without explanation. The second taxi driver was more direct in his refusal.

"Sorry, buddy. That thing won't fit in my car, and I'm not strapping it to the roof. Try a moving truck."

After three similar rejections, Elias accepted that he would be walking the two miles to Maria's studio. His enhanced physical condition made the weight manageable, though the case's length created interesting navigation challenges when turning corners or passing through doorways. Pedestrians gave him curious looks—carrying something that obviously contained a weapon, even in a dignified case, attracted attention.

The walk provided unexpected benefits. His improved strength and endurance made the distance comfortable rather than exhausting, and the time allowed him to mentally prepare for what promised to be a significant moment in the project's development. This would be his first meeting with Maria Lopez, the sculptor whose work would complement his own, and the first time anyone other than himself would see the completed weapon.

Maria's studio occupied a converted warehouse in a district that had clearly undergone recent gentrification. The building's industrial origins remained evident in its high ceilings and concrete floors, but the large windows and modern lighting revealed its transformation into a working artist's space. Peter's car was parked outside, confirming that the meeting was proceeding as scheduled.

The studio's interior opened into a vast space filled with the organized chaos of active artistic creation. Sculptures in various stages of completion occupied work stations throughout the room, from small clay figures to life-sized bronze pieces that demonstrated exceptional technical skill. The smell of wet clay and metal polish filled the air, creating an atmosphere that reminded Elias of his own workshop's productive intensity.

Maria Lopez emerged from behind a workstation as he entered, wiping clay from her hands with a towel that had clearly seen extensive use. She was younger than he'd expected—probably in her early thirties—with the kind of focused intensity that marked serious artists. Her handshake was firm, her eyes immediately drawn to the case he carried.

"Mr. Thorn, I presume? I'm Maria Lopez, and I have to say, I'm incredibly curious to see what you've created. Peter's been building up the suspense all morning."

Peter himself appeared from deeper in the studio, his excitement barely contained. "Elias! Perfect timing. Maria's been putting the finishing touches on the Iron Tyrant, and I think you're going to be impressed."

As if summoned by their conversation, the sculpture dominated the studio's central area with a presence that was immediately commanding. Three meters of perfectly crafted plaster rose from a sturdy base, depicting the Iron Tyrant in his moment of desperate defense. Every detail of the figure's elaborate armor had been rendered with museum-quality precision, from the individual links of chain mail to the decorative elements that suggested both wealth and martial prowess.

The figure's posture told the story completely—left hand raised in futile protection, body leaning backward as if recoiling from an inevitable fate, facial expression capturing the precise moment when arrogance transformed into desperate terror. The chest area showed clear evidence of careful planning, with subtle details that would accommodate the sword's insertion while maintaining the sculpture's artistic integrity.

Elias found himself studying the figure with the appreciation that came from understanding the technical challenges involved. Creating something of this scale while maintaining such precise detail represented months of skilled work, and the emotional impact was undeniable. The Iron Tyrant seemed to fill the studio not just with his physical presence but with the weight of impending doom that his expression conveyed.

"This is extraordinary work," he said finally, his voice carrying genuine admiration. "The detail level is incredible, but it's the emotional impact that really makes it exceptional. You can see exactly what he's thinking in that moment."

Maria's pleasure at the compliment was evident. "Thank you. It's been a challenge working at this scale while maintaining the fine detail, but Peter's story deserved something special. The Iron Tyrant needed to feel real, not just decorative."

"Speaking of which," Peter interjected, his excitement reaching peak levels, "I think it's time we saw what defeat looks like. Elias, would you do the honors?"

The moment had arrived for the reveal that would determine whether three weeks of intensive work had achieved its intended goal. Elias positioned the case on a clear section of floor, his enhanced coordination ensuring the placement was both stable and aesthetically appropriate for the drama of the moment.

The brass latches opened with satisfying clicks, and as Elias lifted the case's lid, the completed claymore was revealed in all its polished magnificence. The blade caught the studio's lighting and threw back reflections that seemed to dance across the walls, while the weapon's sheer scale became immediately apparent in relation to the human-sized observers.

The silence that followed was profound. Maria's eyes widened as she took in the sword's proportions, while Peter's expression showed the kind of satisfaction that came from seeing ambitious plans exceed expectations.

"My God," Maria whispered finally. "I knew it would be large, but seeing it in person... that's not just a sword, it's a statement."

Peter was practically vibrating with excitement. "This is going to be incredible at the anniversary event. People are going to see this and immediately understand the scale of what we're trying to achieve."

Elias carefully lifted the claymore from its case, his enhanced strength making the weapon feel balanced despite its enormous proportions. "The balance point is exactly fifteen centimeters forward of the crossguard," he explained, demonstrating the weapon's handling characteristics. "It's designed to feel manageable for someone of the Iron Tyrant's proportions, but it's definitely a two-handed weapon even at that scale."

He shifted his grip to demonstrate single-handed control, the weapon's weight becoming immediately apparent as his muscles engaged to maintain proper positioning. "Single-handed use is possible, but only for brief periods and specific techniques. This was designed as a battlefield weapon, not a dueling sword."

"Can we try holding it?" Peter asked, his curiosity overcoming any concerns about the weapon's weight.

"Carefully," Elias agreed, offering the grip to Peter first. "Remember, this weighs over eight kilograms. Use both hands and expect it to be heavier than you anticipate."

Peter's attempt to lift the weapon provided immediate education in the challenges of scaled-up weaponry. His arms strained visibly as he raised the blade, and his stance shifted to accommodate the unexpected weight distribution. After a few seconds, he carefully lowered it back to vertical position.

"That's... that's incredibly heavy," he admitted, slightly breathless from the effort. "I had no idea weapons could weigh that much."

Maria's attempt was more successful, her sculptor's experience with heavy materials translating into better handling technique. She managed to raise the sword and hold it steady for several seconds before carefully returning it to Elias's control.

"The balance is actually quite good," she observed. "Heavy, obviously, but it doesn't feel unwieldy. I can imagine someone with the Iron Tyrant's proportions using this effectively."

"Now comes the real test," Elias said, looking toward the sculpture. "We need to see how it fits with your work."

Maria disappeared briefly and returned with two sturdy ladders, positioning them to provide access to the Iron Tyrant's chest area. The fitting process would require precise positioning to ensure the sword's integration appeared natural rather than forced.

With careful coordination, they positioned the claymore against the sculpture's chest, aligning the blade's angle with the figure's defensive posture. The sword's tip touched the ground behind the statue's base while the blade penetrated the carefully prepared opening in the Iron Tyrant's torso.

The effect was immediate and dramatic. The sculpture's expression of terror gained new meaning with the massive blade piercing his chest, while the sword's scale transformed the figure from impressive art piece into something that seemed to embody legendary conflict. The proportions worked perfectly—the weapon appeared functional rather than merely decorative, while its enormous size emphasized the superhuman nature of the battle it represented.

"Perfect," Maria breathed, studying the alignment from multiple angles. "The proportions are exactly right. We'll need to make some minor adjustments to the mounting system, but the visual impact is everything we hoped for."

Peter stood back to appreciate the complete composition, his satisfaction evident. "This is going to stop traffic at the anniversary event. People are going to see this and immediately understand the epic scale of the story."

As they carefully removed the sword for transport back to its case, Peter glanced at his watch and showed signs of needing to leave. "I hate to run, but I have meetings scheduled with the event planners this afternoon. Elias, Maria, you two are the experts on making this work mechanically. I trust you to handle the final details."

After Peter's departure, the studio settled into the focused quiet that marked serious artistic work. Maria retrieved her tools and began examining the mounting points that would secure the sword permanently in position, while Elias offered his assistance with the technical aspects of the installation.

"The weight distribution is going to be the main challenge," Maria explained, indicating stress points on the sculpture's base. "Eight kilograms concentrated at this angle creates significant leverage that the mounting system needs to accommodate."

As they worked together to refine the installation details, Elias found himself appreciating the collaborative nature of the project. His enhanced tools and capabilities had made the sword's creation possible, but Maria's artistic vision would determine how effectively the complete piece communicated its intended impact.

The afternoon passed in productive technical discussion, but as the shadows began to lengthen across the studio floor, Elias sensed that tomorrow would bring new challenges that would test both their skills in unexpected ways.