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Antonio Pomposo (previously Baloch; nicknamed El Maestro) is a minor character in Dragon Quest VII. A haughty artist and architect who lived in El Ciclo some time past, he is believed responsible for most of its architecture.
Sr. Pomposo once married a woman named Emilia, by whom he had a daughter named Antonia. However, he was far too proud of himself and engrossed in his work to acknowledge that Antonia was his child. He asked the town doctor, his close friend Salvador, never to reveal this to her. Nevertheless, she admired his work. None would, however, suspect Antonia to be related, as she was a klutz working as an errand girl in the town inn.
Pomposo worked in a self-designed studio east of El Ciclo, but occasionally roomed with Salvador in harsher times. The pair often had a contentious relationship with one another.
While in his studio, Pomposo would hire assistants to work with him, but he was frequently hard on them and each resigned.
Pomposo would nonetheless construct functional, yet odd-looking pieces, including La Torre de la Hora and El Magnifico Puente de Pomposo, the former of which was developed during research on the flow of time.
A demon known as The Time Being would one day seize control of time itself through Pomposo's work, implanting sands of time in the dimensional space created through his art. This caused a never-ending time loop. Though Pomposo noticed something odd, he could not act on it. When the Hero's party bears witness to the loop, Pomposo agrees to give them the key to La Torre de la Hora believing the two to be linked somehow. They stop the clock, which freezes all time save their own, only to find that a painting in Salvador's basement has now become a dimensional warp, and head through it.
Inside, the party successfully locates the cause of El Ciclo's dilemma, engaging The Time Being and defeating it. They then smash a giant hourglass to collect the sands of time, breaking the loop.
In the many years since the incident, Pomposo completes many works of art, including the conversion of his studio into a memorial to honour his greatest treasure. He also kept stone fragments found in his travels there. To keep the unworthy from reaching the treasure, Pomposo laid a variety of traps inside the memorial structure.
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