About the Games of Chance

"In the beginning was Chance and Chance was with God an Chance was God. He was in the beginning with God. All things were made by Chance..."
The games of the Growing City are not without a certain meditative function. Commencement of the games can be compared with and is reminiscent of various stages of the Japanese tea ceremonies. The quality of the pieces also plays a great part in the value of the game. (Inscriptions tell of a merchant called Häserchaim who sold his wife and children into slavery in order to obtain a set made of jade and silver, with richly ornamented encrustations, which had belonged to a (long-dead) member of the ruling dynasty.
The character which signifies sea-voyaging is a regular feature of the game. Behind this symbol lies a forbidden or secret nostalgia from the days when the ,,Children of the Sea" closed the Door to the Bays to the inhabitants of the Growing City.
As far as the rules of the game are concerned, researchers dare to offer only the vaguest of guesses. It appears probably that the game was one of chance, through which the players received and accepted in good faith advice upon how they should lead their lives, which advice they attempted to follow. One exampple is the combination of steps called the ,,dagger", which symbolised the acceptance of a death of suicide.
In the simpler (Peasant) version of the game, the ,,bridal sequence" is one in which the player takes the first stranger that (he or) she meets to a wedding feast; the dowry is fixed through a further combination of moves.
No evidence can be found for dice having been used in the game. It is likely that certain rhymes or Zen-like responses determine the possible variations of moves. Each of these rhymes contains 33 syllables and a question strongly reminiscent of a riddle. One such:

In high-soaring gyre shrieked the royal eagle
Light all but overflowed from behind the hill
Tell me, know you who was Mau All-Powerful?
Kowalski-Segner mindennek szinte brutálisan ellentmondva kizárólag a játék úgynevezett "vidéki koppantós" változatát tartja valószínűnek. Szerinte a játék tétje egyszerűen néhány kiadós orrbaverés volt, ami a lakodalmak vége felé igen szórakoztató időtöltésnek bizonyulhatott.
Tény viszont, hogy a játékban dobókockának nyomát sem találjuk. Valószínű, hogy bizonyos rigmusok, zen-koan szerű felelgetősök, illetve a rájuk adható talányos válaszok határozták meg a lehetséges ugrásváltozatokat, lépéseket.

Relevant literature:
Luke Rhinehart; The Dice Man Talmy, Franklin Ltd. 1971.
Players of Games of Chance in the Vicinity of Takud-Bar
Kowalski-Segner's documentary recording of latter-day dwellers of the Growing City playing a game in secret. The facts gleaned from the explorer's otherwise confused diary notes are as follow: the scholar received only diversionary answers to his innocent questions, as though the game contained guilty and secretive elements; its consequences, whether in victory or defeat, were weighty, and must be observed at whatever price. At the beginning of the game a miniature Aguthi (Aigostu) idol-statuette receives a libation of oil and its favourite food placed before it in small bowls. They believe that every unexpected event in the world takes place through Aguthi, god of play. It is presumed that Aguthi began to make the world, naturally placing its shortcomings in it, for which there was good reason, and it is considered that the god will play a part in its final destruction. It is typical that when a treasonous offender was stoned to death for insulting the Sultan, an indigenous bystander casually stated,
"He was forever at loggerheads with Aguthi".
Some of the ceramic and bronze Boards for Games of Chance, togeher with Marble and Alabaster Stone pieces