Accio Enochlos

Restrictions:

Accio Enochlos cannot be successfully cast in a space too small to contain the summons.

The spell requires the use of a spell focus item such as a wand, staff, or circle. It cannot be cast freeform.

Casting the spell takes a full round action, and if interrupted, has to be started over completely.

Requires a material component worth at least 1 GP in value, which must be acquired from the place where the spell is to be cast.

Effect:

Accio Enochlos summons a crowd of people to fill the area where the spell was cast. These people are real for the duration of the spell and are not illusionary. They can be spoken with, they can barter and do business, walk around, and if things become violent they can minimally defend themselves, can bleed, and can be killed. At the end of the spell's duration, they leave in the same manner they appeared, simply walking 'off scene' and vanishing. A dozen summoned people can open a closet door, walk through, and then just be gone. Any door will suffice. Lacking doors, they will walk out of sight, and it only takes a second, and poof away back to wherever they come from.

Duration: concentration or 1 scene

7 Uses of Accio Enochlos

1. The Street Market Scene

The Street Market Scene is a common trope in cinematic chases, where the hero and villains careen through the streets of a city, causing mayhem and bedlam as they navigate the crowds of people. The spell here is used to create such an encounter where one is not expected, such as when the chase is too close and there needs to be breathing room. The villain could cast the spell and force the heroes to make saving throws versus losing the villain in the press or controlling their vehicles/mounts to avoid killing someone. Likewise, heroes can use the spell to create a gap in a non-violent chase, allowing them the chance to grab onto a moving vehicle, make a daring escape down the sewer, or otherwise break line of sight and vanish. 

2. The Funeral Procession

Cultural customs are deep and often transcend personal goals, aggressions, or even relevant story elements. One such custom is respect for the dead and the bereaved. This variant of Accio Enochlos calls forth a funeral procession, common folk wearing colors of mourning, banners, and religious iconography, clerical figures, weeping women, and disconsolate children. In common Western culture, this is a procession of people dressed in black following pallbearers and a casket. Chinese funerals are a trope in martial arts films, colorful and expressive. Other races in a fantasy setting would have their own idiosyncrasies and details. Disrupting the procession would require some sort of personal attribute check, to recognize the spell, to ignore social respects, or whatever.

A fun element to add to this is that the spell doesn't banish people who are already present, and the action of the spell engages the general populace as well, so a villain in a chase might know the spell, and be halfway through hacking a hole through a 300 person funeral procession, only to find that the other people (real people) who see this do not respond kindly to it. Law enforcement/city guards can be called in, the common folk might take up arms, and not everyone on the street is a level 0 nobody.

Variants include the Parade, the Wedding Procession, and General Religious Observances

3. The Woman in the Red Dress

More rogue aligned magic users can use the spell to create distractions. As with the above examples, a crowd can be summoned, but there might be a specific individual in the crowd that draws the eye, the woman in the red dress walking down the urban street of black clad businessmen. In fantasy, this might be a half-clothed she-elf, a dragonborn in a human city, or something more exotic. While all eyes are following the obvious mark, the rogue is free to pursue their larceny. This can also be used as a way to draw off obvious tails, such as a crowd of neer'do'wells and thugs who while having no real stats or ability to threaten are going to have city guards drawing their clubs. The main thing is that the crowd is a distraction or a redirection rather than a physical obstacle.

4. Gobbo-Town

One aspect of the spell is that the crowd summoned is not automatically human. There are three factors that guide what sort of being is summoned: the race of the caster, the intent of the caster, and the item used as a material component. A goblin in a goblin town can summon a crowd of goblins, as can a disguised human caster with a goblin item. Most of the time, the crowd will match the race of the caster as a matter of basic circumstance. The more unlikely a crowd would be, the more difficult the spell becomes. A dark elf can easily summon a crowd of dark elves in a dark city. A human caster would struggle to summon a crowd of dwarves into an elf city, or dragonborn into a dwarf city.

5. Bikini Time

Few things are as socially distracting or disruptive as a naked person. This application of the spell summons a crowd of 'beachgoers' for more PG games, or nudists, prostitutes, cultists of the sex deity, etc to appear. Scandal ensues, hilarity ensues. This can be played to high comedic effect by the actions of the people being completely at odds with their attire, such as a group of cityfolk appearing for a flash street market, vendors with wares, and carts, and all that, but they're all in the buff. how cringe, or Girls Gone Wild it is depends on the caster's preferences. 

6. The Protest

All of the previous uses of the spell involve making passive distractions. This variant summons a hostile thought mostly ineffectual protest. The people appear, shouting and jeering, and generally making a nuisance of themselves, but again, to no real effect. If there are things present that can be used in a demonstration, then these things might be used, such as throwing rocks and the like. A cadre of mounted magic users could make an entire city seem like it's on the edge of a violent uprising by scattering these mobs across a large area, triggering larger protests.

7. Oona

Oona is the creation of a single mage becoming obsessed with his own spells. The mage Davith Volavola noticed the same woman appearing when he cast the spell. He eventually started focusing on her, casting the spell to simply get close to her and talk to her. To his surprise, she had a name, a residence, a past, childhood friends, fears and hopes, dreams and concerns, and Davith felt he had found a soulmate in the magically conjured woman. He started working to find where the people in the spell come from because he wanted to find Oona Penjuli outside of the spell. He spent time researching the spell, creating alternate variants, creating magic items allowing him to cast the spell easier, and for it to last longer and longer.

It is of little surprise that Davith Volavola went mad. The people conjured by the spell are not real, and do not exist beyond the boundaries of the spell. Like figures in a dream, they are drawn from the memories and imaginations of the caster. Volavola fell into his own creation, falling in love with a woman he had seen years before, and filling her remembered appearance with his own desires.