Rodin understood the appeal of traps, although they were not his favourite method of working. He preferred facing an opponent, using his body and whatever he could hold. But there were times when a trap was necessary, and he had worked on many over his years as a mercenary. He had used them himself, mainly as alerts, but occasionally for more deadly ends.
He fixed all those in the garden. Many only required resetting, but some had been tampered with, either by animals or by the elements. He returned to the house many times, rummaging through the supplies in the hidden room before returning to the open air.
As he worked, he built up a mental image of the garden, storing the location of each trap, and he saw weak spots, saw places where an intruder could squeeze through. He created some tr
