Legendary 029 - The Old Man by the Fountain

Sunday, July 3, 1066

Today is a church day. Hennadii is serving breakfast at 8 instead of 7, to give everyone plenty of time to eat, dress, and head to a church service. He helpfully posts a list of several church services within walking distance and provides a short description of each community and the preacher’s style. Folks are encouraged to attend services, but they are not mandatory. However, Hennadii suggests that those who choose not to go should enjoy a relaxing morning in the hotel and avoid leaving until the church bells ring again. Ioulia continues to entertain the Second Crew on the piano as she works on her new composition. Branna tells the Second Crew that this is a good idea, as some of the residents might negatively perceive their presence in town during church services, and rumors in Konstantina spread even faster than in Katarina.

Looking at the list, Branna decides to cross the Lavra River and attend church with her parents at St. Gleb's before going home for lunch. Marigold is intrigued by the proletarian orientation of the St. Boris Basilica and decides this is where she will go. Mon examines the list for any service in the name of the Raven Queen, but does not find any. He decides to travel with Branna. Luba considers all the options and decides to accompany Marigold. Dhuka isn't interested in going to church, and she loudly asks whether they will be doing anything fun after church, since she's tired of being cooped up in the South Gate Hotel. Mon promises her that he will take her and Anya around town after they return from St. Gleb, and maybe they’ll even have a picnic. 

Branna and Mon head to Riverside and catch a ferry across to St. Gleb. Walking to the church, she recognizes many of the congregation's members and soon finds herself in conversation with people curious to hear about her adventures in Katarina. Standing back, Mon observes the scene and takes notes of the various types of people, reflecting that this would make a good scene in a play. Ten minutes before the service starts, Branna’s parents arrive, and they are pleasantly surprised to see their daughter. Branna informs them that she and Mon would love to come to lunch after church, as she has many questions about the town’s social and political climate. They readily agree, and the four of them enter St. Gleb’s church.

The service at St. Gleb Church is exactly the way Branna remembers. The church is well-lit, featuring modern, clear glass instead of traditional stained glass, which emphasizes the community’s spirit of transparency and clarity. The overall look reflects its reputation as a haven for the city's more liberal thinkers, artists, and reformers. The atmosphere inside is one of calm contemplation and intellectual engagement rather than fire-and-brimstone fervor. The preacher's tone is inclusive and philosophical, focusing less on doctrine and more on ethical conduct and personal interpretation of faith.

Observing the service, Mon remembers that his family leaned more towards druidic traditions as professional fishermen. He recalls bits and pieces of the service, and as he compares his memories to what he is observing, he finds the St. Gleb church service to be unstructured and conversational. incorporating music from the folk tradition, and the readings are often drawn from parables or ancient wisdom texts, encouraging open discussion afterward. The preacher, a progressive scholar, delivers a measured and analytical sermon. The focus is on social justice, empathy, and challenging one's own biases, suggesting that true faith requires action to help the disadvantaged and that the church's role is to question authority when it becomes corrupt.

Meanwhile, Marigold and Luba experience a different service. Located in the St. Boris neighborhood, the St. Boris Basilica is dedicated to the patron saint of peaceful martyrdom. The Basilica’s Gothic stone structure is old and dark, cutting an imposing figure that overshadows the surrounding buildings. A large crowd stands outside the church, while the sound of a booming organ inspires the crowd with religious fervor. The congregation is primarily composed of the working class, including dockworkers and small business owners, as well as disenfranchised veterans. With the building filled to capacity, Marigold and Luba barely find enough space in a pew near the back. 

The interior is dark and filled with religious icons. Countless decades of incense burning have covered most of the ceilings with soot. The Basilica’s atmosphere is intense, devotional, and highly charged. The service is highly traditional and ceremonial. It features call-and-response chanting and dramatic rituals, invoking the strength and suffering of the martyrs. 

The preacher is a charismatic, firebrand speaker whose sermon is a dramatic confrontation with the city's corrupt powers. Marigold notices that he’s offering a rallying point for the poor and the traditionalists who feel betrayed by the current government. He preaches a populist message, directly railing against the new Excise Tax that starves the poor and demanding that the church fulfill its duty to protect the suffering. Designed to inspire courage and political resistance, his oration riles the crowd, and Marigold fears she’s witnessing the beginning of a riot. Their collective energy is palpable, and they respond to the preacher with enthusiastic shouts and signs of devotion, leaving the Basilica feeling galvanized to oppose the established order.

With the service wrapping up, Branna and Mon follow her parents back to their home for a light lunch. During the meal, the discussion centers on the Cardinal's political situation and exile, the excise taxes that are now crippling local merchants, and the increased military presence in Konstantina, foreboding a potential conflict. When Branna mentions the incidents at the Grand Royal Opera, her parents wonder whether the local theater crew is feeling professional jealousy or driven by some sinister force. They also mention that the script of Masha and the Bear should be gone through with a fine-tooth comb for any threat of independence on the part of Katarina, as it would not be well received locally.

Branna wonders whether it would behoove the Legendary crew to get interviews from local newspapers to promote the play. Her parents think it is a great idea, and they provide her with the names of several journalists and chroniclers she can contact.

On the other side of the Lavra River, Marigold and Luba return to the South Gate Hotel for lunch. Hennadii serves Marigold with several hafling dishes he researched and prepared, and the food is delicious. Noticing that neither Dhuka nor Anya is in the dining room, Marigold climbs the stairs to their room and finds Anya sitting by the window, looking at the Lavra River in the distance. Communicating through signs, Marigold soon learns that Dhuka left at the end of the church service to explore the city. 

Marigold decides she can’t wait for Branna and Mon to return to look for Dhuka before she gets herself in trouble, so she tells Anya she will search the city. Anya convinces the halfling to take her along. Marigold leaves a note with Hennadii at the front desk explaining the situation to Branna and Mon. Wandering the Walled City, Marigold and Anya see the sights, but after a few hours, they still haven’t located the child.

With their meal finished, Branna and Mon return to St. Gleb and take the ferry across the Lavra River. Coming up the Riverside Hill Road, they soon run into Anya and Marigold, and the halfling explains the current situation. Continuing their search, they soon come upon a public garden with a grand fountain featuring a beautiful woman carved in stone holding a raven. They immediately recognize Dhuka, who is sitting next to an eccentrically dressed, very old man feeding the seagulls. Dhuka introduces him as Mykola, informing Mon and the others that Mykola tells really interesting stories. Branna recognizes the costume was from the Regency period, 85 to 70 years ago. At the time, the King had died, and the Queen served as regent to her young son before he became of age to ascend the throne. The regency came to a tragic end as nobles rebelled and the Queen was forced into exile. The young son eventually became King Stanislas II’s grandfather.

Mon introduces himself to Mykola, and the man shakes the actor’s hand. Mon begins to talk with him, and Mykola tells him he’s lived in Konstantina for more than 90 years. He suddenly looks at Mon, before telling him that “A voice lost to the waters will one day return with the tide.” Turning back to the fountain, the old man returns to his conversation. Mon asks Mykola how he knows this information. Mykola replies that the fountain often whispers secrets to him. He’s been coming to this fountain for more than fifty years, and it always has something interesting to tell him. For example, he tells Mon that the fountain wanted him to know, “The woman from Katarina, they wanted her forgotten.”

They talk a little longer before Mon gets up to look at the fountain. Wondering if there is some sort of magic at work, Mon examines the fountain closely, but does not find any arcane influences on it. As Dhuka, Mon, Branna, Anya, and Marigold bid Mykola goodbye, the old man tells them that “The thrice-born child carries the Raven Queen's silence in their blood, for the cycle of the King's death only turns when her debt to the cradle is paid,” adding that “The lost voice of the Princess sings a tune only the Raven Queen can hear, for stolen breath is a toll paid directly to the void.” 

On the way back to the South Gate Hotel, Branna and Marigold scold Dhuka, telling her she can’t be wandering the streets by herself, as it is not safe. Dhuka complains that boys can be out in the streets, and that she should be allowed to as well. Branna replies that, unfortunately, life is not fair, and Dhuka must be more aware of her surroundings and not wander the city by herself. It’s too dangerous.

At dinner, the Legendary’s crew is joined by Sir Sergeii while Ioulia continues to work on her composition. Branna mentions reaching out to the newspapers. Sir Sergeii tells her it is a brilliant idea, and he will invite the critics to the dress rehearsal on Thursday. Branna informs Sir Sergeii about her parents’ concerns with the script, and Sir Sergeii tasks her to review the script and work on ways to soften any possible reference to independence. 

As they head to their room after a pleasant evening in the South Gate Hotel’s common rooms, Herald returns. He informs Mon he’s met a pretty lass and told her all about him. He soon passes out in his bed.

Herald returns, mentions he met a pretty lass and told her all about Mon, then passes out in his bed.

Meanwhile, on Katarina, King Stanislas II and his entourage attend the church service at the Cathedral and greet well-wishers, before heading to Thunderhead Down to enjoy the horse races

Monday, July 4, 1066

Mon witnesses: Herald departing early. Following breakfast, the Second Crew heads back to the Royal Grand Opera. In the morning, Dhuka is kept busy with theater business. 

Mon returns to the hotel at lunch to pray to the Raven Queen. He tells her what he has seen —the statue with the raven at the fountain —and that he plans to go to the city archives. He asks her for guidance on finding other cards to rebuild his soul.

While working on costumes, Branna re-reads the script and finds that the whole story has an independentist bent. She begins to jot down adjustments to the script. Masha and the Bear is a three-act musical play first performed by the Legendary Theater. The plot follows a young maiden, Masha, who gets lost in a forest and is captured by a bear. In Act 1, the play opens with Masha, a fair maiden played by the actress Luba, in the forest with her friends collecting mushrooms. She gets separated from her group and is ambushed by a bear, played by the actor Vadim, who takes her back to his lair.

In the second act, Masha learns how to live with the bear while plotting her escape. This act features beautiful songs and highlights the lead actors' performances. The final act begins with Masha convincing the bear to deliver pies she has baked to her parents. Masha hides inside the pie basket. Although the bear is tempted to eat the pies multiple times along the way, Masha tricks him by pretending she can see him from his lair. When the bear finally reaches Masha's village, he is chased away by a pack of hunting dogs, forcing him to abandon the basket. Masha emerges, happily reunited with her family and friends, and the show concludes with a final song.

When Mon and Marigold get a break, Branna shows them all of the problematic passages. Mon suggests they add iconography, and the bear is trying to take her away from religion. And the bear makes her work on Sunday. With some minor changes, the play could now be interpreted as a renewal of her faith. Marigold proposes that Masha could have been raised in a convent, and the bear kidnaps her from there. She can pray only when her work is done, and her work is never done. Branna adds that Masha could be collecting mushrooms with the other nuns from the convent, and the pie in the third act could be delivered back to the convent. When the bear is chased off, he is struck by the hand of God. Masha prays when the lightning is delivered.

Departing the theater after the day’s work, Mon heads to the Archives. He wants to research St. Olha and see whether she was associated with dogs or wolves. He also plans to research the royal family tree, as well as the losing side of the conflict 70 years ago. What happened to the losing queen? Are there any portraits that exist in the documentation? Is there a connection to St. Olha? Passing by the fountain, Mon stops and sits next to Mykola. During the conversation, Mykola tells himself that “The mirror on the wall, it shows only what you wish to see, not what is real.” He then breaks into song. Mon remembers this song from when he was a child, and he hums along.

At the Archives, Mon meets archivist Katiya, and requests several records on St. Olha and the royal family. She will look for a portrait of Queen Lyuba, who served as regent.

Looking into the Regency period, Mon discovers that when King Petro died, leaving his young son, only six years old, as heir, his wife, Queen Lyuba, was appointed regent. The Regency followed a protracted period of war with Natavia. The court and upper classes yearned for peace, stability, and beauty, something Queen Lyuba was able to provide, at least at first. The first part of the Regency is  characterized by high fashion, intricate design, and a focus on the arts. It was a facade of cultured elegance that masked deep financial and political rot.

Queen Lyuba herself was renowned for her refined taste and sought to restore the treasury's prestige through lavish patronage of the arts, theater, and construction. While this elevated Konstantina’s cultural standing, the constant stream of balls, fashions, and building projects widened the gap between the spendthrift capital and the struggling provinces. The standing armies and garrisons, essential for defense against Natavia, remained expensive and underpaid, fueling discontent among the veteran noble class.

The nobles' intervention was not a single, sudden act of treachery, but the result of two major, related grievances: Financial mismanagement and the sacrifice of security. Advised by a small clique of new financiers, Queen Lyuba began defaulting on the substantial war bonds owed to the old noble houses, whose wealth had bankrolled King Petro's final conflicts. To fund her extravagant court and cultural projects, she levied increasingly high domestic taxes on rural landholdings and commodity exports controlled by the provincial nobility. They felt the Crown was actively stripping their wealth to pay for silks and new basilicas.

To save costs and redirect funds, Queen Lyuba ordered a significant reduction and restructuring of the border garrisons guarding the Northern borders and the sea fleets protecting the trade routes. The northern frontier houses—who had the most to lose from renewed aggression—saw this as a direct betrayal and a reckless endangerment of their lands and people. They argued that the Queen was sacrificing the realm's security for the Court's vanity.

The combination of financial ruin and vulnerability to foreign threats galvanized the regional Dukes and Counts. The rebellion, led by Grand Duke Volkov (who later became Regent), was publicly framed as an intervention to “restore the King’s solvency and protect the borders” from the Queen’s reckless policies, resulting in her eventual forced exile.

Grand Duke Andriy Volkov's regency is generally remembered as a period of military stability and cautious rebuilding after earlier foreign conflicts.

Digging into a book on St. Olha, Mon reads the history of Sezja’s first Saint. Olha led her people, a devout and freedom-seeking community, to the remote, rocky island where Konstantina now stands. Shortly after their arrival, a vicious plague or magical blight swept through the nascent settlement. Realizing the disease was too potent and could spread to the mainland, Olha, their leader, made the terrible decision to seal off the island. She ordered the healthy to stay and tend to the sick, while she barred any ship from leaving, sacrificing their lives to save the lives of those on the continent. She was the last survivor to remain untouched by the plague. At the end, she stood upon the highest cliff, where she had watched the last of her people perish. Her tears of despair fell onto the black rock of the cliff, cooling instantly into the precious, jet-black stone, the Black Tears of Olha. This makes her not just a founder, but a martyr who traded her community's life for the safety of the greater Sezjan people.

Returning to the South Gate Hotel, Branna delivers the change in scripts to Sir Sergeii. And Herald comes back dishelved….

Legendary 028 - Instruments and Gems

Saturday, July 2, 1066 SE, continued

As the Second Crew finishes its breakfast, a page arrives and delivers working notes from Sir Sergeii. He notes there are several differences between the two theaters. The Grand Royal Opera's stage is shallower in front of the curtain, but longer. The space behind the curtain is slightly larger, but, unlike the Legendary, the facility does not offer a second stage with the same specifications. As a result, the following arrangements have been made. The Legendary’s crew will have unfettered access to the Grand Royal Opera from 8 am to 4 pm every day until Thursday, then they will have full access for the entire weekend. The following week, the schedule will switch and the crew of the Grand Royal Opera will work during the day while Masha and the Bear is performed at night. Sir Sergeii then mentions that until opening night, breakfast will be served at the South Gate Hotel every day at 7 am, while dinner will be served at 6 pm. Lunch will be provided as a brown-bag, or folks can partake of the many restaurants and eateries in the old city at their own expense.

Following this hearty breakfast and sending both a message and a letter to Lady Sirenko about Verushka and Matviyko, Mon, Marigold and Branna walk with the rest of the second crew to the Grand Royal Opera. As they walk, Marigold voices the concern that even though the cargo arrived and all items are accounted for, some props and costumes might have been damaged in transit. Branna is worried that they will need to figure out how to stage the costumes and equipment while another production is occurring in the evening. Perhaps they need to touch base with Maksym, the Grand Royal Opera's stage manager, and figure out a plan of action to ensure that the conflicts between the two productions are minimized.

Returning to the theater, they are greeted by Marta, the theater director, and Maksym. Marta reiterates that the Second Crew should be able to enjoy the facilities and have access to all spaces. She tells them that arrangements have been made and that the local staff should be obliging with any reasonable request. If they encounter roadblocks, they should inform her immediately so she can address the issue and resolve it. Maksym listens to Marigold and Branna’s worries, and he tells them he will have several carts on wheels that can be used to store props and costumes. These will be lockable and can be moved on or off the stage when needed. Marigold agrees it’s a good compromise. With no more questions, Marta tells them she will check on them periodically, but once again reminds them to notify her as soon as possible if a problem arises.

Mon joins the rest of the acting crew, and he experiences a memory about how his family stored their fishing boat for the winter. He remembers how the boats were lifted in the boathouse through a system of ropes and pulleys. Perhaps they could do the same with some of the props, lift them up in the fly tower and drop them down when needed. He makes a mental note to present this idea to Marigold. 

Meanwhile, Marigold and Branna meet with props and costumes to see how those local departments stage their own equipment. Folks working in props are thrilled to work with Marigold, and after spending time discussing and complimenting each other’s props, they soon exchange trade secrets. Their workflow is similar to that of the Legendary, and Marigold is convinced she will be able to make this temporary relationship work. For Branna, things don’t go as smoothly. The costume department’s workers are polite and efficient, but she finds them rather distant and cold. Their costumes are decent, but lack imagination, instead adhering to fashion standards Branna remembers from her youth. She will be able to work with them to repair any costumes that need attention, but it’s clear they won’t become friends.

It soon becomes clear that, for the most part, local theater workers are upset at having to share the space with the Legendary's crew. Laborers are essentially interrupting the actors' rehearsal as it occurs by moving equipment, painting the scene’s floor, or generally making a nuisance of themselves. Not wishing to rock the boat, the actors obligingly move out of the way of the laborers and make do with the various interruptions. Branna takes measurements of all of the actors to make sure costumes still fit, and she notices that Luba has gained some weight. Branna speculates that perhaps the actress might be pregnant.

Near the end of their first day at the Grand Royal Opera, Marigold stumbles upon a conversation between two of the local stagehands. Remaining partially hidden and unnoticed, she sees that the two of them are bickering in whispers, so they are not overheard. She recognizes Oleksandr, an older stagehand, and Kostya, a younger man, both of whom were introduced to the Second Crew earlier in the day. Oleksandr seems frustrated at a pile of ropes and props from the Grand Royal Opera’s current production. He tells Kostya that the rope is frayed and that the paint is still wet. Both of these elements make the stage a more dangerous place. Kostya sneers and tells the old man that they’ve been told to help, but most of the locals agree to do only the bare minimum, adding that it’s not up to them to ensure the Legendary’s success while in Konstantina. Oleksandr replies that the Legendary’s troupe is a group of professionals who deserve a proper stage and, more importantly, a real welcome from fellow theater workers. Kostya tells Oleksandr that the workers will give the Legendary’s crew a show they won’t soon forget, before smirking and walking away, leaving Oleksandr to grumble to himself as he tries to find a replacement prop. Marigold makes a note to mention this situation to Sir Sergeii when she sees him at dinner tonight.

A little after four, Marta walks through the theater while striking a metal triangle, letting the second crew know that it is time for them to depart for the day. She also mentions that she’s sending a handful of tickets to the South Gate Hotel for some of the second crew to use tonight. As they leave the Grand Royal Opera, Branna tells Marigold and Mon that she would like to go see the show. Stopping by the box office, Branna requests a program about the Grand Royal Opera’s current production, the Iron Will of Sezja. 

Reading through the brochure, she discovers that it is a three-act opera of grand scale, celebrating the resilience, faith, and patriotic spirit of the Sezjan people through a story steeped in Sezja folklore. The opera's music is a powerful blend of traditional Sezjan folk melodies and soaring, dramatic classical orchestration. It's a conservative piece that extols the virtues of tradition, family, and national unity in the face of foreign threats. Branna begins to read the text aloud to her friends as they walk to the South Gate.

The opera opens in Act 1, the Gathering Storm,  with a picturesque Sezjan village, where the annual harvest festival is in full swing. The people sing of their love for their land and their deep connection to its history. The central figures are Oksana, a beautiful and virtuous maiden, and her fiancé, Taras, a strong and noble blacksmith. Their love is pure and tied to the land. The arrival of a foreign scout, a member of the invading Horde from the North, shatters the festive mood. He is a menacing figure, arrogant and dismissive of the villagers' traditions. He demands a tribute of their grain and announces that the Horde's army will soon arrive to claim their land. The villagers are terrified, but Taras refuses to submit. He rallies the people, urging them to fight for their freedom and their way of life. The act ends with Taras and the village elders, armed with farm tools and ancient knowledge, preparing to defend their homes.

In Act 2, the Whispering Woods, Oksana, distraught by the thought of war, seeks guidance from a wise Liesha, a forest spirit who lives in the sacred forests surrounding the village. The Liesha tells her that their will is a reflection of the will of the land, and that true strength comes not from iron, but from faith. Meanwhile, the Horde's general, a cunning strategist, leads his army through the dense forest, believing the villagers to be an easy target. But the forest itself seems to conspire against them. The trees twist, the paths vanish, and the air becomes thick with disorienting whispers. Taras and his men, using their intimate knowledge of the land, perform a ritual to call upon the spirits of their ancestors. The spirits answer, and the forest comes alive, with root-like hands grabbing at the invaders and trees blocking their path. The climax of the act occurs when Taras confronts the general. The general mocks him for relying on superstition, but Taras demonstrates the power of their belief. With a powerful aria, Taras channels the energy of the land, and the general's sword shatters against his simple blacksmith's hammer. The invaders, demoralized and defeated by the unseen forces of nature, retreat in disarray.

In the final act, Act 3, the Dawn of Freedom. returns to the village where the people, battered but not broken, sing of their victory and the power of their faith. The Horde's general, humbled, returns and offers a truce, recognizing the unyielding spirit of the Sezjan people. He offers to form an alliance, recognizing that they cannot be conquered. The opera culminates in the wedding of Oksana and Taras. Their union is not just a celebration of love, but a symbol of the nation's renewal. They sing a final, powerful duet, an anthem to their iron will and their unbreakable connection to their land. The final scene shows the villagers, their faces filled with hope, standing proudly under a rising sun, their freedom secured by their faith and patriotism. The chorus swells, and the curtain falls on a tableau of national unity and eternal hope. 

Hearing this description, Marigold expresses concerns that their production of Masha and the Bear might be too colorful for the more conservative scene of Konstantina. She suggests that the second crew evaluate whether the folks who attend the theater here should be dazzled by the brightness and glitz of their production, or whether they should focus more on their storytelling skills and let the crowd enjoy the acting and costumes at the expense of the scenery. Marigold proposes that the chorus should blend more in the scenery than they did for their Legendary production.

Marigold and Branna head back to the South Gate Hotel, while Mon walks to the Royal Library and Archives. Climbing the majestic steps to the stone building, Mon sees that the building is closed for the day. A wooden sign by the main entrance indicates that the Archives are open from 8 am to 6 pm every weekday. The Library is open from 8 am to 8 pm six days a week. Wandering back to the South Gate Hotel, Mon does some window shopping and stops at the Luthier’s Harp. Owned by Yevgen, the store features instruments for sale, a space for crafting and repairing instruments, and a backroom for private lessons. Mon hears music coming from the practice room, with the voices of children. Ringing the bell on the counter, Mon is greeted by Yevgen, who inquires as to what the bard might need. Mon wonders if Yevgen has a lute, a pan flute, and a dulcimer that are lightweight, travel well, and not too flamboyant.

Yevgen selects three instruments, and right away, Mon is impressed both by the quality of the instruments and by the way they match exactly what he requested. Taking the lute made of a luxurious rosewood, Mon plays a simple melody and brings a tear to Yevgen’s eye. The owner is suitably impressed with Mon’s talent. The pan flute is made of a dark wood that is thin like a sheet of paper, yet hardy enough to handle musical mistreatment. Noticing he’s attracted an audience, with three children now watching him, Mon tells the children a story while playing the pan flute, and his performance is incredible. The bard rivets the children. Yevgen then hands him the dulcimer he selected for him.

The dulcimer is crafted from a seasoned combination of maple and rosewood, with well-worn strings that tell the story of every road it has traveled. As he plays it, the instrument sounds like the rhythm of a journey and the clatter of a long road. Mon is convinced he found three decent instruments. Conversing with Yevgen, Mon exchanges tales, and Mon tells him he’s always seeking knowledge. Handing one of the students the lute, Mon encourages her to play it. Using his bardic inspiration, Mon helps the girl’s performance, and she ends up playing better than he did. The girl immediately drops the lute, but Mon catches it before it hits the ground. The girl’s face betrays her fear that she’s been possessed, as she knows there is no way she’s naturally this good a musician. Mon purchases the lute and offers it to the girl, telling her that her performance was inspiring, but she was not possessed; instead, he thinks his earlier playing might have inspired her. He also purchases the pan flute and the dulcimer.

Yevgen then mentions the Jenken Ensemble, a series of stone statues about an arm’s length in height. He owns three of them, and he’s looking for the other six. He would be willing to pay a high price for each of them. Mon tells him he will keep an eye out for them. His business concluded, Mon returns to the South Gate Hotel, with Herald not in the room. Mon places the dulcimer in the extra-dimensional space in his suitcase. 

Back at the South Gate Hotel, the crew discussed Marigold’s findings. She makes a speech about the locals not being helpful and that the second crew needs to keep an eye on the local workers. She suggests that the scenery should be toned down. The folks attending the play are here to see the actors; they should be the true stars of Masha and the Bear. She then mentions Kostya and him being out of sorts. Sir Sergeii, who arrived during the meeting, agrees with the changes in color, and he also offers five tickets to tonight’s performance of Iron Will of Sezja. 

Following the meeting, Hennadii, the proprietor, serves a tasty dinner. Ioulia, one of the second crew’s musicians, is playing in the dining room, and she often stops to jot down notations in her score. Marigold, who is interested in finding semi-precious shops, queries Hennadii, and after a moment or two, he mentions the Golden Griffon, located uptown near the road heading down to St. Boris, and the Sezjan Sparkle, situated in the wholesale district of St. Boris. The Golden Griffon is renowned for its intricate, mythical beast designs and high-end pieces, which are favored by the nobility. The Sezjan Sparkle is a more modern shop that specializes in the wholesale of precious and semi-precious stones, while also offering cutting and setting gem services. Its works are popular with the city’s burgeoning merchant class.

After dinner, Marigold convinces Mon to come with her to visit the two shops. There’s still an hour of daylight, and the streets are safe enough at night with the constant patrols, so she’s not too concerned about their safety. 

They first travel to the Golden Griffon, where Marigold speaks with Vika, the owner. The shop specializes in rare forms of quartz, howlite, cinnabar, and the black tears of Olha. The Black Tears of Olha are a type of gemstone, volcanic glass found only on the island of St. Olha, where Konstantina was founded. It's jet black and said to be formed from the tears of the city's founder, St. Olha, mourning the loss of her people. It's used in mourning jewelry but is also said to offer powerful protection against evil spirits. Marigold purchases several gems.

They then leave for St. Boris, to visit Sparkling Sezja. They soon noticed that they are tailed by Branna and Dhuka, who, when spotted, complains of being cooped up in the South Gate Hotel all day and is ready to go to work. Sparkling Sezja is owned by Ihor, and specializes in stones such as ceruleite, femimorphite, friedelite, xonotlite, and sezjite. Mon experiences a memory related to sezjite. Sezjite's primary colors are cerulean, sky blue, and deep navy, often interlaced with thin, thread-like veins of silvery-white or shimmering gold. These intricate patterns are said to resemble the shifting waters of the Lavra River under a changing sky, from a clear day to a brewing storm. The stone has a soft, almost velvety luster when polished. It is a favored stone for local jewellers, particularly for pendants and rings. It is also carved into small totems and talismans, which are often placed in homes or on boats to protect against misfortune. 

Mon remembers his mother telling him the story that, according to local legend, sezjite is a gift from the River God of Lavra. It's believed that the stone captures and holds the peaceful, flowing energy of the river. Wearing a piece of sezjite is said to bring a sense of calm, improve communication, and ensure a journey is safe and prosperous. It is a popular gift among families and lovers, symbolizing a love as deep and true as the river itself.

Struck with this memory, Mon commissions Marigold to create a talisman made from one of the sezjite stones she purchases from Ihor. Branna and her friends then check out the textile warehouse and find several bolts of cloth that would be very helpful in crafting new outfits. After having a conversation with the shop owner about the quality of buttons, Branna agrees with Mon to make a coat filled with buttons.

Dhuka then notices a bakery. She drags Mon there, and she purchases a couple of honey-soaked pastries, sugar-dusted buns, and candied fruits that look too beautiful to eat. Next to the bakery is a small paper and stationery shop, where she sees a journal with Dhuka’s name embossed in gold on a red cover. Concerned that the book might be a trap, Mon carefully examines it but finds no evidence that it is anything but a journal. The clerk tells him that he can embroider any name on any of the journals. Mon selects his name in black on a light-blue-covered book. Dhuka also chooses a pale rose book and writes Anya’s name on it. Branna selects her name in peach on a deep green reminiscent of the forest. Marigold doesn’t want a journal.

Emerging from the warehouse district, they realize three unsavory youths are following them. Mon tosses them three gold coins and tells them this is a down payment; he might call upon them at some point.

Meanwhile, on Katarina, the doors of Verdant Estate are opened to the public for the first time in decades as everyone is invited to tour the gardens and enjoy light refreshments. In the evening, Sir Staal hosts a black tie dinner...

Legendary 027 - Winds of Fortune and Fury

Tuesday, June 28, 1066 SE, continued.

As the Cardinal’s Blessing and the Zhytomyr’s Siren travel the Katarina Fjord, fast-moving storm clouds soon block the sun, turning everything gray nd damp. Winds blowing from the west swell the waves, and the ships are propelled forward as the rolling vessels exit into the sea. A curtain of heavy rain catches the ships as thunder and lightning strike in the distance. 

Marigold, like most of the second crew, is affected as the ships pitch in the storm. Luba is particularly vocal about her discomfort, informing everyone she’s unhappy and is surely dying. Igor, captain of the Cardinal’s Blessing, requests that all passengers stay below deck as the meteorological conditions worsen. 

Out at sea, the Tall Tales is also affected by the roiling seas. Dhuka is green around the gills, so Mon uses lesser restoration to make her feel better. Anya is not significantly affected. Popov mentions to Mon that this storm is unnatural and will worsen before the night is out. Spotting the Cardinal’s Blessing in the distance, Popov expertly maneuvers his small fishing boat and comes to the side of the much larger passenger ship. Rigging a rope across both ships, Mon tells Dhuka and Anya that they will travel in a harness across the vessels every time the Tall Tales finds itself on a wave. Anya seems resigned to her fate, but Dhuka tells Mon she looks forward to this new experience, even if it seems a little scary. Mon assures her he will jump in the water to rescue her if something goes wrong.

Seeking to escape the lamentations of the folks below, Branna and a much maligned Marigold make their way to the deck despite Captain Igor’s request. They spot the Tall Tales next to them on the port side and notice that Anya is about to cross in the driving rain. As soon as the Tall Tales crests the wave, Mon pushes Anya across, and she is caught by two strong sailors who unhook her before sending the harness back across as the Cardinal’s Blessing reaches the top of the next wave. Dhuka and Mon are next, and Branna is glad to see they are together again.

Mon takes the girls below deck and finds them a place to sleep. With the storm raging outside, many of the passengers, not used to sailing, much less to choppy seas, are miserable, if not sick. Using lesser restoration, Mon heals as many people as he can, including Luba, who finally quiets down. As members of the second crew attempt to sleep, Marigold fills Mon in on what happened at the Katarina Docks, and Mon is thrilled to hear about the Cardinal’s treatment of Herald before the ship’s departure.

Wednesday, June 29, 1066 SE

The night passes in misery for most as the ship sways from one side to the other. Even those who don’t feel sick have a hard time finding sleep. As dawn creeps in under stormy skies, thunder accentuates the feeling of dread that the passengers feel. But one of the booms does not sound right to Mon. Instead of thunder, it sounds more like cannon fire. Mon climbs to the main deck. Spinning on the rolling deck, Mon sees two royal warships behind them with cannons blasting. Mon briefly wonders whether the Cardinal has finally determined to get rid of him and his meddlesome friends, before he sees, about a mile away astern of the Cardinal’s Blessing, the Zhytomyr’s Siren and a large black ship, tangled together. Marigold, who followed the actor on the deck, recognizes the Hangman, Captain Lafoy’s vessel proudly flying his pirate flag, and the target of the royal navy’s cannon fire. She points the ship to Mon before rushing back below deck to inform the passengers they must prepare for a possible pirate attack. Mon sends a message to Captain Igor, informing him of the tactical situation. 

On deck, Mon watches as one of the royal ships heads straight for the Hangman, which disengages from the Zhytomyr’s Siren and heads south. Despite the large waves, the royal navy ship soon comes alongside the Cardinal’s Blessing. A cable is strung, and two passengers are transferred over. Mon recognizes the first one welcomed aboard as a very drenched Sir Sergeii, looking somewhat greenish but thrilled to be greeted by Mon. The second person is hidden beneath a dark cloak, hiding his face, but Mon suddenly fears that Dr. Sadistik has also come aboard the Cardinal’s Blessing. Immediately, the cloaked figure disappears below deck. After a heartbeat or two, Mon escorts Sir Sergeii below deck.

In the common room below deck, Marigold and Branna see the cloaked stranger descend the stairs. They hold their breath as the person removes the hood covering their head, and exhale sharply as Zoryany glances around the room. Spotting them, she comes over and inquires if Mon made the ship, as she did not see him board in Katarina. Marigold informs her that he came on board yesterday afternoon, but is now nowhere to be seen. Zoryany smiles and tells them she has a message for him.

Entering the common room with Sir Sergeii, one of Mon’s repressed memories returns to him. He remembers being on board a small fishing vessel with people whose faces are blurred, but whom he knows are his family. They were out fishing on a large river near the mouth of the ocean, and on that day, the catch was plentiful.

Happy to see Branna and Marigold, Sir Sergeii tells them that he had meant to come aboard the Cardinal’s Blessing yesterday, but that, inexplicably, he woke up mid-afternoon with a raging headache, and the ship had already departed. As he had made all of the arrangements in Konstantina, Sir Sergeii wanted to arrive with them and show them around the new accommodations and their new theater for the next three weeks. So he contacted the King and received permission to board a royal navy ship to catch up with the Cardinal’s Blessing. Coming out of the fjord, the vessel he was on was joined by another, which was on the hunt for a pirate ship. But they lost it in the storm, and as night fell, they only spotted it this morning attached to the Zhytomyr’s Siren. 

As he listens to Sir Sergeii, Mon suddenly remembers another memory. This time, he was still on the fishing boat, but the waves were big and choppy. The rough weather was tossing the boat around, and his father worried that the ship was about to go down. Distressed, Mon walks away as Zoryany attempts to speak with him, and he does everything he can to avoid her the rest of the day.

With the storm continuing unabated, the ship’s crew begins to whisper that yesterday’s arrival of Anya and Dhuka has brought them bad luck. They bless themselves as they pass by the girls, and most of them now avoid them. Hoping to combat this superstitious nonsense, Mon brings the girls on the main deck and casts major image, creating the appearance of saintliness and blessing. The illusion is convincing enough that the sailors immediately begin to seek Dhuka to ask her for advice and counsel. Mon suffers her displeasure for the rest of the sailing.

Now feeling better after another round of lesser restoration and inspired by the epic storm raging outside, Luba begins to write a new play, and she’s excited about it.

Following the pirates’ attack on the Zhytomyr’s Siren, Marigold mentions to Branna that they should start thinking about making new props and costumes in case some of the equipment was damaged, or, heaven forbid, the ship goes down in the storm. Branna agrees and begins sketching drawings to replace costumes that might be lost. Marigold then turns to the actors and organizes them to practice their lines now, so they can help with unloading the sets when they arrive in port. Wondering if there will be the possibility to build sets and props if the Siren does not come to port, Marigold asks Sir Sergeii, who tells her that with 8 days to opening night, it would be expensive, but double, to replace missing sets and props. Armed with this information, Marigold finds a quieter space, and she designs a plan to address any missing props and sets. This way, if worse comes to worst, the crew from the Legendary will be able to perform a pared-down version of Masha and the Bear.

Thursday, June 30, 1066 SE

During the night, the storm finally breaks, and the seas calm down. For the first time in over a day, Marigold can eat some food. Captain Igor informs them that the storm has blown them off course, and they won’t arrive in Konstantina until late afternoon.

While breaking fast with Branna and Mon, she questions the actor on his plan to get Dhuka and Anya off the ship. Mon gives her a puzzled look, before sheepishly acknowledging he didn’t plan that far out. Concerned at this oversight, Mon looks for his sister Zoryany, whom he finds on the deck with the color restored to her face. 

He apologizes for his behavior. Zoryany accepts his apology. Mon shares with her his happy memory of the fishing vessel, and she's pleased that he’s able to remember something of his previous life. She confides that she has no such memory of a time before. She then tells him Sir Paul Stal sent her on a personal errand, but he did send a message to Mon. Zoryany shares that Mon should spend some time in the royal archives and also visit the Port Authority building. Perhaps he would find information there that would answer some of his questions about the young girls he brought aboard. Zoryany also hands him a valid Sezjan passport for each girl. Katarina’s richest man also told her that Mon should review the logs for the Cardinal’s Blessings. Mon thanks her profusely, and Zoryany tells him that ignoring her will usually be to his detriment.

As Zoryany walks away, Mon realizes the Siren is nowhere in sight. Returning to the cabin, Mon finds Anya and Dhuka, and he hands them both their passport. Dhuka’s eyes shine brightly as she hugs the document. A single tear runs down Anya’s cheek. Communicating magically with the girl, Anya shares with him that this passport restores part of the identity the Cardinal took away from her. Mon tells her he would like to show her how to cast the cantrip message, so she could communicate with her sister whenever she wished. Anya perks up at this. Mon spends the morning teaching Anya how to tap into arcane power. Eventually, she successfully casts message for herself, and she is thrilled to be able to communicate with Dhuka. Throughout this training, Mon notices that Anya often loses track of her environment. It's as if she's retreating within herself every time she is confronted with a difficulty. He could teach her more if she wanted. She is appreciative and tells him she will think about it. 

While Mon was busy teaching Anya the rudiments of magic, Marigold and Branna worked with the acting crew to rehearse their lines. As the Cardinal’s Blessing enters the Lavra River, the passengers’ excitement increases, and they begin to pack up their gear. They should be in Konstantina in less than two hours.

Finally, in the late afternoon, the Cardinal’s Blessing berths at the Port Authority on St. Olha, the island where the city was founded. Unfortunately, the Siren is not in port.

The passengers disembark and are controlled by inspectors, who review passports, ask questions, including where non-residents are staying or heading, and document all of those details in arrival logs. Though Branna’s family is from Konstantina and currently resides in St. Gleb, across the river, the clothier chooses not to reside at home while here with the Legendary but will instead stay with everyone else at the South Gate Hotel, located in the St. Olena district.

Sir Sergeii accompanies the Legendary’s crew to the South Gate Hotel. He introduces them to Hennadii, proprietor of the establishment. The man is in his mid-fifties and is jovial and eager to ensure their stay is pleasant and relaxing. Sir Sergeii tells them that the theater occupies the entire building during their stay in Konstantina. Marigold suggests that Sir Sergeii should hire a few page boys to notify him and the hotel when the Siren docks. Sir Sergeii readily agrees.

Mon discusses Konstantina with Hennadii. The owner provides him with a guidebook and a map of the city. He inquires whether two of their pages could spend the night in one of the rooms currently held for the Legendary crew still on the Siren. Hennadii agrees and hands over a key to the room that Dhuka and Anya will share.

Branna sends a message to her parents, letting them know she is in town. She receives a reply an hour later inviting her and her friends over to St. Gleb for dinner tomorrow, if she’s available. Branna replies with an enthusiastic yes, she will see them at dinner tomorrow.

Friday, July 1, 1066 SE

When Mon wakes up, his first thought is that he has never slept so well. That mattress was very comfortable. Descending the stairs, he seeks Hennadii out and questions him on where he purchased his mattresses. Hennadii looks up the information and tells him that the mattresses come from St. Boris’s Blessed Rest Mattress Factory, located in the neighborhood above. He gives Mon the address and shows it to him on the map, indicating where they are located.

While they eat breakfast in the South Gate’s cozy common room, a page enters and delivers the news that the Siren arrived early this morning, cleared the Port Authority, and is now docked at Riverside and has started to unload its cargo. The crew cheers at the news, and everyone’s mood is buoyed. 

Sir Sergeii arrives at the South Gate right at the end of breakfast. Once everyone is ready, he escorts the Legendary’s crew to the Grand Royal Opera. Entering the hallowed halls, they are greeted by Marta, director of the Grand Royal Opera. She shares a short history of the building and its famous and infamous residents before taking them on a tour of the facility. The Grand Royal Opera is older than the Legendary, but the building itself is not as significant. Unlike the Legendary, the Grand Royal Opera does not have a second stage where productions can rehearse while the current show is performing. As a result, the Legendary’s crew will have to prepare Masha and the Bear while ensuring that the evening production can occur. This, Sir Sergeii tells them, will be challenging.

After showing the various workshops, Marta tells them to let her know if there are any issues with the Opera's employees, no matter how minor. She wants the crew of the Legendary to feel welcome, and she wants to snuff out any rivalry or conflicts that might occur. Marigold remarks to Branna that she gives off better vibes than Yurchik. 

Pulling Sir Sergeii aside, Mon explains the presence of Dhuka and Anya and describes their current situation. He tells the philanthropist that the Cardinal has stolen Anya’s voice. Sir Sergeii remarks that this would make a good play, before agreeing to add the girls to the payroll. Anya and Dhuka are now paid employees of the Legendary.

On the way out, Mon bumps into Herald, who traveled on the Siren. Herald tells him he looks forward to bunking with him during their stay in Konstantina. Determined to send Herald away, Mon tells him about the various types of entertainment available in St. Boris and even hands the cad a map. Herald departs the Grand Royal Opera with a grin on his face.

Boxes and equipment finally arrive from Riverside, and the crew sets about unpacking and verifying all of the gear, costumes, and props. Amazingly, nothing is missing despite the pirates’ attack on the Siren. 

Following a hard day of work, Branna, Marigold, and Mon leave the Grand Royal Opera. Walking through the Walled City, they descend to Riverside, where they catch a ferry across to St. Gleb. The picturesque village is on the opposite side of the Lavra River from Konstantina. They walk to the farm of Branna’s parents and are greeted by two affable elves. The farm is pretty and functional, and the evening meal is delicious. Branna’s parents discuss local happenings, share news of friends and family members, and question Branna and her friends on life in Katarina. After a wonderful evening, they take the late ferry and return to the South Gate.

Entering his room, Mon is unhappy to see Herald is back. Nevertheless, Mon sees an opportunity to hear what happened when Captain Lafoy’s men boarded the Siren, given that nothing was missing. Herald describes how the Hangman came alongside the Siren in the dead of night and secured both ships through stormy seas. It took excellent skills not to wreck both vessels. Once on board, the pirates took control of the boat but did not injure or loot anything. When the royal navy's cannons were heard, the pirates released the Siren and sailed away, taking two passengers with them. 

As his impatience builds, Mon centers himself and then continues to question Herald. Who were the people that were taken? asks Mon. Herald reveals that Mayviyko, Mon’s former understudy and the person Mon had once anonymously framed as the villain who had planted bombs at Khoroshim by charming and manipulating a city guard into making a false statement where the guard claimed that he "clearly saw a man closely resembling Matviyko hurling something in the window and that the man seemed intent on committing an assassination.” Mon himself assumed this false statement was the reason Matviyko was arrested. Matviyko had been detained by the Cardinal’s men and taken to the Cathedral for questioning. He was held in jail there and appeared “haggard and disheveled” upon his release. Later, a rumor spread that he had escaped from Cathedral prison, with Mon also implicated as his accomplice. At the time, Mon had suspected that Matviyko might be a "plant," sent to spy on the Legendary and its crew for the Cardinal or another "nebulous power," especially given his quick learning and apparent lack of prior acting experience.

Herald then drops a bombshell on Mon. The second person was none other than Verushka, the Archduke’s eldest daughter. He’s not sure what the two of them were doing on the Siren, and, because he was below deck with the rest of the Legendary’s crew, Herald did not notice if Verushka and Matviyko went willingly or if they were dragged to the Hangman under duress. Mon remembers that when Matviyko had been arrested, Verushka, who happened to be touring the Legendary, had implored Dima, captain of the city guard, to intervene on Matviyko’s behalf. As the understudy was being dragged away, he had desperately yelled to Verushka to do something to help him. Their secret relationship had been confirmed after Matviyko's release, and Mon recalls that at the time, he thought this relationship would become a problem. Even at the Archduke’s ball, Verushka had questioned Branna about Matviyko’s health as the understudy hid in the Legendary and beseeched her to keep him safe.

Mon wonders. The Cardinal and his men searched both vessels. Did the Cardinal purposefully allow Verushka to leave Katarina, knowing this would, at a minimum, embarrass the Archduke? Or did the two lovers have powerful magic that hid them from Tarasenko’s special glasses? Either way, how will the Archduke react? And, more importantly, with the King present in Katarina, what will be the political fallout once this event becomes widely known?

 

Saturday, July 2, 1066 SE

At breakfast, Mon tells Marigold and Branna what he discovered about Verushka and Matviyko. They compose a message that describes the event, and Mon uses message to deliver their text to Lady Sirenko, requesting she pass the message along to the authorities. The message is then placed into an envelope and mailed to Katarina. Mon realizes he would like to talk to Zoryany, but he doesn’t know where she is staying, nor why she hurriedly boarded a vessel that had left the day before from the Port Authority heading to Shipwright Haven …