Mr Cards nods consideringly at the brief description of the uses of diamonds. So, diamond is a consumable material at the heart of magical infrastructure, then; the catalyst used to make magic permanent. Its uses include such valuable feats as bringing back the dead (absent the Neath's convenient properties), or even to perform arbitrary and permanent changes to reality! Yes, that would neatly explain its value, They reciprocate with a description of Amber, falling into a lecturing tone more or less automatically.
"Amber, primarily useful in the Shapeling Arts, can be used to induce changes. The Shapeling Arts are indeed an art, and not a science; the same procedure, carried out by the same artist in the same place with the same materials a dozen times will produce a dozen different results, much as each of the offspring produced by a given pairing will be somewhat different, even from birth. The art is easiest to use upon that which is or was alive, but it can be used otherwise, with significantly greater resource expenditure. Much like with diamond, it is also a catalyst to make the changes induced by this art permanent, though it also can simply enhance the power and scope of the art."
Here they produce a several bone curiosities, leaving them on the table; an arm bone tied into a figure-eight knot, a leg bone twisted helically through 860 degrees of rotation, a skull with a face on both front and back, a rib cage fashioned with hinges and wires into something rather like a breastplate, with each external surface forming a slightly serrated and dangerously sharp surface.
"It is safest to use the Shapeling Arts upon dead flesh and bone, as in a shaping cauldron, and this is one of the most sensible ways to learn the art. Fill a cauldron with a mix of amber, ground meat, bone meal, and vital fluids; heat slowly over the course of many hours, stirring constantly with long bones, until the amber has fully melted; then enforce a change upon the contents of the cauldron, drawing forth altered flesh and bone... or more potent and useful varieties of amber. That more potent amber might be used when crafting with bone, to transform common skeletons into useful, valuable, or decorative forms."
Here they take out four roughly eye-sized irregular chunks of amber, in a soft and slightly sticky yellow, a dark and rather warm red, a glowing and slightly trembling blue, and a bright and visibly pulsing red.
"The Shapeling Arts can used upon amber more directly, imbuing it with some degree of memory and life force. The least potent of common yellow amber might easily be made to sip ever so lightly upon the life of each hand that touches it, slowly recording the faintest shadow of everything it has experienced, a building charge which makes it more suitable to higher refinements. In the Neath, it is far more difficult to find untouched raw Amber than to find that which has been so treated! Amber that has been melted and reformed in a shaping cauldron becomes red and warm to the touch; this concentrated potency makes it far more responsive of an ingredient, and the most abundantly suitable medium for more complex work. Some portion of the amber which has been repeatedly melted and concentrated through that same process may begin to beat like a heart, and can be used to bring certain unliving constructions to a semblance of life. With a greater expenditure of one's personal life force, amber might instead be refined to a trembling blue, becoming akin to the journal of its creator, to one able to read what is encoded within. True experts might occasionally employ similar techniques to cause amber to bear even more useful lessons, imbuing the holder with a shadow of the creator's skills. Amber of the greatest potency might be infused with exotic light, thereby gaining some of the properties of that sort of light... but such samples are extremely rare and quite difficult to acquire."
Here Mr Cards grimaces and stretches the fingers of their left hand, until their long fingernails more closely resemble predatory talons, quite suitable for gripping or slashing.
"It is easiest to use the Shapeling Arts to change one's self, but perilous to the untrained. The slightest of mishaps can be agonizingly painful, and any distraction caused by that pain may lead to far worse failures. It is not impossible that a mistake may leave one permanently marred by an irrevocable error. Still, one might use such techniques to shift one's own anatomy to better withstand a deadly attack, to protect oneself from various unpleasant environmental conditions, or perhaps even to sneak though a paper-thin gap. At still greater risk, one might use the art to change the way they think, to better focus upon certain difficult problems. This can be astonishingly effective, especially in tasks requiring creativity, focus, or a point of view alien to one's own natural inclinations. Still, such changes are often negative sum on the whole; leaving a less generally capable mind which is more optimized for the specific task at hand. As such, I find it terribly unwise to make such changes except in a temporary and easily reversible fashion, lest one lose capabilities one might prefer to have kept... though there are those who disagree with me."
With their other hand, Mr Cards pulls out a strange, six-chambered heart, displaying it to the devils in an outstretched hand. It yet beats in their grip, as though still alive.
"In much the same way, the art can also be used to change another. The risk here is greater still than with personal changes, as one never has quite as much information about the health and nature of another as one does of one's own self. Given a cooperative student with some training in the subject, a master might gradually ease a willing student through any of the same changes they can make to themselves. Alternatively, stranger transformations might occasionally be performed... given sufficient resources and the enthusiastic cooperation of a subject who also has some familiarity with the art. Absent that, this is more likely to amount to paying a vast sum to torture and cripple ones subject."
So saying, they tuck the heart away and revert the earlier change to their hand, with a slight grimace being the only sign of discomfort.
"At a larger scale, the art passes beyond the understanding of all but its most dedicated practitioners. The Rubbery Men, in their deep caverns, use it to create and maintain vast and incomprehensible infrastructure, which seems to sustain their masters and produce more of their kind. The Starved Men, in their hanging stalactite fortresses, make fearsome living weapons; when they brought that hoarded strength to bear upon my city in a recent invasion, buildings and whole city blocks were reshaped much as flesh can be, with shocking speed and deadly results. In the aftermath of the failure of that invasion, certain diplomatic concessions were made; I personally was awarded a throne of amber, shaped with properties which usefully focus the mind, aid in averting madness, and grant increased abilities with the Shapeling Arts."
Their lecture finished, they consider Jacques' terms, and allow themselves a brief chuckle at the devil's jest.
"Those are sensible sounding terms... though it would of course be incredibly foolish to sign any document which I am unable to read! I have no objections to personally receiving a Comprehend Languages effect... but given that balance of abilities, I would instead suggest that I write the contract myself, in plain English, which language you both ought to be able to read, if not write. Indeed, that is my general policy in such negotiations; writing the contract myself, using my own paper and ink, makes several categories of trickery quite impossible."