#while some historical political structures that match closely to these kingdoms are (in popular culture) referred to by very different ways

[daisyachain]

It’s interesting the way ‘king’ is used in early to mid-medieval contexts. Modern history articles or texts will refer to kings of multiple different Scottish territories, sagas will refer to multiple different kings ruling various bits of Norway concurrently. The word ‘king’ to modern ears gives the late medieval/early modern sense of a single allegiance-based monarch of a large territory the size of a median European state with sizeable military or administrative capabilities and loads of land-based income.

The meaning ‘king’ in the earlier medieval context can apparently refer to single rules of ever-shifting territories that appear microscopic on a world map. Yet, one landed guy and like fifteen nobles rich enough to buy a charger and a few serfs each is a kingdom in popular parlance . If the guy is in another continent during the same time period…less likely to be termed a ‘king’ (again, in pop media)

[piermanwalter]

Thief’s Apprentice: Popular Fiction in Surenia

As many revenants no longer have the mental faculty to keep track of stories and reality at the same time, these stories are mostly for the living to rationalise their plague-ridden surroundings. Common themes of the oldest and most well-known stories are escaping the plague and love that lasts after death. These stories usually follow someone as they travel across Surenia, and serve as escapist fantasy for bedridden plaguebearers as they look forward to all the travelling they can do as revenants and wait to die.

CURE QUEST

Hearing of the revenant plague spreading to their kingdom, instead of hoarding food and barricading themselves in fortresses like neighboring kingdoms, Prince Orto and his mother Queen Mavia set out to investigate the cause of the plague and find a cure with their court mage Ovid. The story is allegedly the writings of Ovid himself as he recorded their adventures, but Cure Quest is so fantastic and implausible that most people now believe it’s complete fiction. 

The basic story structure of Cure Quest is Ovid receiving cryptic messages from the Gods to guide the Prince and the Queen, then they encounter a weird guy in the wilderness that Prince Orto fights and/or befriends, then they rescue a town from some disaster and are allowed to rest there in thanks, and then Ovid finds some town specialty herb or potion that alleviates the plague a bit, but doesn’t totally cure it, so they have to keep going, and then they get captured by another kingdom or mage or giant gryphon that is too strong for them to beat, then Queen Mavia sings their captors to sleep or distracts them while Ovid comes up with an escape plan. By doing this many times, they eventually build up a huge procession.

There are many versions of Cure Quest, but they all feature Prince Orto making friends with wandering knights with extremely specific superpowers, such as a knight who can eat mountains of food, a knight who can steal anything that can fit in the palm of his hand, a knight who draws blood every time his sword is unsheathed, a knight who can turn into a flock of sparrows, etc. Most versions of Cure Quest are also known for huge epic battles between the royal knights and hordes of insane revenants, knights of rival kingdoms, monsters, and evil mages. 

However, there are also Cure Quest versions that address how a plague-ridden land can’t realistically support full-scale wars all the time, so the problems are instead solved with cunning tricks, political leverage, and magic.

In all versions of Cure Quest, the royal procession follows Ovid to The Fountain of Life, which can cure any disease or injury, but the Gods have led them to the end of The World. It turns out The Fountain of Life is on a separate land mass floating off the edge of The World, and while everyone is deciding how to get there, Prince Orto becomes impatient and jumps off the edge, but he misses and falls through space for all eternity. The rest of the procession builds a bridge to The Fountain, but as soon as they all cross, The World flies away. 

It’s widely believed that Cure Quest originated from Beringians in Surenia, since knights and dedicated soldier classes in general don’t exist in local cultures, and the effects of plague described in the story are hilariously wrong. Some people believe Cure Quest must have been first spun in the early years of the plague when people didn’t know exactly how it worked and genuinely had no idea revenants could be sane and articulate. Since different locations in Surenia are mentioned in many versions of Cure Quest, there is much literary debate over which city produced the earliest version of Cure Quest.

This story is the most popular among the living and not very well liked among revenants because all of the named characters are alive and all revenants are mindless shambling wrecks. However, the continued popularity of Cure Quest comes from there being a version anyone can enjoy. Children are told the version where Prince Orto is their age and Mavia is a beautiful young queen, and everyone aside from Orto, who was too impatient, got to live on an amazing new World. Once they outgrow that story, they can find another version where Prince Orto is a callous Machiavellian adult and Queen Mavia is wise and elderly, and they finally accept the plague has no cure, so they kill themselves to become the revenants they once so reviled. And if there’s no version to you liking, you can always make your own.

Most Surenians see leaving The World as a metaphor for death, and Prince Orto missing The Fountain as a metaphor for those who die before their time and go mad.

Muireland has coopted Cure Quest as an embellished retelling of their own kingdom’s founding and claims jumping off the edge of The World is a metaphor for establishing a new homeland on the edge of sea cliffs, and their own royal family is descended from Queen Mavia.

Despite getting blown up and occupied by Gehennans, many Veilheimers are still struck by, “Wow! Real Prince! Real knights! This is just like Cure Quest!”

WANDERING GONOT

He wakes his shirt covered in dirt and thinks, “How rude to pitch dirt upon a sleeping man! Dare they do this to I, the... I... know not mine own name.” A wooden signpost reads GO NOT. PLAGUE LAINS HERE. “Lo! My name. Gonot... Plague... Lainshere. I do not like the middle part! Bolfred Miller be called Bolfred Cheating Miller, but his name be not Cheating though he be cheating. A fool’s title on us both. My name is Gonot Lainshere.”

Gonot stands and leaves and sees a milkmaid. “Holla maid! There be dirt on my shirt, but not on my heart. Knows you the-” The maid cries like a hawk and runs. Dirt on a shirt be so vile? Gonot bends to clean and Horror! Skin is flaying off his legs! Nails torn from his fingers, but not a drop of blood! Bowels spilling from his belly! Gonot is dead! He is walking and speaking but he is dead!

Gonot is chased out of town with torches and pitchforks and wanders aimlessly around Surenia, getting into shenanigans and witnessing all sorts of interesting things. Wandering Gonot is a very relatable story about one of the first sane revenants figuring out basic things that every modern revenant knows, like seeing through solid objects, eating, or kitbashing your own metal prosthetics. 

Unlike Cure Quest, there is only one version of Wandering Gonot written over 600 years ago. Some attempts were made by other writers to add to the story, but the syntax and style of the original writer are so distinct that imitations are easy to detect. Wandering Gonot is historically important because it’s set when Surenians were most afraid of the plague, now that symptoms and epidemiology were better understood, but revenants were not. Earlier stories in Cure Quest had knights charging fearlessly into combat with supernaturally strong revenants that caused crushing bruises with the slightest touch, but by the time this story was written, it was known that massive inexplicable bruises were the first sign of plague infection, so Gonot empties towns and ends battles just by showing up. This time period is also significant because there was once so many people that Gonot could find a new town after one day of walking, but now revenants could wander for months and not encounter anything but thousands of miles of wasteland.

After wandering Surenia, barely holding himself together, trying to make friends, and killing thousands by accident, Gonot gets hit by a mudslide and sinks to the bottom of a lake, which dries up and traps him underground, so Gonot decides to Lainshere until the lake floods again. The story ends with a plea for the listeners to make their communities kinder and more peaceful so when Gonot wanders again, he won’t have to suffer.

Gonot probably never existed, since he is written as too preoccupied and destitute to record his own travels or tell them all to someone else. It’s believed that another early sane revenant wrote Wandering Gonot as a compilation of real events that happened to many different sane revenants in attempt to prove their sanity and humanise them to the hostile and suspicious living. It worked, because the story has been preserved for all this time, and the living like the story because it makes revenants funny and understandable, and revenants like it because many of Gonot’s struggles match their own. Most city dwellers, living and dead, are grateful because they don’t suffer from lack of basic understanding like the characters in Wandering Gonot do. 

Although Wandering Gonot is meant to be funny, many stories have an undercurrent of inescapable loneliness, such as “Priest of Harus” where Gonot meets another sane revenant but he’s a High Priest of a different God than he prayed to, so they could never be friends, and “Bone Mare” where Gonot finds a horse revenant and tries to catch it, but no matter what it always runs faster than he can so it slowly gets smaller and smaller in the distance until it disappears, except for one extremely divisive story that has since spun off into its own separate thing.

MERCIFUL DEATH

Gonot is hanging out in an orchard after harvest, because it’s a nostalgic place close to civilization, but nobody is there because all the remaining fruit is rotten. He sees a living maiden in a tree and tries to leave before she sees him and raises the alarm, but she isn’t afraid, introducing herself like he was any normal person. Gonot climbs the tree and has the first conversation with a living person he can remember. Goblinder asks how he was able to stay sane, then asks Gonot to strangle her. It is her town custom for plague bearers to do penance by starvation, and once they know she has the plague, they will wall her into a room. Goblinder would rather die quickly at the hands of a stranger than slowly by the hands of her friends. 

Gonot doesn’t want to strangle her, so he pulls an arrow out of his back and stabs her in the heart with it. After Goblinder dies, Gonot climbs down and thinks about how plaguebearers are like rotten fruit because nobody wants them, and sane revenants are like good wine because it is a rare state that not all rotten fruit can reach.

20 stories later, Gonot encounters a sane revenant with an arrow sticking out of her chest. It’s Goblinder. 

Although the original story wasn’t explicitly romantic, a lot of motifs from it, such as a heart pierced by arrows, fruit wine, and being in a tree with someone, became symbols of romance. There have been several rewrites and expansions of Merciful Death, usually with Goblinder deciding to travel with Gonot after either their first or second meeting. The archetype of a revenant killing someone begging for death and later falling in love with them was used for countless other stories. One Merciful Death subgenre exploded in popularity 300-400 years ago, because this was the time Veilheim was finally prosperous enough to support fine art and literature, and also relationships between the dead and the living weren’t taboo yet. 

One Merciful Death rewrite in this subgenre became so popular that it superseded the original and when people talk about Merciful Death, it’s usually in reference to this one. In this version, Gonot is a Gore Mage royal doctor and Goblinder is a Princess, and instead of everything being over and done in a single conversation, Gonot agonises over whether or not to kill Goblinder and what it means for her kingdom to lose their last heir while trying not to think about what she means to him, and Goblinder tries to live what remains of her life by taking scented baths, suffering elegantly from plague, hunting, and throwing huge parties while screaming inside because she truly doesn’t want to die. Whenever they meet, Gonot tries to stay professional while Goblinder tries to act resolute. After several emotional breakdowns and dramatic confessions, Goblinder finally loves Gonot enough to trust him to kill her. What tragic heartbreak! If Goblinder didn’t love him, she could yet live! Gonot uses Gore Magic to pull all of Goblinder’s blood out of a few small cuts so she can die painlessly. 

Gonot is depressed and wandering aimlessly outside for medicinal herbs to avoid the royal palace as much as possible and suddenly gets shot in the chest with an arrow. A hunter runs up and apologises for mistaking him for a wild animal. It’s Goblinder. 

Detractors hate this version of Merciful Death because the original was about two ordinary people calmly choosing to kill and die because this was the only way to survive in a world that feared them, and Merciful Death is basically set in Veilheim. Gonot and Goblinder are rich assholes wasting everyone’s time and money on interpersonal drama and killing and dying out of laziness and cowardice. This story is also hated for public health reasons now that romance between the dead and living is taboo, and also how it’s creepy to kill someone right as they are most in love, forcing them to stay in love forever.

Enthusiasts love this version of Merciful Death because it portrays the wild and opulent zeitgeist of Veilheim 400 years ago, and regardless of how it’s seen now, there really were romantic scandals between revenants and the living at that time, and Gonot would surely rather be a rich educated Gore Mage doctor in a kingdom where revenants are accepted than a terrified and confused peasant where almost everyone is trying to kill him. The whole point is that society has finally become kind and peaceful enough that outrageous luxury and interpersonal drama are the driving forces of people’s lives instead of survival.

Merciful Death Enthusiasts and Detractors are basically political parties. The Mayor of Veilheim stays neutral because he is a foreigner and wouldn’t have as much knowledge and attachment of Merciful Death as a born and raised Veilheimer.

Master Courtesan is a huge public Merciful Death stan because it’s expected of her, but her dark secret is that she doesn’t think it’s very good. Also she killed the author centuries ago for entirely different reasons.

Tax Collector has the political leanings of a Merciful Death stan but is a Merciful Death hater, because his job involves stabbing and being stabbed and he’s sick of people seeing it in a romantic context.

THAES

Unlike the huge rambling epics above, Thaes doesn’t exist in a specific story and instead serves as a mouthpiece for social commentary. Thaes is witty enough to make interesting observations, but is also oblivious enough to say them out loud. Thaes blunders her way to success via blind luck and coincidence, or she could just be resourceful. Depending on the story, she may be living or dead, anywhere on The World, set in any time. In a more contemporary setting, if Thaes is dead, she is instead called Careless Weaver. If you don’t want to reveal where you got information, you can say, “I heard it from Thaes.” Naming your children Gonot and Goblinder is universally seen as cringe, but Thaes is always a popular name for girls.

Thaes got the plague and had to leave the living district. She sees a stubborn donkey, refusing to take a single step and braying so loudly no one else can speak. “Good morning, The Mayor! How brightly Veilheim shines under your rule!” Thaes sees a towering lumbering ox, pulling ten times its own weight but moving as slowly as a snail. “Good morning, Noble Porter! Any important deliveries today?” Thaes sees a wild ass, kicking high and menacing its handlers with its horns. “Good morning, Tax Collector! Surely not everyone owes you money!”

Thaes is deciding which prosthetics to save for before she dies. She visits Noble Engineer and he says, “Your carpometacarpal and distal phalanges are gone! Do you want 32-2 cobalt steel? Do you want 56-1 lead steel? Do you-” Thaes interrupts, “You speak too quickly and I don’t understand what you are asking! I will ask someone else.” Thaes visits a Principian and he says, “I won’t let the Veilheimers make a carcass out of you. Why don’t you become a bronze statue like me?” Thaes says, “I may not look like a carcass in a statue, but it’s so heavy! I will feel like a carcass.” Thaes visits a Cyrenean and he says, “Don’t get prosthetics. Let yourself fall to pieces.” 

Careless Weaver stands in the market with her wares, yelling, “Tubes! Get your metal tubes! Use them for anything you want! Water pipes! Prosthetics! Augers! Opium cooling!”. A guard asks, “Say, Careless Weaver. You are not an Industrial Mage. Where did you get these metal tubes?” Thaes says, “We got new spring-powered looms put into the textile factory. We revenants had a go, and now look at them. Post-hole diggers! Pastry stamps! Rolling pins!”

Although Thaes stories are mostly told in person, and their format ensures a ton of them are extremely horrible, there are some written compilations of them, and Thaes will probably become a character in the distant future the same way Gonot is a character now.

ROSANGELA AND BENDANIEL

In a world where the plague is a fact of life, it’s fitting that the most popular horror story portrays being plague-free as alienating and unnatural. As the plague reaches the western shore of Surenia, the royal family escaped by sea to Sidra, but burned all the ships they left behind. Rosangela and her husband Bendaniel are imploring a powerful mage to save them and their children, and before he leaves to Sidra, he gives them a book of instructions for a magic ritual that allows them to be plague-free while they are conducting it and live forever, free from revenants once it’s finished.

By the end of the month, the plague has hit the coastline, and both of them have been bitten by plaguebearing animals with no ill effects. But the steps of the ritual are steadily getting more difficult, rubbing human ashes on themselves and eating nothing. Fortunately, the ritual also protects their children, who are growing up and looking more and more like their parents. The ritual worsens, and by the time it’s finished, their whole town is empty except for them and insane revenants. Rosangela and Bendaniel starve to death in a pit of human ashes. 

Their children are now identical to them, take their parents’ names, and have children of their own. Rosangela and Bendaniel and Rosangela and Bendaniel live like ghosts, unable to be touched by anything aside from their own family. When Rosangela and Bendaniel die, Rosangela and Bendaniel take their place as the heads of the family, and Rosangela and Bendaniel have to take on new responsibilities. 

Rosangela and Bendaniel and Rosangela and Bendaniel live in a little house together, with a pit of corpses on one side for Rosangela and Rosangela and another pit on the other side for Bendaniel and Bendaniel. 

Unlike the other stories, the city of Alhambra claims these people actually exist and are still alive. They are studied by the mages there, although it might be a lie to maintain Alhambra’s elite magic reputation. Rosangela and Bendaniel reportedly regret performing the ritual and refuse to share it, but it is known that it involves huge amounts of mugwort. 

Most people believe Rosangela and Bendaniel don’t exist, and the story is a cautionary tale about extreme measures taken to avoid the plague being worse than getting the plague, which makes a lot of sense given that the most plague-free regions are filled with inbreeding, cannibalism, and/or violent xenophobia. 

Some people believe that this story is about how life itself is bad, plague or no plague, since Rosangela and Bendaniel suffer every way the living can suffer before dying and compelling their children to replace them, and becoming a revenant is the only escape from going extinct or having someone take your place and continue to suffer.