Rune knights are formidable warriors who have mastered the ancient art of rune magic. These knights channel their magical powers through intricate and ancient runes inscribed on their weapons and armor, allowing them to wield incredible power in battle. A core aspect of being a rune knight is their ability to infuse their weapons with magical energy. By tracing rune symbols onto their weapons, they can enhance their attacks with elemental damage or add defensive properties to their armor. The runes act as a conduit, allowing the knights to tap into the raw power of magic and unleash devastating spells upon their enemies. In addition to their rune magic, rune knights are also highly skilled martial combatants.

Confirmed: ‘The Curse of La Llorona’ Is DEFINITELY Not Part of the Official ‘Conjuring Universe’

Depending on who you ask, this year’s The Nun II is either the eighth or ninth film in Warner Bros. and New Line’s The Conjuring Universe, and that’s because 2019’s The Curse of La Llorona was never actually marketed as being part of the universe, despite having a clear connection to it. So what’s the story there? Is it a Conjuring movie or is it not?

Speaking with Entertainment Weekly in celebration of The Conjuring‘s 10th anniversary, La Llorona director Michael Chaves confirms that it’s NOT an official Conjuring movie. This despite the fact that Tony Amendola reprises his role as Father Perez from the first Annabelle movie, while The Curse of La Llorona also features a cameo from Annabelle herself.

“There’s so much debate about it and I think I’ve played coy in the past,” Chaves tells EW. “The idea was that [the Annabelle cameo] was going to be this little hidden thing that you were going to discover as you watch the movie. One of the reasons that it couldn’t formally be a part of the Conjuring Universe is it didn’t include one of the key producers, Peter Safran. The Conjuring is his baby, him and James, and they are still the two core producers on it.”

Chaves continues, “Peter still gave his permission to let [Annabelle] be in there. The funny thing is that it was supposed to be a secret, it was supposed to be this Easter Egg, and [when the film premiered at] SXSW, there was a slip-up. The presenter introduced the movie as the next entry in the Conjuring universe. So that was a big kind of faux pas.

“It was a big mess-up, and that’s the truth of how that all came together.”

The Conjuring Universe producer Peter Safran also tells Entertainment Weekly that The Curse of La Llorona is most definitely “not part of The Conjuring universe.”

“You can’t count it!” Safran tells EW. “It periodically gets lumped in because of Chaves and because of Atomic Monster, but it is not officially part of the universe. By the way, I think Chaves did a great job on the movie, which is why we stole him for the Conjuring universe.”

Safran is referring to the fact that Michael Chaves went on to direct mainline sequel The Conjuring: The Devil Made Me Do It, and Chaves is also the director of this year’s The Nun II.

One thing we have to mention about The Curse of La Llorona is that it didn’t quite scare up as much money as Conjuring Universe movies typically do, considered by those who count it among the universe to be the franchise’s lowest grossing movie to date. The film made $123 million worldwide, while the rest of the installments are in the $200 – $300 million range.

Perhaps The Curse of La Llorona would be officially considered part of the universe had it reached those same heights at the box office? We can’t help but wonder. But we’ll accept the official confirmation that it’s NOT part of the universe, and we’ll carry on with our lives.

Does this sit well with you? Feel free to comment below with your two cents…

Writer in the horror community since 2008. Editor in Chief of Bloody Disgusting. Owns Eli Roth's prop corpse from Piranha 3D. Has four awesome cats. Still plays with toys.

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Editorials

‘Shin Godzilla’ – The Lovecraftian Horrors of the Cosmic Monster Movie

November 29, 2023

Monsters have been representing primal fears since time immemorial, and the best of them are capable of adapting to evolving societal fears. From werewolves occasionally becoming metaphors for puberty to zombies going from supernatural slaves to viral consumerism, there’s plenty of multifaceted creatures to choose from. That’s why it’s fitting that the King of the Monsters himself has seen so many wildly different variations over the years.

Originally a physical manifestation of the fear of the atomic bomb, with the first film being produced a mere 7 years after the nuclear destruction of Hiroshima and Nagasaki, Godzilla would end up spawning a multimedia franchise as the radioactive dinosaur accidentally became a national icon. Over time, toys, games and countless toned-down sequels ended up diluting the character’s original purpose: to terrify audiences as a giant monster inspired by real-world horrors.

While several of these sequels would attempt to return Godzilla to his previous glory as a horrific antagonist, such as Godzilla Against Mechagodzilla (where the original monster’s bones are used to construct an undead cyborg with PTSD) or GMK: Monsters All-Out Attack (where he’s literally possessed by victims of the Japanese Imperial Army), none of these films managed to escape the merchandise-friendly tropes of a traditional kaiju film. That’s not necessarily a bad thing, as Godzilla is versatile enough to be an interesting character whether he represents natural balance or atomic energy gone wrong, but it was a shame that Toho mostly refused to fully embrace the scary side of their iconic property.

That is, until the company partnered with Shinji Higuchi (director of the highly successful Attack on Titan adaptations) and Hideaki Anno (creator of the iconic anime Neon Genesis Evangelion) to produce a genuinely frightening throwback to the monster movie that started it all. Titled Shin Godzilla, with the prefix “Shin” meaning “new”, “true” and “God”, this 2016 remake was a colossal success, going so far as to win the Japanese Academy Award for Best Picture as well as several international prizes.

Since its release, there have been plenty of think-pieces about how the movie touches on serious themes like the inherent evils of bureaucracy and the real-world mishandling of the 2011 Fukushima disaster, and while these are all notable parts of what makes this such a compelling cinematic experience, what I love the most about the film is how it’s probably the closest we’ll ever get to seeing a Lovecraftian Kaiju flick – and I think that’s worth discussing.

I don’t think Kong has a chance against this version.

Stop me if you’ve heard this one before: a God-like entity rises out of the sea and proceeds to show humanity just how tiny we are in the cosmic scheme of things, with our protagonists woefully unprepared to deal with the existence of a creature that defies everything we think we know about the world. From The Beast From 20 000 Fathoms (which actually inspired the 1952 Godzilla) to numerous post-Godzilla creature features, this could be the synopsis to any number of giant monster movies, but it’s also a brief summary of H.P. Lovecraft’s first entry in the Cthulhu Mythos, 1919’s Dagon.

Lovecraft obviously doesn’t hold a monopoly on sea-dwelling abominations, and it’s more likely that these monster movies were simply inspired by the same legends that informed his imagination, but the American writer did pioneer the idea of scary stories where primitive beasts actually represent the fear of an uncaring universe. In these stories, the real terror comes from the existential implications of realizing that the antagonists exist in the first place – not from a simple fear of death or destruction. And when you get down to it, I don’t think any monster movie encapsulates this better than Shin Godzilla.

The titular monster is much more than just a radioactive dinosaur in this incarnation, with the creature taking on the added dimension of an otherworldly force meant to punish the world (and more specifically Japan) for its sins. His coming is even foretold by the prophetic scientist Goro Maki, an enigmatic character that sets off the main mystery of the movie but never actually appears onscreen other than a photograph which is actually of the legendary director Kihachi Okamoto.

While a traditional Kaiju flick would have made Goro a central character meant to provide sci-fi exposition rationalizing the monster, Anno’s decision to have the character commit suicide at the beginning of the flick rather than face what was about to happen gives this story yet another similarity with Lovecraft’s dreary yarns and their ill-fated protagonists. And without a source of ancient knowledge to demystify our monster, the film becomes free to explore the fear of the unknown.

Hell, even the soundtrack hints at the idea that this version of Godzilla is not just a simple mutated animal, with the melancholy Who Will Know track featuring chorus lines spoken from the monster’s point of view. The ominous chanting here seems to describe Godzilla’s internal struggle with his own freakish existence, with lyrics suggesting that the beast is in fact a conscious being in an incredible amount of pain.

“A shaft of light is all I need to cease the darkness killing me.”

The soundtrack also features plenty of repurposed music, both from Evangelion as well as the original Godzilla. While the 1952 tracks serve to showcase how Shin is meant to be a return to form for the franchise, the references to Evangelion seem to reflect the common themes between the film and anime. Appropriately enough, Evangelion was an existential deconstruction of the Mecha genre which used giant monster battles as an excuse to dive into the psychological struggles of its main characters while appropriating religious iconography to explore metaphysical concepts. That’s why it makes sense that a film about a newborn God wreaking havoc upon humanity would share some common ground with the iconic anime (which even referred to its monsters as “Angels”).

While these preternatural elements of the movie are fascinating, the truly terrifying moments of Shin Godzilla are the ones closest to reality. Revisiting the film after a global pandemic reframes the entire experience, as watching bumbling government officials tragically mishandle a deadly crisis as deaths continue to mount makes for a decidedly uncomfortable viewing experience after Covid-19. While this clearly wasn’t Anno or Higuchi’s intention, it’s hard not to remember the race for vaccines when characters are forced to negotiate raw materials with factories in order to produce an absurd amount of coagulant to stop Godzilla in his tracks, much like real-world governments had to negotiate with companies to produce and distribute vaccines on an unprecedented scale.

These real-world horrors contribute to the movie’s scare-factor, as unlike a typical monster movie where protagonists are often finding themselves into ridiculous situations in order to justify them being near the main attraction, you’re never afraid for a single character here – you’re afraid for the world. Our heroes never even get close to the radioactive monster, and the final battle is truly won by committees and blue-collar workers, not giant robots or gun-toting action heroes. But even then, the movie makes it clear that it’s only a matter of time before Godzilla may rise again.

In all fairness, for Shin Godzilla to be truly a Lovecraftian piece of fiction, the mere sight of the monster should have been enough to drive the residents of Tokyo to madness and destabilize the entire world (though his cancerous redesign comes close to doing that to viewers). However, while Lovecraftian creations like the tentacled Cthulhu were never meant to be seen as physical beings, with that entire story hinging on how the Old One’s true form and intentions couldn’t be grasped by the human mind, film is a visual medium, and Shin Godzilla is likely as close as we’ll ever get to a big-screen representation of that particular kind of cataclysmic story.

There’s no way of knowing if these Lovecraftian elements were intentional, but there’s no doubt in my mind that Shin Godzilla remains an excellent example of cinematic Cosmic Horror done right. If you need further proof, I’d suggest taking another look at that hauntingly beautiful final shot of the creature’s mutated tail. It works as a horrific visual in and of itself, but the existential implications of that image are what make the ending truly horrifying, and that specific kind of apocalyptic dread is why Shin Godzilla remains my absolute favorite Kaiju flick.

Editor’s Note: This article was originally published on October 24, 2022.

“That is not dead which can eternal lie, and with strange aeons even death may die.”

Director Confirms That ‘The Curse of La Llorona’ is Not Officially Part of ‘The Conjuring’ Universe?

Depending on who you ask, there are currently either seven or eight films in Warner Bros. and New Line’s The Conjuring Universe, and that’s because 2019’s The Curse of La Llorona was never actually marketed as being part of the universe, despite having a clear connection to it. So what’s the story there? Is it a Conjuring movie or is it not a Conjuring movie?

Dread Central gets to the bottom of that burning question in a new chat with The Curse of La Llorona director Michael Chaves this week, whose work on that film led to him directing this year’s The Conjuring: The Devil Made Me Do It. That means Chaves is now officially part of The Conjuring Universe, something that he says he could never quite claim prior to this year.

According to Chaves, The Curse of La Llorona is *not* a Conjuring movie.

“The very simple reason [why La Llorona] isn’t [part of The Conjuring Universe is because] it was made without one of the [Conjuring franchise] producers, so technically it can not be fully embraced,” Chaves explained to the site. “That’s the very simple reason. Originally, there was only supposed to be a playful nod [to The Conjuring franchise in La Llorona], by putting The Father in and having the Annabelle flash. But it wasn’t supposed to be marketed that way. The plan was, you would get into it, and then it’s like, ‘Oh my God, they’re connected!’ We weren’t, from the beginning, supposed to be doing that. And that’s why it has this outsider status. But as [the character] La Llorona is an outsider herself, I think it fits.”

He continues, “It’s a tricky situation, I don’t want to give away any trade secrets. The idea was just to have a playful connection [to The Conjuring] because the myth of La Llorona can stand on its own. But James [Wan] was on as a producer, [and] the conversation got started about an Easter Egg. It just kind of got away from itself. People loved that connection. But The Conjuring franchise is created by a team that’s been there since the beginning. It’s not really right to do an unofficial spinoff without the full team.”

“It was supposed to be just a wink and a nod,” Chaves adds, referring to the bits in The Curse of La Llorona that seem to directly connect it to the greater Conjuring Universe. Tony Amendola reprises the role of Father Perez, a character he played in Annabelle, and the doll itself even makes a cameo appearance as part of a flashback story being told by Father Perez.

Connections to the Conjuring Universe, without question, though it sounds like the film isn’t *officially* part of the franchise even if it *technically* is. And that brings us right back to the original question. Is The Devil Made Me Do It the eighth film in the universe or the seventh?

Well, it probably depends on who you ask.

Writer in the horror community since 2008. Editor in Chief of Bloody Disgusting. Owns Eli Roth's prop corpse from Piranha 3D. Has four awesome cats. Still plays with toys.

You may like

Editorials

‘Shin Godzilla’ – The Lovecraftian Horrors of the Cosmic Monster Movie

November 29, 2023

Monsters have been representing primal fears since time immemorial, and the best of them are capable of adapting to evolving societal fears. From werewolves occasionally becoming metaphors for puberty to zombies going from supernatural slaves to viral consumerism, there’s plenty of multifaceted creatures to choose from. That’s why it’s fitting that the King of the Monsters himself has seen so many wildly different variations over the years.

Originally a physical manifestation of the fear of the atomic bomb, with the first film being produced a mere 7 years after the nuclear destruction of Hiroshima and Nagasaki, Godzilla would end up spawning a multimedia franchise as the radioactive dinosaur accidentally became a national icon. Over time, toys, games and countless toned-down sequels ended up diluting the character’s original purpose: to terrify audiences as a giant monster inspired by real-world horrors.

While several of these sequels would attempt to return Godzilla to his previous glory as a horrific antagonist, such as Godzilla Against Mechagodzilla (where the original monster’s bones are used to construct an undead cyborg with PTSD) or GMK: Monsters All-Out Attack (where he’s literally possessed by victims of the Japanese Imperial Army), none of these films managed to escape the merchandise-friendly tropes of a traditional kaiju film. That’s not necessarily a bad thing, as Godzilla is versatile enough to be an interesting character whether he represents natural balance or atomic energy gone wrong, but it was a shame that Toho mostly refused to fully embrace the scary side of their iconic property.

That is, until the company partnered with Shinji Higuchi (director of the highly successful Attack on Titan adaptations) and Hideaki Anno (creator of the iconic anime Neon Genesis Evangelion) to produce a genuinely frightening throwback to the monster movie that started it all. Titled Shin Godzilla, with the prefix “Shin” meaning “new”, “true” and “God”, this 2016 remake was a colossal success, going so far as to win the Japanese Academy Award for Best Picture as well as several international prizes.

Since its release, there have been plenty of think-pieces about how the movie touches on serious themes like the inherent evils of bureaucracy and the real-world mishandling of the 2011 Fukushima disaster, and while these are all notable parts of what makes this such a compelling cinematic experience, what I love the most about the film is how it’s probably the closest we’ll ever get to seeing a Lovecraftian Kaiju flick – and I think that’s worth discussing.

I don’t think Kong has a chance against this version.

Stop me if you’ve heard this one before: a God-like entity rises out of the sea and proceeds to show humanity just how tiny we are in the cosmic scheme of things, with our protagonists woefully unprepared to deal with the existence of a creature that defies everything we think we know about the world. From The Beast From 20 000 Fathoms (which actually inspired the 1952 Godzilla) to numerous post-Godzilla creature features, this could be the synopsis to any number of giant monster movies, but it’s also a brief summary of H.P. Lovecraft’s first entry in the Cthulhu Mythos, 1919’s Dagon.

Lovecraft obviously doesn’t hold a monopoly on sea-dwelling abominations, and it’s more likely that these monster movies were simply inspired by the same legends that informed his imagination, but the American writer did pioneer the idea of scary stories where primitive beasts actually represent the fear of an uncaring universe. In these stories, the real terror comes from the existential implications of realizing that the antagonists exist in the first place – not from a simple fear of death or destruction. And when you get down to it, I don’t think any monster movie encapsulates this better than Shin Godzilla.

The titular monster is much more than just a radioactive dinosaur in this incarnation, with the creature taking on the added dimension of an otherworldly force meant to punish the world (and more specifically Japan) for its sins. His coming is even foretold by the prophetic scientist Goro Maki, an enigmatic character that sets off the main mystery of the movie but never actually appears onscreen other than a photograph which is actually of the legendary director Kihachi Okamoto.

While a traditional Kaiju flick would have made Goro a central character meant to provide sci-fi exposition rationalizing the monster, Anno’s decision to have the character commit suicide at the beginning of the flick rather than face what was about to happen gives this story yet another similarity with Lovecraft’s dreary yarns and their ill-fated protagonists. And without a source of ancient knowledge to demystify our monster, the film becomes free to explore the fear of the unknown.

Hell, even the soundtrack hints at the idea that this version of Godzilla is not just a simple mutated animal, with the melancholy Who Will Know track featuring chorus lines spoken from the monster’s point of view. The ominous chanting here seems to describe Godzilla’s internal struggle with his own freakish existence, with lyrics suggesting that the beast is in fact a conscious being in an incredible amount of pain.

“A shaft of light is all I need to cease the darkness killing me.”

The soundtrack also features plenty of repurposed music, both from Evangelion as well as the original Godzilla. While the 1952 tracks serve to showcase how Shin is meant to be a return to form for the franchise, the references to Evangelion seem to reflect the common themes between the film and anime. Appropriately enough, Evangelion was an existential deconstruction of the Mecha genre which used giant monster battles as an excuse to dive into the psychological struggles of its main characters while appropriating religious iconography to explore metaphysical concepts. That’s why it makes sense that a film about a newborn God wreaking havoc upon humanity would share some common ground with the iconic anime (which even referred to its monsters as “Angels”).

While these preternatural elements of the movie are fascinating, the truly terrifying moments of Shin Godzilla are the ones closest to reality. Revisiting the film after a global pandemic reframes the entire experience, as watching bumbling government officials tragically mishandle a deadly crisis as deaths continue to mount makes for a decidedly uncomfortable viewing experience after Covid-19. While this clearly wasn’t Anno or Higuchi’s intention, it’s hard not to remember the race for vaccines when characters are forced to negotiate raw materials with factories in order to produce an absurd amount of coagulant to stop Godzilla in his tracks, much like real-world governments had to negotiate with companies to produce and distribute vaccines on an unprecedented scale.

These real-world horrors contribute to the movie’s scare-factor, as unlike a typical monster movie where protagonists are often finding themselves into ridiculous situations in order to justify them being near the main attraction, you’re never afraid for a single character here – you’re afraid for the world. Our heroes never even get close to the radioactive monster, and the final battle is truly won by committees and blue-collar workers, not giant robots or gun-toting action heroes. But even then, the movie makes it clear that it’s only a matter of time before Godzilla may rise again.

In all fairness, for Shin Godzilla to be truly a Lovecraftian piece of fiction, the mere sight of the monster should have been enough to drive the residents of Tokyo to madness and destabilize the entire world (though his cancerous redesign comes close to doing that to viewers). However, while Lovecraftian creations like the tentacled Cthulhu were never meant to be seen as physical beings, with that entire story hinging on how the Old One’s true form and intentions couldn’t be grasped by the human mind, film is a visual medium, and Shin Godzilla is likely as close as we’ll ever get to a big-screen representation of that particular kind of cataclysmic story.

There’s no way of knowing if these Lovecraftian elements were intentional, but there’s no doubt in my mind that Shin Godzilla remains an excellent example of cinematic Cosmic Horror done right. If you need further proof, I’d suggest taking another look at that hauntingly beautiful final shot of the creature’s mutated tail. It works as a horrific visual in and of itself, but the existential implications of that image are what make the ending truly horrifying, and that specific kind of apocalyptic dread is why Shin Godzilla remains my absolute favorite Kaiju flick.

Editor’s Note: This article was originally published on October 24, 2022.

“That is not dead which can eternal lie, and with strange aeons even death may die.”

‘Nun 2’ Director Explains Why His ‘Curse of La Llorona’ Isn’t Part of the ‘Conjuring’ Universe

“The Nun II” is more evidence that “The Conjuring Universe” is among the most consistent and bankable franchises in Hollywood. It’s a straight-up sequel to “The Nun,” with both films now serving as prequels to “The Conjuring 2.” The Michael Chaves-directed entry earned $268 million worldwide on a $39 million budget. That was up from Chaves’ $197 million-grossing “The Conjuring: The Devil Made Me Do It” released in the COVID/Project Popcorn summer of 2021. It’s also more than the $200 million DC superhero tentpole “The Flash.” The eight films, begun in 2013 with James Wan’s “The Conjuring,” have earned over $2.25 billion on a combined budget of $71 million. Well, $2.37 billion if you count Michael Chaves’ “The Curse of La Llorona.” That early 2019 flick earned $123 million in early 2019 and contained a handful of “Conjuring” universe treats.

“The Nun II” (Credit: Warner Bros.) Amusingly, even though it came from the same studio, with the director who would later helm the third “Conjuring” film and this new “Nun” sequel, and features Tony Amendola reprising his role as Father Perez from “Annabelle,” it’s not officially a “Conjuring” film. What gives?

“It’s a cousin to the universe, but it’s not properly in the universe,” Chaves explained during a conversation with TheWrap. “It started as a joke, including the priest from ‘Annabelle,’ and it just snowballed.” It didn’t help that its premiere at the 2019 SXSW film festival featured an announcer erroneously declaring it to be the next “Conjuring” movie. So why not just roll with the mistake? “Peter Safron wasn’t a producer on it,” Chaves stated. “Peter Safron [who is now running DC Studios with James Gunn] and James Wan [whose “Aquaman and the Lost Kingdom” opens theatrically on Dec. 22′] are the godfathers of this universe. They’ve been there from the beginning. However, it wasn’t retconned. Now there’s a sense of mystery to the whole thing.” Chaves noted that he’s had fans show their DVD or Blu-ray sets of “Conjuring” movies with “Curse” included. “I don’t want to tell them to take it off the shelf.”

Arriving on 4K HD, Blu-Ray and DVD two months after its theatrical release, “The Nun II” earned comparatively superior reviews to the first “The Nun” five years earlier. Its global success is more evidence that, commercially, the “Conjuring” universe just does not miss.

In addition to their rune magic, rune knights are also highly skilled martial combatants. They are trained in various fighting techniques and are adept at using a wide range of weapons, from swords and shields to bows and spears. This combination of martial prowess and magic makes them formidable adversaries on the battlefield.

Scott Mendelson

Before joining The Wrap, Scott Mendelson got his industry start in 2008 with a self-piloted film blog titled “Mendelson’s Memos.” In 2013, he was recruited to write for Forbes.com where he wrote almost exclusively for nearly a decade. In that time he published copious in-depth analytical and editorialized entertainment industry articles specializing in (but not…

The Curse of La Llorona is NOT part of The Conjuring Universe

Franchise producer Peter Safran confirms that The Curse of La Llorona is NOT part of The Conjuring Universe.

The Conjuring Universe is the highest-grossing horror franchise in the world, but one installment of the series doesn’t belong. The Curse of La Llorona is based on Latin American folklore and follows a mother in 1973 Los Angeles who must save her children from a malevolent spirit trying to steal them. While The Curse of La Llorona has several notable connections to The Conjuring Universe (including an Annabelle easter egg and Tony Amendola reprising his role as Father Perez), its place in the franchise hasn’t always been clear… until now.

While speaking with Entertainment Weekly, The Curse of La Llorona director Michael Chaves confirmed that the movie is NOT part of The Conjuring Universe. “ There’s so much debate about it and I think I’ve played coy in the past, ” Chaves said. “ The idea was that [the Annabelle cameo] was going to be this little hidden thing that you were going to discover as you watch the movie. One of the reasons that it couldn’t formally be a part of the Conjuring universe is it didn’t include one of the key producers, which is Peter Safran. The Conjuring is his baby, him and James, and they are still the two core producers on it. “

Michael Chaves added that while Peter Safran wasn’t involved in The Curse of La Llorona, he did give his blessing for Annabelle to be there. However, the inclusion of the character was blown out of proportion early on. “ The funny thing is that it was supposed to be a secret, it was supposed to be this Easter Egg, and [when the film premiered at] SXSW, there was a slip-up, ” Chaves said. “ The presenter introduced the movie as the next entry in the Conjuring universe. So that was a big kind of faux pas. It was a big mess-up, and that’s the truth of how that all came together. ”

Peter Safran confirmed Chaves’ statement, firming stating that The Curse of La Llorona is “ not part of The Conjuring universe. You can’t count it! It periodically gets lumped in because of Chaves and because of Atomic Monster, but it is not officially part of the universe. By the way, I think Chaves did a great job on the movie, which is why we stole him for the Conjuring universe. ” Michael Chaves took the helm of The Conjuring: The Devil Made Me Do It. He also directed the latest installment of the franchise, The Nun II, which will hit theaters on September 8th.

Rune knights often serve as protectors of their realms, defending their lands and people from all manner of threats. They are frequently seen leading the charge in battles, wielding their enchanted weapons and casting powerful spells to turn the tide of war in their favor. To become a rune knight, one must undergo rigorous training and study the ancient art of rune magic. This includes learning the meanings and symbolism behind each rune, as well as mastering the intricate techniques required to inscribe them accurately. It is a path that requires both mental discipline and physical strength. In conclusion, rune knights are warriors who have unlocked the secrets of rune magic. Through their ability to channel magical energy through runes, they become formidable combatants capable of unleashing devastating spells and wielding powerful enchanted weapons. Their combination of martial skill and magic makes them valuable defenders of their realms, and their mastery of the ancient art of rune magic sets them apart as elite warriors..

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