Legendary 029

Sunday, July 3, 1066

Due to today being 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 for the second time. 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 travel across the Lavra River and attend church with her parents at St. Gleb's Church 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 declares that she will accompany Marigold. Dhuka is not interested in going to church, and she loudly wonders 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 engaged in conversations 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 for lunch following church, as she has many questions for them about the town’s social and political climate. They readily agree, and the four of them enter the 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, with a focus that is less on doctrine and more on ethical conduct and personal interpretation of faith.

Observing the service, Mon has a memory 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.

St. Boris Basilica: The Firebrand Service (A Call to Action)

The services at St. Boris Basilica are a world away from St. Gleb. Located in the neighborhood dedicated to the patron saint of peaceful martyrdom, the basilica's interior is likely older, darker, and more imposing, filled with religious icons. The service is a rallying point for the poor and the traditionalists who feel betrayed by the current government.

Atmosphere and Tone: The basilica is often filled to capacity. The air is thick with the scent of incense and the sound of powerful, booming organ music. The atmosphere is intense, devotional, and highly charged. The message is one of unwavering moral authority and the defense of the common people.

Liturgy: 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 music is often conservative, patriotic opera (much like The Iron Will of Sezja) that stirs national and religious fervor.

The Sermon: The preacher is a charismatic, firebrand speaker whose sermon is a dramatic confrontation with the city's corrupt powers. He will use the King's death as an example of divine judgment against corruption. He preaches a populist message, directly addressing the Cardinal's actions—perhaps railing against the "new Excise Tax" that starves the poor and demanding that the church fulfill its duty to protect the suffering. His oration is designed to inspire courage and political resistance.

The Congregation: The congregation is primarily composed of the working class, including dockworkers and small business owners, as well as disenfranchised veterans. 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. 

Discussion about the political situation of the Cardinal, excise taxes, increased military presence foreboding a potential conflict, parents wonder if the local theater crew is feeling professional jealousy, or are they driven by some sinister force. They also mention that the script should be gone through with a fine-tooth comb for any threat of independence on the part of Katarina. 

Branna thinks about getting some interviews from the local newspapers. Her parents provide her several contacts. 

Hennadii serves Marigold with several hafling dishes, and the food is delicious. Going to find Anya and Dhuka, Dhuka has left after the end of the church service. Anya and Marigold wander the Walled City. Marigold leaves a note to the front desk telling Mon and Branna she’s left to walk. 

Dhuka is sitting by the fountain. 

The characters, seeking a moment of peace, find themselves in a public garden with a grand fountain, or are taken there by Dhuka. An eccentric old man, Mykola, is sitting nearby, muttering to himself. He approaches one of the characters directly and claims the fountain "whispers secrets" to him. Mykola then shares a list of unsettling, cryptic messages:

"A voice lost to the waters will one day return with the tide."

"The woman from Katarina, they wanted her forgotten.”

Mon’s memory 

Mykola tells Mon

"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."

"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."

Branna notices the costume was from the Regency period 85 to 70 years ago. Queen regent and young child.

Dinner,

Branna and Sir Sergeii. Invite critics for dress rehearsal on Thursday. Branna expresses concerns and will work on solutions.

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

Sunday, July 3 - King Stanislas II and his entourage will attend the church service at the Cathedral and reet well-wishers, before heading to Thunderhead Down to enjoy the horse races

Monday, July 4, 1066

Herald departed early, and comes back dishelved. 

During the morning Dhuka is kept busy working on 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 he will go to the city archives. Asking for guidance on the information to find and on finding other cards. 

Branna re-reads the script and finds that the whole story has an independentist bent. 

Masha and the Bear is a three-act musical play first performed by the Legendary Theater. The plot follows the story of a young maiden named Masha who gets lost in a forest and is captured by a bear.

Here is a summary of the plot by act:

• 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.

• Act 2: In the second act, Masha learns how to live with the bear while plotting her escape. This act features beautiful songs and highlights the performances of the lead actors.

• Act 3: 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 and is happily reunited with her family and friends, and the show concludes with a final song.

Wants to add iconography, and the bear is trying to take her away from religion. And the bear makes her work on Sunday. A renewal of her faith. Masha could be 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. She’s collecting mushrooms with the other nuns from the convent, and the pie in the third act is being 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.

Mon will research St. Olha and see if there were dogs or wolves associated with her. Also researching the royal family tree, as well as more 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?

After the day is done, Mon returns to see Mykola. Mykola tells him "The mirror on the wall, it shows only what you wish to see, not what is real." then he sings a song. Mon remembers this song when he was a child, and he hums along.

Archivist Katiya .

She will look for a portrait of 

Grand Duke Andriy Volkov.

Grand Duke Volkov served as Regent following the death of Queen Lyuba, stepping in because the next in line to the throne (the King who recently perished) was a minor at the time. His regency is generally remembered as a period of military stability and cautious rebuilding after earlier foreign conflicts.

Book on St. Olha 

1. The Pestilence and Isolation (The Foundational Sacrifice)

This is the most common version, suggesting the loss was due to an unseen affliction that forced a heartbreaking choice:

• The Event: 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.

• The Sacrifice: Realizing the disease was too potent and risked spreading to the mainland, Olha, as 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.

• The Grief: She was the last survivor, or the only one to remain untouched by the plague. She stood upon the highest cliff, watching the last of her people perish. Her tears of despair fell onto the black volcanic rock, 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.

  
  

Branna delivers the change in scripts to Sir Sergeii. 

 

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 who will be 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, a tasty dinner is served by Hennadii, the proprietor. Ioulia, one of the second crew’s musicians, is playing music in the dining room, and many times she stops and jots down notations on 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...